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Organic Music Society is an album by trumpeter Don Cherry. Many critics consider this album the one which gives a fuller picture of Cherry as ensemble leader, spiritualist and cultural synthesizer. Indeed, Organic Music Society is a bold exploration of global musical traditions, reflecting Cherry's vision of music as a universal. Here, Cherry makes a significant shift from his free jazz roots toward a more expansive, world music fusion. Recorded in Sweden, the album features a diverse ensemble blending Swedish, Turkish, Brazilian, and African musicians. Cherry himself contributes not only trumpet but also vocals, harmonium, flute, conch shell, and piano. The compositions include his own works, as well as interpretations of pieces by Terry Riley, Pharaoh Sanders, and Dollar Brand. The album's sound is eclectic and experimental, with tracks ranging from meditative chants like "North Brazilian Ceremonial Hymn" to the dynamic "Relativity Suite."
Paris, 1978. Don Cherry walks into a French studio with a suitcase full of instruments nobody expected and meets Ustad Ahmed Latif Khan for the first time. No rehearsal, no plan, just two musicians who recognize each other immediately as kindred spirits. What happens next is one of Cherry's best efforts - an album only hardcore fans know about, recorded in Paris, released only in France in 1981, disappeared, and now back again in a special edition that demands attention. This is what "world music" should have been before the term got watered down into airport lounge background noise.
Don Cherry - the man who stood next to Ornette Coleman in Los Angeles and New York, playing trumpet and cornet through the birth of Free Jazz, that final structural revolution of American improvisation based on melody rather than harmony. But Cherry never stopped there. He had a voracious musical appetite and boundless imagination that pulled him toward India, Brazil, Africa, Indonesia, China - not as a tourist collecting sounds, but with deep personal engagement. His commitment ran deeper than novelty. This wasn't about exotic decoration. This was about a global vision of art and the human condition.
Ustad Ahmed Latif Khan - Delhi gharana lineage, new generation tabla master who extended what his predecessors had built, gained recognition as a soloist, ventured onto the international scene. Irregular rhythmic patterns, highly syncopated, rich in variety and originality. The kind of percussionist who could grasp Cherry's intentions immediately, warm up his fingers at astonishing speed, tune Cherry's entire diverse instrument collection - concert piano, Hammond B3 organ, chromatic orchestral timpani - with perfect pitch and no hesitation.
They had never met before the recording session. But they recognized each other immediately. Calm, focused, full of laughter. Cherry knew what he wanted to create. Latif posed no challenge - he was the answer. The result is an incredible mixture of jazz and Indian music that doesn't feel like mixture at all - it feels like the music that was always supposed to exist when these two worlds met at the right moment with the right people. Not fusion for fusion's sake. Not "exotic instruments" as decoration. This is two masters speaking the same language for the first time and realizing they'd been having the same conversation in different rooms for years.
Recorded 1978 in Paris. Released only in France in 1981. Disappeared. Forgotten except by those who knew. First reissued by Honest Jon's years ago. Now back in special edition format because some records refuse to stay buried.
Essential for anyone who thinks Don Cherry's best work ended with Ornette, or that "world music" has to choose between authenticity and imagination. This is both. This is neither. This is what happens when boundaries dissolve because they were never really there.
Paris, 1978. Don Cherry walks into a French studio with a suitcase full of instruments nobody expected and meets Ustad Ahmed Latif Khan for the first time. No rehearsal, no plan, just two musicians who recognize each other immediately as kindred spirits. What happens next is one of Cherry's best efforts - an album only hardcore fans know about, recorded in Paris, released only in France in 1981, disappeared, and now back again in a special edition that demands attention. This is what "world music" should have been before the term got watered down into airport lounge background noise.
