Released in 1962, The Cry is an ambitious and compelling album that stands as a testament to the experimental spirit of the early 1960s jazz scene. The Prince Lasha Quintet, featuring the dual talents of Prince Lasha on alto saxophone and flute and Sonny Simmons on alto saxophone and English horn, explores the outer limits of jazz with a fearless approach to improvisation and composition. This record is a hidden gem in the jazz world, providing a rich listening experience that still feels fresh and relevant today. This latest installment in the acclaimed Contemporary Records Acoustic Sounds series by Craft Recordings, The Cry is being pressed on 180-gram vinyl cut from the original master tapes by Bernie Grundman.
The album opens with the track “Congo Call,” immediately setting the tone for what is to come. A vigorous rhythm section consisting of Gary Peacock on bass and Gene Stone on drums lays down a driving, almost hypnotic foundation. Peacock’s bass work is particularly noteworthy; his lines are not just supportive but actively engage in a dialogue with the horns. Lasha and Simmons weave complex, interlocking melodies that feel both free and structured, highlighting their complementary styles. Lasha’s flute playing is airy and light, providing a delicate counterbalance to Simmons’ more robust and assertive saxophone lines. As the album progresses, tracks like “Juanita” and “A.Y.” showcase the quintet’s ability to blur the lines between hard bop and the avant-garde. The musicians constantly push and pull at the boundaries, creating a dynamic tension that keeps listeners on their toes. The interplay between Lasha and Simmons is particularly impressive; they challenge each other, trading licks and exploring new harmonic possibilities without ever stepping on each other’s toes. This kind of musical conversation is at the heart of jazz, and The Cry is a masterclass in how it should be done. “Bojangles,” brings a slight shift in tone, introducing a more playful, yet still intricate, melody. It’s as if the album, after taking the listener on a deep, emotional journey, decides to leave on a lighter, more uplifting note. The album’s centerpiece, “Ghost of the Past,” is a haunting, meditative piece that lives up to its name. It starts with a mournful horn section that builds into a powerful, almost anguished crescendo. There’s a rawness in the sound that feels like an outpouring of the soul—a cry for understanding, perhaps, or a cry against the constraints of society and traditional musical forms.
Despite its brilliance, The Cry remains relatively underappreciated outside of dedicated jazz circles. This may be due, in part, to its unconventional approach and the overshadowing fame of other contemporary jazz giants. However, for those who delve into its depths, the album offers rich rewards. It stands as a powerful example of the innovative spirit that characterized much of the jazz of the early 1960s. The Cry by Prince Lasha Quintet featuring Sonny Simmons is a standout work that deserves more recognition. It’s a challenging listen but one that rewards those willing to engage with its intricacies. This album is not just music; it’s an experience, an exploration of sound and emotion that continues to resonate with listeners over 60 years after its release. For anyone interested in the evolution of jazz, The Cry is an essential listen—a bold statement from two artists unafraid to push the boundaries of their craft.
