The very first Ornette Coleman album from 1958, with a very programmatic title and four exclamation marks. An album with Coleman on alto, Don Cherry on cornet, Don Payne on double bass and Billy Higgins on drums. Amazingly enough, we find Walter Norris on piano, an instrument that is not usually used by Coleman, because the use of chords forced the band too much into a straight-jacket. Even if the album sounds very very very accessible today, with recogniseable structures and soloing, early listeners will have sensed the tension between Ornette's direction and the still conservative approach of his band members.
The album has some fantastic compositions as 'The Blessing', 'When Will The Blues Leave?' And 'The Sphinx'.
Today's listeners will find nothing bizarre about the album, and catalogue it as bop. For an in-depth discussion on this album, read Ethan Iverson's piece. Tomorrow is the Question! (Atlantic, 1959). Dating from 1959, Tomorrow Is The Question! - with one exclamation mark - is a good continuation of Something Else!!!!, yet without adding much musically. The band is still not the right one to work with Coleman, with Don Cherry on cornet, and without a piano, but now with Percy Heath and Red Mitchell on bass, and Shelly Manne on drums.
Sorry but I am not overly familiar with Ornette Coleman's work and have relied on. 17 Ruben Albarran - Complete Control (about 11 seconds missing for tape change). The encore file also includes an extract from the programme, the set list and a few photos. An Evening with Ornette Coleman – the opening date of the European tour from London in 1965; Who’s Crazy – the soundtrack to the film. These are the sessions from Paris that feature in the documentary to which I've provided a link in my review.
All good musicians, but not yet the ideal ensemble to take on Coleman's adventurous music. The absence of a piano gives Coleman and Cherry more freedom to solo without being hampered by chord progressions. - Stef Ornette! (Atlantic, 1961). Install windows media player visualizations not working. When first encountering a vast and important discography such as Ornette Coleman’s, where do you start? For me, it came down to pure chance as, many years ago, I picked up Ornette!
From the bargain bin at a local record store. As it often happens with albums that first open up a whole new world of musical expressions and strange idioms to the listener, it remains one of my favourite Ornette Coleman albums to date. Recorded shortly after Free Jazz, probably and objectively not one of Coleman’s best records, it still dazzles me with its extended pieces, aggressive and propulsive sound, and an exhilarating, childlike sense of discovery. It shows Coleman and his cohorts beginning to find focus as they explore new venues freed from rules and preconceptions. A record whose name today possibly supersedes the importance of the music itself. Free Jazz is still considered to be the one album that somehow defines Coleman’s music, at least to a larger audience, even if it’s not remotely as radical and unconventional as some of his later stuff.
Historical importance aside, Free Jazz is a great, accessible yet powerful record that features a double quartet made of musicians that would go on to shape the face of jazz for decades to come. It still sounds immense today, even to spoilt ears, with powerful collective improvisations and clashes between horns laid atop an almost chaotic, complex but firm rhythm section. It’s impossible not to be nonplussed when confronted with the frenzied, electrifying music that Coleman and his varying, dynamic group push out on Science Fiction. A crossroads of sorts for Coleman (and his first record for Columbia), it fuses his earlier efforts with hints of what was to come. The album presents itself as an eclectic mix of influences and ideas, featuring pop-like vocals, recitation, musette playing, and swirling horns, but is also often dominated and formed by Charlie Haden’s visceral, liquid bass and by Billy Higgins’s and Ed Blackwell’s intense, focused and precise drumming.
Science Fiction is yet another proof of how Coleman’s music was mercurial, ever changing, and with a penchant of defying conventions and fixed descriptions as the man himself. - Antonio Poscic Ornette on Tenor (Atlantic, 1962).
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I remember asking a friend (another sax player) about this album many years ago, he replied, 'It's great, Ornette sounds just the same, but on tenor', and he was right! Ornette on Tenor, recorded in 1961, is (or could be) the album that Coltrane wanted to record with Don Cherry, or that Sonny Rollins hoped to make when he recorded Our Man in Jazz. However it took Ornette to come up with the definitive album of freebop on tenor. This was his last record on Atlantic and I guess the end of the classic quartet - Jimmy Garrison replaces Charlie Haden on this one. At times Ornette sounds like Dewey Redman, with whom he worked later, using the tenor in a way that I guess must have influenced Dewey's vocal approach.
Although the compositions are slightly less 'memorable', the group swings through the music and interact together in a way that wasn't on the earlier albums. After this Ornette disbanded the group and went on to form his classic trio. The Empty Foxhole (Blue Note, 1966).
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My second choice is the formidable trio record, The Empty Foxhole, recorded on Blue Note in 1966. This is another Ornette album that side-steps fans and critics understanding of his music. An album which has several oddities, it features his eclectic violin and trumpet playing, and also introduces us to his son Denardo on drums, only 10 at the time.
In fact it's an album that you probably either love, or you just don't get! I love the purity of sound throughout, Ornette's brittle alto, the screaming trumpet and the scratching violin on Sound Gravitation. It's great to hear how Charlie Haden never faulters, keeping the music flowing, whilst Denardo adds-in rhythm and colour. In fact, I can imagine that back in 1966 this must have sounded very odd, but when thinking about modern free time players such as Nasheet Waits or Paal Nilssen-Love it all makes perfect sense now. - Joe Higham This Is Our Music (Atlantic, 1960). Quite simply, this was my Rosetta stone, the album that decoded the potential freedoms of jazz by expressing them in the context of rules that had governed the music. Whilst all of the Atlantic period albums are of comparable quality and vie for pole in my affections, despite arguments for chronology this one pips them all.
Ed Blackwell's presence and the melodic swing it imbues, and the one-two of the cover and title, asserting a stance and attitude that this is our music on our terms. Chappaqua Suite (Columbia, 1965). Coleman strove to address the confines of both the music, and the perception of what a 'jazz musician' should be and could achieve. This soundtrack, ultimately unused for fear of being so beautiful it would overpower the film it was intended for, is a sweeping orchestral statement which places his 'jazz' trio in a context which absolutely validates Coleman's assertion that he be considered as a composer, beyond the limiting stigma of his 'jazz' roots.
New Vocabulary (System Dialing Records, 2015). It recent weeks it has become clear that this is a contentious album, it's release having not been sanctioned by Coleman's camp. However, the music within finds Ornette doing what he'd done time and again, finding a new way to frame his conception and express himself. To hear him guide his younger cohorts through areas which touch on the Dixon/Oxley 'Papyrus' recordings, or a skeletal Chicago Underground Duo, is sadly the final example of Ornette searching for new routes along the road less/untravelled.
- Matthew Grigg The Shape of Jazz to Come (Atlantic, 1959). Rarely have a group of musicians – Ornette, Don Cherry, Charlie Haden, Billy Higgins (now all departed) – reached such maturity in so short a time, and under a title that from anyone else would have been monstrous arrogance. The length of Ornette’s shadow has a reach over which few have felt able to jump – there can’t be a jazz musician alive who hasn’t learnt something from this album – and yet his playing was so singular and his compositions so utterly unique that it’s often proved difficult for others to avoid sounding derivative.