In 1968, Don Cherry had already established himself as one of the leading voices of the avant-garde. Having pioneered free jazz as a member of Ornette Coleman's classic quartet, and with a high-profile collaboration with John Coltrane under his belt, the globetrotting jazz trumpeter settled in Sweden with his partner Moki and her daughter Neneh. There, he assembled a group of Swedish musicians and led a series of weekly workshops at the ABF, or Workers' Educational Association, from February to April of 1968, with lessons on extended forms of improvisation including breathing, drones, Turkish rhythms, overtones, silence, natural voices, and Indian scales. That summer, saxophonist and recording engineer Göran Freese invited Don, members of his two working bands, and a Turkish drummer to his summer house in Kummelnäs, just outside of Stockholm, for a series of rehearsals and jam sessions.
Long relegated to the status of a mysterious footnote in Don's session-ography, tapes from this session, as well as one professionally mixed tape intended for release, were recently found in the vaults of the Swedish Jazz Archive, and the lost Summer House Sessions are finally available over fifty years after they were recorded.
On July 20, the musicians gathered at Freese's summer house included Bernt Rosengren (tenor saxophone, flutes, clarinet), Tommy Koverhult (tenor saxophone, flutes), Leif Wennerström (drums), and Torbjörn Hultcrantz (bass) from Don's Swedish group; Jacques Thollot (drums) and Kent Carter (bass) from his newly formed international band New York Total Music Company; Bülent Ates (hand drum, drums), who was visiting from Turkey; and Don (pocket trumpet, flutes, percussion) himself.
Lacking a common language, the players used music as their common means of communication. In this way, these frenetic and freewheeling sessions anticipate Don's turn to more explicitly pan-ethnic expression, preceding his epochal Eternal Rhythm dates by four months. The octet, comprising musicians from America, France, Sweden, and Turkey, was a perfect vehicle for Don's budding pursuit of "collage music," a concept inspired by the shortwave radio on which Don listened to sounds from around the world. Using the collage metaphor, Don eliminated solos and the introduction of tunes, transforming a wealth of melodies, sounds, and rhythms into poetic suites of different moods and changing forms.
The Summer House Sessions ensemble joyously layers manifold cultural idioms, traversing the airy peaks and serene valleys of Cherry's earthly vision.
- Vinyl LP
- First ever release
- Recorded July 20, 1968 at Kummelnäs, Sweden by Göran Freese
- From tapes found in the vaults of the Swedish Jazz Archive
- Audio restoration by Robbie Lee
- Mastered for vinyl by Kassian Troyer at Dubplates & Mastering, Berlin
- Liner notes by Magnus Nygren & Andy Lampert
- Album art featuring a cover painting by Moki Cherry: Untitled, ca. 1967-68
|Don Cherry||pocket trumpet, flutes, percussion|
|Bernt Rosengren||tenor saxophone, flutes, clarinet|
|Tommy Koverhult||tenor saxophone, flutes|
|Bülent Ates||hand drum, drums|
- The Machine Age
- Sir Charles Brackeen "A"
- 9/8 For T, Part I
- 9/8 For T, Part II
- Santuario Do Morro
- Sir Charles Brackeen "B"
- Sir Charles Brackeen "C"
- Om Igen