This leads in to one of the most beautiful pieces Cherry ever wrote - and one of his late-period, signature works: “Hope” (later recorded for Relativity Suite under the name “Desireless” with sax replacing the voice). A golden flurry of rippling piano chords (ala Alice Coltrane and, also, Magma’s own John Coltrane ode’ “Coltrane Sundia” from Kohntarkoz), and a yearning, wordless wail issues from Cherry. He sounds like he is bearing all the troubles of the world single-handedly, and, yet, is still willing to humble himself before us all. Spell-bindingly beautiful in its soul-baring simplicity, the tune develops into a steady-paced piano & vocal chant - a hymn to an earlier ‘age of the Ancients.’ 10 minutes of free-bliss - the flutes, and sun-drenched cymbal strokes, adjoining the groove to create pure musical manna from heaven.

The purpose of this site is to list information about unissued and unofficial recordings of Don Cherry.

Celebrated jazz artists come to life in photographs by William P. Gottlieb. His images document the jazz scene in New York City and Washington, D.C., from 1938 to 1948, a time recognized by many as the "Golden Age of Jazz".

The Deep Digging; The Incantations; The Inspirations; All These Words...

Donald Eugene "Don" Cherry (November 18, 1936 – October 19, 1995) was an innovative African-American jazz cornetist whose career began with a long association with saxophonist Ornette Coleman, and who would go on to live and work with a wide variety of musicians in many parts of the world.

Shibuya Jazz Classics discography.

Excellent guide to 70s electric Miles in the comments.

The musical content on "Songs In The Key of Death" ranges from Eastern European psychedelia to Krautrock to funky folk to French pop to soundtracks to dancefloor jazz to Japanese soul!

Revolt of the Negro Lawn Jockeys shows a musician capable of drawing together the post-bop lineage that includes jackie mclean & charles mingus, & the free jazz/energy music tradition of Ornette Coleman & Cecil Taylor into one grand, swinging synthesis.

People talk about the conversational quality of duo performance, but this is more like twin preachers in the mission hall, playing hard priest, soft priest alternately, the one threatening brimstone, the other promising redemption.

In reviewing the music, I found that this is not the same Rip, Rig and Panic from 1982...

This record is a fresh air to a drowning man...

I am not going to hesitate in calling this my favorite Mingus album...

I haven't listend to Madlib since his debut, but from this CD one can truly understand where he comes from and how he grooves...

Though billed as a duet, really this is the third "major" album Albert Ayler recorded...

That is all I can say! I've limited myself to "Blue" and "For the Roses" until now...

Although Ornette Coleman had already made two albums for the Contemporary Jazz label, it was his 1959 debut for Atlantic Records, "The Shape Of Jazz To Come" that thrusted the young alto saxophonist into the limelight...

Great 80's fusion. This album must be the missing link between fusion and today's smooth jazz...

I can't stand it, but my grandparents love it...