After all these years, the CD revolution hasn't yet run out of rarities to light up your day. Long out of print, this 1962 recording is one of the prize items of the free-jazz movement as it flowered in California. It team... more »s flutist Prince Lasha (pronounced la-SHAY) and alto saxophonist Sonny Simmons, who cowrote all the songs and play with an esprit de duo that reflects their long-term partnership. Lasha, who also played saxophone, was a childhood friend of Ornette Coleman and became part of his circle in Los Angeles. Simmons, a Louisiana native who grew up in Oakland, came under Coleman's influence while honing his own terse, lyrically heated style. Though the overall sound of The Cry! very much proceeds from Ornette's harmolodic "new thing" (while absorbing earlier styles ranging from Ellington exotica to Waller erotica) it's a racier vehicle that takes hairier turns. Stopping just short of freneticism, the melodies have an irresistible pull--not for an instant does the music sag. Propelled by the clean and steady dual basses of Gary Peacock and Mark Proctor (on three tracks, Peacock goes it alone), Lasha and Simmons harmonize with as much zip and warmth as they put into their solos. --Lloyd Sachs« less
After all these years, the CD revolution hasn't yet run out of rarities to light up your day. Long out of print, this 1962 recording is one of the prize items of the free-jazz movement as it flowered in California. It teams flutist Prince Lasha (pronounced la-SHAY) and alto saxophonist Sonny Simmons, who cowrote all the songs and play with an esprit de duo that reflects their long-term partnership. Lasha, who also played saxophone, was a childhood friend of Ornette Coleman and became part of his circle in Los Angeles. Simmons, a Louisiana native who grew up in Oakland, came under Coleman's influence while honing his own terse, lyrically heated style. Though the overall sound of The Cry! very much proceeds from Ornette's harmolodic "new thing" (while absorbing earlier styles ranging from Ellington exotica to Waller erotica) it's a racier vehicle that takes hairier turns. Stopping just short of freneticism, the melodies have an irresistible pull--not for an instant does the music sag. Propelled by the clean and steady dual basses of Gary Peacock and Mark Proctor (on three tracks, Peacock goes it alone), Lasha and Simmons harmonize with as much zip and warmth as they put into their solos. --Lloyd Sachs
I can't beleive i had not heard these guys before!
Speedy | Fl, MO USA | 09/14/2004
(5 out of 5 stars)
"Absolutely great! There is an air of Ornette around the playing but in the end it all comes out as a very individual work by a very individual ensemble. The playing is top notch, and the compositions are truly great and joyful. Not a wasted track on this one. Grab before it dissapears again for another 30 years!"
Simply one of the best jazz albums of the sixties.Sublime!!!
JEAN-MARIE JUIF | BESANCON France | 04/20/2003
(5 out of 5 stars)
"I waited for so many years until this outstanding,extremely important album finally was reissued on Original Jazz Classics!
I never could find the original LP,and had to satisfy myself with a tape.
Here is not only one of the major free jazz albums of all times,here is simply one of the greatest jazz records ever done.An incredible masterpiece made by two underrated musicians,Sonny Simmons,born August 4,1933,La,and still active in music, and the mysterious Prince Lasha,born Sptember 10,1929,in Fort Worth,Texas.
Oh,yes,another guy was also born in Fort Worth,year 1930.This other guy was Lasha's childhood friend,they both went to the same school,they both learned music together.The name of this other guy??? Ornette Coleman ! But if Ornette gave us a lot of magnificent music and records, Prince Lasha's recorded works can be counted on your hands' fingers;maybe even,on one hand's fingers.
On this record,Lasha plays flute,Simmons plays alto sax,Gary Peacock and Mark Proctor play bass,and Gene Stone is the drummer.The music is haunting,fascinating,and swinging.Simmons affirms himself as one of the most original voices on alto sax.Each tune is a gem,but my favorite ones are "Congo call",with its terrific bass support,and "Bojangles",which is a tribute to Bill "Bojangles" Robinson,the great tapdancer who inspired two masterpieces to jazz musicians: this tune,and the other one,also entitled "Bojangles",and written in 1940 by Duke Ellington.
The blues theme of "Red's mood" has strong reminiscences of Charlie Parker's bop blues."Juanita",dedicated to Lasha's mother,has a carribean inspiration that reminds me of Marion Brown's great pieces,like "La Placita" .
