Reviews that mention Sonny Simmons
November 16, 2012
Near the Oasis
Improvising Beings ib10
Silke Eberhard/Dave Burrell
Jazzwerkstatt JW 112
One European and one American musician face off on these live duo sessions, each of which matches a woodwind player with a pianist. While the results are equally simpatico, the couplings couldn’t be more dissimilar.
For a start Near the Oasis, recorded at New York’s Vision Festival, features two veterans of the Free Jazz wars performing together for the first time in North America on a program of mostly reconstituted Bop classics. The saxophonist/English hornist is Louisiana-born Sonny Simmons, 79, who was part of the New Thing in the early 1960s, and has lived in France for the past decade. His partner is Paris-based pianist François Tusques, who came to Free Jazz around the same time as Simmons, and over the years has played with a clutch of memorable European and American innovators. MORE
June 10, 2011
Symphony of the Peacocks
Improvising Beings ib04
By Ken Waxman
Symphony of the Peacocks may be the oddest entry in the discography of reedist Sonny Simmons, who has been recording for about half a century. It’s not that he plays English horn as well as alto saxophone here or even that at one point he sings. This CD is unique because the only accompaniment for Simmons’ playing is the concert harp of Delphine Latil. A graduate of the Conservatoire National Supérieur de Musique de Paris who usually plays in chamber music and orchestral circumstances, the 23-year-old harpist adapts her style to follow 75-year-old Simmons’ eccentric soloing. Still this May-December – perhaps February-December would be more appropriate – musical pairing seems to work most of the time. MORE
February 29, 2008
The Digital Box 200 Series
Overview Notes by Ken Waxman
If any one musician arguably epitomizes cooperative total improvisation in the 21st Century, then it’s New York-based guitarist and keyboardist Jeffrey Hayden Shurdut. As this set of CDs demonstrates, the 40-year-old Long Island-native is totally enveloped by music, and each session here is one variant in his long-standing attempt to capture the sound of his city… and the cosmos.
\x09“Community is the most important thing about this entire exchange,” Shurdut says about his performances, “and anyone who has played with me knows they’re welcome to bring friends.” More than 70 improvisers have recorded with the multi-instrumentalist over the years, ranging from neophytes to veteran free jazzers such as reedman and trumpeter Daniel Carter, who often plays with bassist William Parker; saxophonist Blaise Siwula; and former Cecil Taylor drummer Marc Edwards. MORE
January 16, 2006
Barking Hoop BKH-009
Jazzaway JARCD 011
Recording with strings seems be the secret desire of every saxophonist, at least ever since Charlie Parker did his famous BIRD WITH STRINGS sessions in the 1950s. These two CDs, recorded almost simultaneously, but in different countries, show how two veteran alto players of the first and second wave of the avant garde adapt to variations of this setting.
Sonny Simmons, 72, who first recorded with fellow California saxist Prince Lasha back in 1962, chooses the accepted with-strings formula. This session from Oslo playing over harmonies composed, arranged and conducted by flautist Vidar Johansen and interpreted by the Kringkastningsorkesteret of two violins, a viola and a cello. MORE
August 23, 2004
Boxholder BXH 041
MICHAEL MARCUS TRIO
A versatile, but unappreciated multi-reedman, New York-based Michael Marcus proves that he can hold his own alongside Free Jazz legends on these CDs.
Not only that, but a comparison of the two discs -- one recorded in 1993 and the other in 2002 and 2003 -- shows a remarkable consistency in his approach to improvisations. THREE is probably the more challenging, since Marcus, who is part of Saxemble as well as leading his own groups, shares the front line of the Cosmosamatics with Sonny Simmons. MORE
August 24, 2000
Arhoolie CD 483
So-called free jazz has finally been around long enough to be acknowledged as an important style that can be drawn on by many contemporary performers. Despite the best efforts of the neo-cons to try to nullify its lineage and existence, important sessions like this one keep being reissued.
MANHATTAN EGOS is an excellent sound picture of that little documented time following the deaths of John Coltrane and Albert Ayler and before the resurgence of free music with folk like John Zorn and William Parker. It proves once again that the line against fuzzy fusion and mirror image retrobop was being held not only in New York and Europe, but also in outposts like Berkeley, Calif. by the likes of Sonny Simmons.MORE