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| 3.726 Ft
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| 1. | Congo Call
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| 2. | Bojangles
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| 3. | Green And Gold
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| 4. | Ghost Of The Past
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| 5. | Red's Mood
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| 6. | Juanita
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| 7. | Lost Generation
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| 8. | A.Y.
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Jazz
Recorded in Los Angeles; November 21, 1962
Prince Lasha - Flute
Gary Peacock Bass (Acoustic), Bass
Gene Stone Drums
George Kershaw Design
Howard Holzer Sound Director, Engineer
Kirk Felton Remastering
Lester Koenig Liner Notes, Producer
Mark Proctor Bass, Bass (Acoustic)
Roger Marshutz Photography, Cover Photo
Sonny Simmons Sax (Alto)
By late 1962, when Prince Lasha and Sonny Simmons recorded The Cry!, Ornette Coleman's success had opened listeners' ears to free jazz. John Coltrane and Eric Dolphy further paved the way for acceptance of music moving away from the traditional moorings of jazz improvisation. It would be a mistake, however, to assume that Lasha and Simmons were emulating Coleman. Lasha was a childhood friend of Coleman's in Texas and the two played together for years, trading ideas and influencing one another. In California in 1954, Lasha and Simmons developed an affinity and collaborated in free jazz for several years before Coleman's entry into the general consciousness. The Cry! found them becoming increasingly intrepid with harmony and melody while their bassists and drummer maintained an older rhythmic feeling. The resulting creative dissonance contributed to a sense of exhilaration and discovery in their music.
In the early '60s, flutist Prince Lasha's work with alto saxophonist Sonny Simmons was often compared to the trailblazing free jazz that Ornette Coleman was exploring at the time. To be sure, Coleman was a major inspiration to both of them. And yet, The Cry! demonstrates that Lasha's work with Simmons had an avant-garde energy of its own. Coleman is a strong influence on this 1962 session -- which Lasha co-led with Simmons -- but The Cry! isn't an outright imitation of Coleman's work any more than Phil Woods' recordings are outright imitations of Charlie Parker's. For one thing, The Cry! (which Fantasy reissued on CD in 2001) is slightly more accessible than the albums that Coleman recorded for Atlantic in the early '60s. free jazz performances like "Bojangles," "A.Y.," and the rhythmic "Congo Call" are abstract, cerebral, and left-of-center, but they're still a bit more accessible than Coleman's harmolodic experimentation. The same thing goes for the latin-influenced "Juanita" and the bluesy "Red's Mood," which is Coleman-minded but also has a strong Charlie Parker influence -- in fact, the tune successfully bridges the gap between Bird and Coleman and shows listeners what those altoists had in common. It should be noted that, even though The Cry! (which employs Gary Peacock or Mark Proctor on acoustic bass and Gene Stone on drums) is free jazz, it isn't the blistering, ferocious stuff that Albert Ayler, Cecil Taylor, and late-period John Coltrane were known for in the 1960s. This album is quirky and dissonant, but it isn't harsh or confrontational. In avant-garde circles, The Cry! went down in history as one of Lasha's finest accomplishments -- and deservedly so. ~ Alex Henderson, All Music Guide
Prince Lasha
Active Decades: '60s and '70s
Born: Sep 10, 1929 in Fort Worth, TX
Genre: Jazz
Styles: Free Jazz, Avant-Garde Jazz, Jazz Instrument, Saxophone Jazz
A survivor of the 1960s who has not been heard from in some time, Prince Lasha was an inventive avant-garde flutist who occasionally played alto and clarinet. He played in Texas in an early '50s band that also included Ornette Coleman. In 1954, Lasha moved to California, where he was pretty much in obscurity until the 1960s. He recorded two Contemporary albums with Sonny Simmons (1962 and 1967), a 1966 session for British Columbia, and as a sideman with Eric Dolphy and the Elvin Jones/Jimmy Garrison Sextet (both of the latter in 1963). After a few more records for small labels (the last one around 1983), Lasha disappeared from the jazz scene. Considering the major comeback that Sonny Simmons had in 1994 after a decade of silence, hopefully Prince Lasha's story will have the same happy ending.
---Scott Yanow, All Music Guide |
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