I finally found this CD in Paris two weeks ago,after years and years of patience.I can't stop listening to it.Here is some very,very beautiful music.You'd be a fool to miss it."
Overlooked classic
JP Nightingale | 07/29/2005
(5 out of 5 stars)
"The exotically named Prince Lasha can be heard playing with Eric Dolphy on the supremely wonderful "Music Matador" and this album is no less stunning in its conception and execution. Here the Prince is teamed mainly on flute with fellow Ornette Coleman devotee, Sonny Simmons, who plays alto sax.
From the compelling bass line on the opening track (played hypnotically in unison by the uniformly excellent Gary Peacock and Mark Proctor) to the closing bars of A.Y., every number feels fresh and exciting.
Like much of the music of Eric Dolphy and Charlie Mingus, there is a controlled, quirky clumsiness to the playing that gives the music a special raw edge. Occasionally we are taken beyond this edge into something close to madness - check out Bojangles - but all the time the sterling rhythm section provides steady, muscular support.
If you don't know what to listen to, are feeling a bit restless, frustrated and perhaps a little mad, "The Cry" will fit the bill."
Cry of the Congo Groove, and passing on...
Pharoah S. Wail | Inner Space | 01/09/2009
(5 out of 5 stars)
"With the quality of the songs, and the level at which Prince Lasha, Sonny Simmons, Gary Peacock, Mark Proctor and Gene Stone perform on this 1962 album, I have a feeling that anyone who reviews this album will be tempted to give it the "lost classic" types of review titles we've seen so far.
If you buy this you'll never understand why you hadn't heard about it 100 times before you stumbled across it. Think of the Cry as one of the pinnacle free-bop albums. If you don't like skronking, scraping, blasting energy music, don't worry. This is adventurous but not scary.
As much as I cannot knock anyone here, the one thing I have to say is that if you've never heard Sonny Simmons before, he's the best alto player you're missing. My purchase of his incredible Introducing Black Jack Pleasanton boxed set in early-mid 2008 reinvigorated my love for him and I've relistened to all this stuff time and again since then. If someone calls him the greatest alto player ever while I'm in earshot, I'll not question or argue the point. Black Jack Pleasanton is nothing like this (it's even better) but this is a fantastic album. If you're looking for a point of reference, I've silently thought for years that this and (more recently) Captain of the Deep are probably the 2 bands that exerted the largest influences on the William Parker Quartet (his band or core band of the Petit Oiseau, O'Neal's Porch, Corn Meal Dance and Raining on the Moon albums). You'll be able to hear/imagine/envision what several of these tunes (specifically Congo Call and Juanita) might sound like with William and Hamid laying it down.
Sonny is an absolute Tone God! Were I you, I wouldn't believe the notion that Sonny is an Ornette disciple. They're contemporaries, and you'll never confuse the playing of one for the other.
On a sad, final note, a couple days ago I found out Prince Lasha died on 12/12/08. Man. One of the beautiful flute players puts together a darn near masterpiece like this, yet he slips out of this world with so little mention or fanfare that it took almost a month for even a fan like me to hear about it.
Take this for what it is: A review in mourning.
"
Excellent
Bill Your 'Free Form FM Handi Cyber | Mahwah, NJ USA | 09/01/2010
(4 out of 5 stars)
"Most of us have tried to walk backwards. This is never easy.
The metaphore will make sense when I tell you I own Firebirds recorded by Sonny Simmons and Prince Lasha in 1967. That album also featured vibes player Bobby Huthenson and become a classic for me: the mix of structure and free playing was incredible.
Naturally I rushed to get The Cry when I found out the two musicians had made another album together.
The Cry was recorded in 1962, and features Simmons, Prince Lasha, Gary Peacock/Mark Proctor on bass and a drummer I don't know, Gene Stone. It is a wonderful album consisting of Simmon's flute and Lasha's sax working perfectly together,
1962 was of course a different jazz age than 1967. Coltrane was still using modes conventionally, and geniuses like Cecil Taylor and Ornette Coleman were still branded weirdos. The Cry is, obviously, not as expansive, even as layered, as Firebirds.
But on its own terms this album is fantastic, and I wish I had heard it first. Firebirds built unattainable expectations for me going in.
And you all know what little brats music fans can be when someone doesn't meet those"