Don Cherry's “Brown Rice” (1975) is a fantastic album.
In my (Peter’s talking, but I heartfeltly agree) short text I share my thoughts on it.
Don Cherry played trumpet in the famous Ornette Coleman quartet that released the groundbreaking Shape of Jazz to Come in 1959, he recorded a trio of records for Blue Note in the 60s, and was a sideman on a couple of albums for the Strata-East label in the 70s, appearing, for example, on Clifford Jordan’s “In the World,” but Cherry was not bound by any of the sounds he hear in America during the 60s and 70s and continually explored new sonic territory in his later travels through Europe, the Far East, and Africa. After his return from his journey across Africa, he began to frequently play the donso ngoni, a traditional harp-lute featuring a resonant gourd body, which had its origins in West Africa and became a significant part of his musical repertoire. During his travels he also collected many non-Western instruments, which he mastered and incorporated their unique sounds into both his performances and recordings. Among the instruments he collected and played were the berimbau, bamboo flutes, and various percussion instruments.
On his album, “Brown Rice,” a rediscovered classic from 1975, many of Cherry’s influences are fused in a music that is both otherworldly and also very much of this world. One hears, for example, a fusion of jazz with rock, African, Indian and Arabic music. The infectious rhythm of the first track “Brown Rice” has made it a favorite track in the UK clubs; we hear the whispering voices of Cherry and Verna Gillis that sound like shamans invoking a spirit; the sound of electric bongos (played by Bunchie Fox) resonate in the air and give the track a feeling of ritual; Frank Lowe’s tenor sax sounds like it’s from another world, and the Western World is left far behind; also from Ornette Coleman’s quartet, we hear Charlie Haden on bass, and Billy Higgins on drums. On the second track, “Malkauns,” we hear Moki Cherry on the tamboura, a long-necked, plucked, fretless string instrument from the lute family. Essential in Indian classical music, the tamboura provides a continuous harmonic drone for vocalists and instrumentalists, creating a tonal backdrop for melodies. Malkauns is a Hindustani classical raga, noted for its meditative and solemn atmosphere, inspiring courage and introspection. It is typically performed late at night using slow tempos. On this track Cherry also plays one of his most beautiful solos; it has a transcendent quality, as if he is in communion with God.
Strange or not: first pressing of this masterpiece was on Italian EMI label 💫
The third track is “Chenrezig.” This Tibetan word refers to the Bodhisattva of Compassion in Tibetan Buddhism, representing the compassion of all Buddhas. He is depicted, famously, with multiple arms and eyes to show his ability to help those in need, and the current Dalai Lama is regarded as his manifestation. The track begins with Cherry chanting; it sounds like a prayer. His vocalizations are based on Tibetan Buddhist mantras based on a chant-like theme that reflects Eastern spiritual influences. Hakim Jamil replaces Haden on this track. As Cherry is vocalizing, we hear Ricky Cherry hitting single notes on the piano, punctuating the open spaces; then Cherry plays the trumpet; he’s the messenger imparting secret knowledge to us the novice listeners. Frank Lowe then begins with a solemn and contemplative sound on tenor; Cherry’s voice assumes a low whisper then becomes more deep throated; then his speech becomes more rhythmic; we hear Lowe’s tenor squeals; he is pure fire to Cherry’s air; in Eastern alchemical traditions, Fire (Yang, Active, Heat/Dry) and Air (a combination of Yang and Yin, Mobile, Heat/Moist) are associated with processes of transformation, spiritual development, intellect, and movement. Fire is the catalyst for change and Air is the medium for thought, respiration, and ascension. The last track is called “Degi-degi.” On this track Cherry uses vocal chants, whispers, and incantations. The track features a “trance-like motif” where Cherry uses his voice to praise the “goddess of music,” which he calls “Marimba.” Marimba is a figure in African folklore, frequently referred to as the Goddess of Music. She is depicted as a wise and graceful deity who is credited with transforming weapons into musical instruments, thereby fostering harmony and providing guidance to her people through her influential songs. Cherry also refers to Mali, the West African city notable for containing certain sacred places, such as Timbuktu, known as the “City of 333 Saints” and Djenné, famous for its Great Mosque. On this track, Charlie Haden is in a funk groove; Lowe’s tenor is in the higher ranges, as he takes the sound OUT. Ricky Cherry’s electric piano calls on the spirits for safe passage among the stars; in fact, the album ends with a signal (on the electric piano) to blast off, to enter the nether regions where all the secret gods dwell.
Brian Morton and Richard Cook write in The Penguin Guide to Jazz, that Cherry’s “Brown Rice” “makes dull nonsense of most ‘fusion’ work of the period. Miles Davis’ – indeed, John Coltrane’s – interest in Indian music was undoubtedly sincere, but it scarcely went below the surface when translated to his own practice. Here, though, Cherry absorbs subcontinental and African influences and instead of using them simply as colors and rhythmic variations allows them to shape the music from the inside out.” This is a fantastic album that listeners who love music should absolutely hear. Cherry was a world traveler and absorbed many kinds of music from Africa and the Far East; and on this album he magically gave voice to all these influences and created a brilliant work. The secret alchemy was all his own.
Thanks to Peter Valente for above text.
Much worth a word of appreciation and mention: the superb cover-art was an hand embroidered tapestry by Don’s Swedish wife, Moki Cherry (born Monika Marianne Karlsson; 8 February 1943 – 29 August 2009).
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