Complete Communion Import, Original recording remastered
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Top Customer Reviews
Don Cherry has a less ideological relationship to free jazz, He walked around music with that little pocket trumpet of his, going anywhere he desired. Cherry was in Coleman's band, but worked with Coltrane on an album called Avant-Garde.
This non-bound approach bares fruit on Complete Communion, recorded Christmas Eve, 1965. Cherry has an amazing band here: himself, Coleman bandmate Ed Blackwell drumming, Cecil Taylor's bassist, Harry Grimes, and a young Gatto Barbieri on tenor.
Two tracks, the title and "Ellphantasy" compose this album. There is a lot of free soling here, but this is basically melodic music. When any one of the musicians is taking flight, it is done with only the backing of the rhythm section. There is no McCoy Tyner on piano, like in the Coltrane Quintet; so while the soloing may be fre4e harmonically, there is little backdrop, so little dissonance.
Both tracks have melodic, even hooky, opening riffs which occur throughout the pieces, and this sets the tone. Blackwell has an amazingly light touch on drums, the opposite of Elvin Jones' sledgehammer attack, and neither Cherry or Barbieri play abrasively.Read more ›
I love Cherry's work with Codona and I am a fan of his cornet sound on those records. I was expecting something much more dissonant from this one, especially as Cherry's name is usually associated with Ornette Coleman in this stage of his career. However, this music is very melodic. Vague hints of latin melodies pass and mutate into hard-boppish lines. As many else here have noted, there is a lilting, dancing feel to the songs.
For someone like me with a background in rock music, this stuff hits the vein immediately. Cherry and Barbieri weave together funky riffs and phrases. By revisiting these riffs they create a free but solid structure, where free improvisation serves as glue. Grimes and Blackwell are a fantastic rhythm section: at times they sound like a rock band from late 60's, pushing and pulling, still playing deep in each others' pockets. (Some stuff strongly hints to the direction of Captain Beefheart's Trout Mask Replica, actually.) But this music is still very light, almost like a thought.
The unexpected stylistic shifts and subtle changes in dynamics make the compositions highly unpredictable. Both pieces advance with a enthusiastic flow, never sounding lost or jarring. If this is "free jazz", the "blowing-too-much-meaningless-notes" -syndrome I sometimes associate with the genre doesn't get too overbearing. Instead, there's a lot of joy.
Most Recent Customer Reviews
A most amazing album. I got this as an update from the vinyl copy I bought when it first came out. I hadn't heard it for a while and the instant it kicked in I recognised the... Read morePublished on September 28, 2009 by Mr. Steven Mcdade
This album is a joy. I put it on when I want to get my creative juices flowing. The interplay is subtle, sometimes not, and is always turning in interesting directions. Read morePublished on August 4, 2009 by jonathan schlackman
This is a very good CD comprised of two tracks approximately 20 minutes each in length. Each track is divided into several sections alternating between composed and improvised... Read morePublished on July 1, 2004 by Chet Fakir
Apparently I read the liner notes and so I am going to give you my emotional rather than my musicologist or intellectual feelings about this album. Read morePublished on April 8, 2001 by email@example.com
After reading many reviews of this session, I think I expected a little wilder recording. I've read much about Gato Barbieri's 60s free playing, which is always compared to Ayler... Read morePublished on October 31, 2000 by Stephen
Seems like people are falling over themselves to praise this disc. I feel duty bound to register, as someone who ADORES much of Cherry's output thru the 70's and 80's, that this... Read morePublished on October 23, 2000 by Allan MacInnis