DON CHERRY — Dona Nostra (review)

DON CHERRY — Dona Nostra album cover Album · 1994 · Avant-Garde Jazz Buy this album from MMA partners
3.5/5 ·
snobb
American trumpet/cornet player Don Cherry came to advanced jazz music scene in late 50s - eraly 60s, when he played on such cornerstone albums as Ornette Coleman's "The Shape of Jazz to Come"(1959) and "Free Jazz"(1961)and John Coltrane's "The Avant-Garde"(1961). Starting from mid 60s he released series of famous albums as leader (on Blue Note), later moved to Europe where became one of a cult figure for years.

Starting from late 70s besides of other best world jazz artists as Miles Davis or Herbie Hancock,Cherry experienced serious decline of popularity partially related with the end of success of jazz fusion - chronologically the last jazz genre still enjoyed cult status and major following around the world. As both above mentioned giants,Cherry tried to find a new place in music,flirting with electronics and acid jazz,but he still stayed mostly a "Legend from the past" till his last days.

"Dona Nostra" is Cherry's last studio album,released just a year before him passing away.German ECM produced and distributed,this album surprisingly didn't receive any significant attention,and probably one of reasons was the time around wasn't right for music like that.

Another reason of modest popularity most probably was album's music itself. Recorded in ECM usual Rainbow Studio in Oslo,"Dona Nostra" contains mostly characteristic Nordic jazz (often known as "ECM sound"). Even if Cherry is stated as leader, in reality he is a guest of highly professional band,led by pianist Bobo Stenson(Jan Garbarek early band's member and,later,regular Tomasz Stanko pianist).As one can expect, great Nordic band plays great Nordic jazz here - ECM type(down-tempo, cool, aerial, generally groove-less) with Cherry trumpet soloing here and there. Some reprieve from comfortable sameness is Turkish percussionist Okay Temiz (who played with Cherry on his many early European world fusion albums from early 70s) - where possible he adds North African and Middle East rhythms which works as fresh blood for refined but very often lifeless music.

The standing alone piece is center-placed Coleman's "Race Face". This song,full of groove,Cherry trumpet soloing and true jazz energy sounds as it was added here by mistake after it slipped under strict ECM boss control.

In all,far not a bad album,especially for those loving quite safe ECM sound from 90s, it sounds as a requiem to Cherry. He was a great musician and he left us lot of good music,even if time requirements and musical fashions around not always were on his side.
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