DON CHERRY
Complete Communion (Blue Note)
Reviewed by DJ Johnson

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Recorded at Rudy Van Gelder's studio in December of 1965, this pair of four- section suites covered all kinds of stylistic and emotional territory. Definitely deep in the avant-garde camp, the former Ornette Coleman sidekick took these compositions in unexpected directions at every crossroad, turning sharply from flowing, ethereal sections into jagged and dangerous areas only to switch back into a groove just when you think you can't take it anymore. Cherry's stated goal was to cover all emotions and colors of each sound, to allow each to "complete." Only you can decide if he succeeded, because that's a very personal experience. Personally, I can't say. What is "complete" in terms of one sound's possibilities? I can say the group allowed each sound to evolve gradually as opposed to simply throwing them out in well-bordered modes, and I can say it's a very rewarding listen. It's also a listen that is doable for avant-garde fence-sitters, because the dangerous, near-chaotic sections are tied together with pieces of music that are more comfortable, such as swing, bop, and even hints of Latin. All of that work was done by bassist Henry Grimes and drummer Edward Blackwell, but the relentless jousting of cornetist Cherry and tenor saxophonist Gato Barbieri rips across each backdrop like menacing graffiti, leaving the listener unsettled but curious to see what will happen. Until now this date was only available as part of a Mosaic box set. Well worth snagging.

© 2000 - DJ Johnson