Don Cherry - the man who stood next to Ornette Coleman in Los Angeles and New York, playing trumpet and cornet through the birth of Free Jazz, that final structural revolution of American improvisation based on melody rather than harmony. But Cherry never stopped there. He had a voracious musical appetite and boundless imagination that pulled him toward India, Brazil, Africa, Indonesia, China - not as a tourist collecting sounds, but with deep personal engagement. His commitment ran deeper than novelty. This wasn't about exotic decoration. This was about a global vision of art and the human condition.
Ustad Ahmed Latif Khan - Delhi gharana lineage, new generation tabla master who extended what his predecessors had built, gained recognition as a soloist, ventured onto the international scene. Irregular rhythmic patterns, highly syncopated, rich in variety and originality. The kind of percussionist who could grasp Cherry's intentions immediately, warm up his fingers at astonishing speed, tune Cherry's entire diverse instrument collection - concert piano, Hammond B3 organ, chromatic orchestral timpani - with perfect pitch and no hesitation.
They had never met before the recording session. But they recognized each other immediately. Calm, focused, full of laughter. Cherry knew what he wanted to create. Latif posed no challenge - he was the answer. The result is an incredible mixture of jazz and Indian music that doesn't feel like mixture at all - it feels like the music that was always supposed to exist when these two worlds met at the right moment with the right people. Not fusion for fusion's sake. Not "exotic instruments" as decoration. This is two masters speaking the same language for the first time and realizing they'd been having the same conversation in different rooms for years.
Recorded 1978 in Paris. Released only in France in 1981. Disappeared. Forgotten except by those who knew. First reissued by Honest Jon's years ago. Now back in special edition format because some records refuse to stay buried.
Essential for anyone who thinks Don Cherry's best work ended with Ornette, or that "world music" has to choose between authenticity and imagination. This is both. This is neither. This is what happens when boundaries dissolve because they were never really there.
This brand-new twelve-inch EP mini album has its title inspired by "Space Is the Place", one of Sun Ra's most thematically outbound releases. Sun Ra's rocket-propelled vision is electronically diverted and re-channeled to unknowable and unnameable destinations in these 2016 recordings by German electronic/experimental producer Florian Meyer, aka Don't DJ, a member of the Durian Brothers and co-runner of the Diskant and SEXES labels. Channeling the Sun Ra Orchestra's sprawling Afro-futurist vitality, concentrating that energy through his own focus on evolving repetition, alien intervals and subtle variations of rhythm and timbre, Don't DJ heads for (no)places unknown. Get on board!
Florian Meyer, who toured domestically with YPY, now explodes a foreign talent as a solo name Don't DJ, rather than a member of The Durian Brothers and Institut Für Feinmotorik. According to him, this work "has become a relatively easy-to-hear category for me." A double-sided mini-album with the theme of the hyperspace world, which seems to be named after Sun Ra's masterpiece "Space Is the Place" (1973), of that "Authentic Exoticism" (2016). A work that seems to be an evolved version. The title is not Date, but side A, which is a digital possession of the world of San La, and instead, side AA has a scale like Ethiopia or Indonesia. Expressed ethnic exo techno sound. It's still an experimental attempt, but his talent is the pop finish. A-2 is a collaboration with Derek Pyotr and enthusiasts should pay attention!
Places and Spaces is an album by American trumpeter Donald Byrd, that was released on Blue Note in 1975. Allmusic awarded the album with 4 stars and its review by Stephen Thomas Erlewine states: "Boasting sweeping string arrangements, sultry rhythm guitars, rubbery bass, murmuring flügelhorns, and punchy horn charts, the music falls halfway between the cinematic neo-funk of Street Lady and the proto-disco soul of Earth, Wind & Fire."
Stepping Into Tomorrow is a 1974 album by jazz trumpeter Donald Byrd. The AllMusic review by Andy Kellman awards the album with four out of five stars.
