Organic Music Theatre: Festival de jazz de Chateauvallon 1972 (豆瓣)

表演者: Don Cherry's New Researches / Naná Vasconcelos
流派: 爵士
专辑类型: 专辑
介质: CD
发行时间: 2021-06-18
出版者: Blank Forms Editions
唱片数: 1
条形码: 0769791978010

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简介 · · · · · ·

　　https://blankformseditions.bandcamp.com/album/organic-music-theatre-festival-de-jazz-de-chateauvallon-1972 In the late 1960s, the American trumpet player and free jazz pioneer Don Cherry (1936–1995) and the Swedish visual artist and designer Moki Cherry (1943–2009) began a collaboration that imagined an alternative space for creative music, most succinctly expressed in Moki’... (展开全部) 　　https://blankformseditions.bandcamp.com/album/organic-music-theatre-festival-de-jazz-de-chateauvallon-1972 In the late 1960s, the American trumpet player and free jazz pioneer Don Cherry (1936–1995) and the Swedish visual artist and designer Moki Cherry (1943–2009) began a collaboration that imagined an alternative space for creative music, most succinctly expressed in Moki’s aphorism “the stage is home and home is a stage.” By 1972, they had given name to a concept that united Don’s music, Moki’s art, and their family life in rural Tagårp, Sweden into one holistic entity: Organic Music Theatre. Captured here is the historic first Organic Music Theatre performance from the 1972 Festival de jazz de Chateauvallon in the South of France, mastered from tapes recorded during its original live broadcast on public TV. A life-affirming, multicultural patchwork of borrowed tunes suffused with the hallowed aura of Don’s extensive global travels, the performance documents the moment he publicly jettisoned his identity as a jazz musician, and represents the start of his communal “mystical” period, later crystallized in recordings such as Organic Music Society, Relativity Suite, Brown Rice, and the soundtrack for Alejandro Jodorowsky’s The Holy Mountain.
　　The musicians in Don Cherry’s New Researches, hailing from Brazil, Sweden, France, and the US, converged on Chateauvallon from all over Europe. The five-person band—Don and Moki Cherry, Christer Bothén, Gérard “Doudou” Gouirand, and Naná Vasconcelos— performed in an outdoor amphitheater and were joined onstage by a dozen adults and children, including Swedish friends who tagged along for the trip and Det Lilla Circus (The Little Circus), a Danish puppet troupe based in Christiania, Copenhagen. The platform was lined with Moki’s carpets and her handmade, brightly colored tapestries, depicting Indian scales and bearing the words Organic Music Theatre, dressed the stage. As the musicians played, members of Det Lilla, led by Annie Hedvard, danced, sang, and mounted an improvised puppet show on poles high up in the air.
　　The music in the Chateauvallon concert aspired to a universal language that would bring people together through song. In a fairly unprecedented move, Don abandoned his signature pocket trumpet for the piano and harmonium, thereby liberating his voice as an instrument for shamanic guidance. The show opens with him beckoning the audience to clap their hands and sing the Indian theta “Dha Dhin Na, Dha Tin Na,” and the set cycles through uplifting and sacred tunes of Malian, South African, Brazilian, and Native American provenance—including pieces that would later appear on Don’s albums Organic Music Society and Home Boy (Sister Out)—all punctuated by outbursts of possessed glossolalia from the puppeteers. “Relativity Suite, Part 1” notably spotlights Bothén on donso ngoni, a Malian hunter’s guitar, prior to Vasconcelos taking an extended solo on berimbau. A vortex of wah-like microtonal rattling, Vasconcelos’s masterful demonstration of this single-stringed Brazilian instrument is a harbinger of his work to come as a member, with Don, of the acclaimed group Codona. The sounds of children playing on the ensemble’s achingly tender rendition of Jim Pepper’s oft-covered beacon of spiritual optimism, “Witchi Tai To,” lends the proceedings an especially intimate, domestic glow. Given the context of the star-studded international jazz festival, the concert’s laid back, communal vibe feels like an attempt by the Cherrys to show Don’s jazz audience that he was moving on. At the same time, however, Don was extending a warmhearted invitation for them to come along for the ride.
　　Don Cherry (piano, harmonium, tanpura, vocals)
　　Naná Vasconcelos (berimbau, percussion)
　　Christer Bothén (donso ngoni, piano, light percussion)
　　Doudou Gouirand (soprano saxophone, alto saxophone, light percussion)
　　Moki Cherry (tanpura, vocals)
　　Annie Hedvard and Det Lilla Cirkus (puppet theater)
　　Moki Cherry (scenography)
　　Friends from Tågarp: Marianne Rydvall (additional and unintentional vocals), Craig, and other unknown characters
　　INA documentation: Marie Jaros INA coordination: Christiane Lemire
　　INA digitization in high resolution, sound restoration, and mastering of the original tapes: Ian Debeerst
　　Additional audio restoration and mixing by Robbie Lee
　　Mastering for vinyl by Kassian Troyer at Dubplates & Mastering, Berlin
　　Thanks to: Christer Bothén, Neneh Cherry, Pierre Crépon, Doudou Gouirand, Naima Karlsson, Merrie Robin Monroe, Patrícia Vasconcelos
　　Organic Music Societies is supported by Nordic Culture Fund.
　　Blank Forms Editions is supported by The Andy Warhol Foundation for the Visual Arts and Robert Rauschenberg Foundation.
　　Photographs by Guy Le Querrec
　　Licensed from Magnum Photos
　　Design by Alec Mapes-Frances