Born: June 8, 1939 Primary Instrument: Drums
Laurence Cook studied painting at the Museum School of Fine Arts in Boston and later learned to play piano, vibraphone, and drums. He has been a major figure in the jazz avant-garde since the 1960's on twenty-two recordings, including Revenge, and Dual Unity with Paul Bley; Skillfullnes with Alan Silva,Wraparound with Joe Morris; “Fuzzagainst Junk” from Vision 1997 Festival with Thurston Moore; Triplet and Fire in the Valley with Jemeel Moondoc; Divine Mad Love with Sabir Mateen; November 1981, Thoughts, and Son of Sisyphus with Bill Dixon. He has worked with Sam Rivers, Lowell Davidson, Rahn Burton,Alan Silva, The Brecker Brothers, Robin Kenyatta, Mark Whitecage, and Barre Phillips among many others.
From the 1980s to now, Laurence has been at the epicenter of all that is worthwhile in Boston including nearly two decades with Eric Zinman and an emeritus mentorship via drum kit to the Boston core community in its most vivacious phase in several decades.
At his home performance base, Outpost 186 in Cambridge MA, Laurence makes robust contributions to astonishing ensembles with Jim Hobbs, Dave Bryant, Junko Simons, Joe Morris, Jeff Platz, Steve Lantner and Forbes Graham, among many.
Source: Laurence Cook
What distinguishes this from some of the many other releases out there of this sort is the specially sensitive drumming of Cook, a man who has spent years playing in and out of time, who is so familiar with his drum set up and the sounds he can coax out of it that he provides a reasoned virtuosity, a vertiable rainbow of sound colors.
It is the total group sound that predominates, however. If free blow-outs attract you, you'll find this one satisfies your need for exuberant chaos, but in ways that show the mastery of the artists and their own original take on the scene. And again, it's fabulous hearing Laurence Cook sounding so well. Ayler.com is where you'll find it.”
Grego Edwards Gapplegate Music Review
“Cook plays drums with keen sensitivity. He dabbles in soft, shifting currents of rhythm and only erupts with brute force on those occasions when the collective is following the tail of a tornado. Generally, he is a more subtle strength with his accents and shading. Cook switches continually from a cymbal attack to the drum skins and back again, providing a stimulating counterpart to this volatile music.”
Frank Rubalino One Final Note
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