12H is a two hours long summa of the very best material produced for the eponymous sound installation, specifically designed by Donato for the Music Bridge - Armando Trovajoli in Rome under the curation of MAXXI Director Bartolomeo Pietromarchi. The original piece translated in music the architecture of the bridge and its surrounding life, layering samples and field recordings in the language Donato knows best: the repetition, rhythm and harmony of different building blocks. The work was originally reproduced by 24 speakers spread along the bridge colonnade, escorting the visitor through different musical places in their crossing. It now takes its final stereo form in this continuous mix version: a dense, enthralling flow akin to Tiber’s murky waters. The original installation was set up by sound engineer Giuseppe Tillieci / Neel, a frequent collaborator of Dozzy in the “Voices from the Lake” project, with Funktion One support.
« Similar to a whale skeleton beached on Tiber’s banks, the Music Bridge connects two parts of the city that had been ignoring one another for centuries. On one side the slopes of Mount Mario dominate the CONI (Italian National Olympic Committee) sports fields where many masterpieces of Italian modernist architecture were built: Moretti’s Fencing Academy, the Youth Hostel, the Olympic Pool and later on the Tennis Stadium and the Stadio Olimpico. On the other side there is Quartiere Flaminio, with its theatre, contemporary art museum MAXXI and Renzo Piano auditorium. Donato Dozzy has converged sport and music in his sound installation for the Music Bridge, recounting the story of the two universes connected there. The work, originally presented in a 12 hours format, was a day-long journey through environmental sounds and Donato’s own melodies. In the new-found synthesis we present today we experience once again time and Tiber flowing together, from the crack of dawn until nightfall artificial lights. »
(Pietromarchi Bartolomeo, Director of MAXXI)
Few DJs and producers are as widely and universally acclaimed in techno circles as Italian Donato Dozzy. He has a rare ability to work his way into peoples’ minds in both contemporary and classical settings, conjuring real mood and atmosphere. Never one to pay heed to the zeitgeist, he prefers to deal in hypnotic soundscapes that really take you on a trip.
Enigmatic as he is, and laidback as he seems, as an artist he is constantly unveiling new work. Displaying a large variation in terms of sound and method across many new releases each year — some of which come on his co-owned label Spazio Disponibile — he also puts out installations for public spaces and museums, uses obscure musical instruments, collaborates with likeminded producers, classical singers or visual artists. Donato seems to continuously challenge himself on a creative level: whatever method he uses, though, he is always likely to permeate your cerebral cortex and rewire it in fascinating and compelling new ways.
For the fifth release on Grand River’s experimental label, One Instrument; synthesizer maestro Donato Dozzy gifts us with an incredible, psychedelic 38-minute journey.
“Slow Train” has been created using the EMS Synthi AKS, an extraordinary and rare portable modular analog synthesizer, first manufactured in 1972.
'One Instrument Sessions - Donato Dozzy' highlights the artist's most experimental side on what will be his 7th studio album. These tracks are the honest outcome from a long and intimate engagement with the instrument which were produced in his San Felice Circeo studio during an “altered state” night in October 2013.
The resulting music is one of fluid continuity; Dozzy’s most extensive, vigorous and determined application of real-time studio recording to date.
The intensity of both parts of “Slow Train” are comparable to a mindfulness experience in which the listener’s perception of reality slows down enabling every small detail of the sound to become alive and increasingly vivid.
G of D welcomes back to the catalogue its co-founder Sabla, back to his spiritual home, with a collaborative ep alongside one of the most revered and transcendental artists out there, Donato Dozzy.
Crono is a collection of 4 tracks made in the span of 2019-2022, following each other in chronological order of creation.
In an era where information runs fast, and just one year ago feels like ages ago, the music inside this ep comfortably sits in a time bubble, absorbing old and new influences and melting them organically.
Dozzy’s signature enchanting synth sequences, created with iconic synthesizers Buchla and Ems Synthi, steadily flow in and out with digital sounds and editing by Sabla.
The core of this collaboration is the exploration of these steady flows, which is a peculiarity easily found in both artists’ works. The 4 Flusso flow like water, like thoughts, like energy, lifting up with no specific intention if not the simple act of moving forward.