|
|
viewing 1 To 12 of 12 items
|
|
|
|
|
|
|
|
|
|
|
|
LP
|
|
DMOO 065LP
|
Removing the obligatory piano from his group for Tomorrow Is The Question! gave an inkling of Ornette Coleman's need to break free from traditional jazz strictures. Though not nearly as wild as what was to follow, on Tomorrow Coleman and trumpeter Don Cherry make use of every opportunity to bust loose musically, as heard on "Giggin" and "Rejoicing," even as the rhythm section strives to keeps things anchored and grounded. There's a touch of blues bordering on funk on "Tears Inside" too, and "Endless" switches timeframes repeatedly. This is Ornette on the brink of major change -- an engaging, instructive listen with unexpected twists.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
DMOO 043LP
|
Saxophonist Ornette Coleman was more than just a major force in the free jazz movement. In fact, the term was coined by the album of the same name released by his quartet in 1961, his guiding ethos the erasure of fixed structures via improvisation. Released in 1960, Change Of The Century is one of the ground-breaking albums Coleman cut for Atlantic with bassist Charlie Haden, drummer Billy Higgins, and trumpeter Don Cherry, which made a significant impact on the future direction of jazz. Relying on intuition, their musical chemistry and overriding openness, Coleman & Co. here conjure some of the greatest work of his career.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
HE 72002LP
|
A superb and under-recognized recording, Crisis is one-third of a trilogy of extraordinary albums -- the others being Broken Shadows and Science Fiction -- by Ornette Coleman's small groups of the late '60s and early '70s. A rendition of the piece "Broken Shadows" itself, a dirge of astonishing beauty second only to his "Lonely Woman," opens the live performance and offers solos of deep and poignant probity from Coleman and tenorist Dewey Redman, whose earthy growled tones counterbalanced the leader's so well for so long. Crisis somehow lacks the reputation of the revolutionary Coleman albums from early in his career, but on purely musical grounds it ranks among his most satisfying works. LP 180 gram gatefold.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2LP
|
|
ORGM 1083LP
|
2021 release. "Double Gatefold LP. Mastered from the original analog tapes at 45rpm by Bernie Grundman. Pressed on audiophile-grade 180 gram vinyl at Pallas in Germany."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
VNL 12223LP
|
"This 1958 debut recording by the Ornette Coleman Quintet, which featured Coleman on his trademark white plastic alto, Don Cherry on trumpet, Billy Higgins on drums, Walter Norris on piano, and Don Payne on bass, shook up the jazz world -- particularly those musicians and critics who had entered the hard bop era with such verve and were busy using the blues as a way of creating vast solo spaces inside tight and short melody lines. Something Else!!!! is anathema to that entire idea, and must have sounded like it came from outer space at the time. First, Coleman's interest was in pitch, not 'being in tune.' His use of pitch could take him all over -- and outside of -- a composition, as it does on 'Invisible,' which begins in D flat. The intervals are standard, but the melodic component of the tune -- despite its hard bop tempo -- is, for the most part, free. But what is most compelling is evident in abundance here and on the next two tunes, 'The Blessing' and 'Jayne': a revitalization of the blues as it expressed itself in jazz. Coleman refurbished the blues framework, threaded it through his jazz without getting rid of its folk-like, simplistic milieu. In other words, the groove Coleman was getting here was a people's groove that only confounded intellectuals at the time. Coleman restored blues to their 'classic' beginnings in African music and unhooked their harmonies. Whether the key was D flat, A, G, whatever, Coleman revisited the 17- and 25-bar blues. There are normal signatures, however, such as 'Chippie' in F and in eight-bar form, and 'The Disguise' is in D, but in a strange 13-bar form where the first and the last change places, altering the talking-like voice inherent in the melodic line. But the most important thing about Something Else!!!! was that, in its angular, almost totally oppositional way, it swung and still does; like a finger-poppin' daddy on a Saturday night, this record swings from the rafters of the human heart with the most unusually gifted, emotional, and lyrical line since Bill Evans first hit the scene." --Thom Jurek, All Music
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
SOW 037LP
|
Reissue, originally released in 1959. This was definitely a perfect title for Ornette Coleman's second and last album for Contemporary before switching on Ertegun's Atlantic label. Tomorrow is the Question! was an early evident step towards the revolution to come. An adventurous yet accessible, bluesy album with Coleman and Don Cherry tasting for the first time the freedom of a piano-less rhythm section featuring Percy Heath or Red Mitchell on bass and the great Shelly Manne on drums. Clear vinyl.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
HE 66001LP
|
Endless Happiness present a reissue of Ornette Coleman's The Empty Foxhole, originally released in 1966. Coleman's most controversial album back on vinyl. The Empty Foxhole marks the recording debut of Ornette's son Denardo, who was ten years of age at the time of the recording.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
VNL 12223HLP
|
Reissue. 2012 release. originally released in 1958. 180 gram vinyl. "This 1958 debut recording by the Ornette Coleman Quintet, which featured Coleman on his trademark white plastic alto, Don Cherry on trumpet, Billy Higgins on drums, Walter Norris on piano, and Don Payne on bass, shook up the jazz world -- particularly those musicians and critics who had entered the hard bop era with such verve and were busy using the blues as a way of creating vast solo spaces inside tight and short melody lines. Something Else!!!! is anathema to that entire idea, and must have sounded like it came from outer space at the time. First, Coleman's interest was in pitch, not 'being in tune.' His use of pitch could take him all over -- and outside of -- a composition, as it does on "Invisible," which begins in D flat. The intervals are standard, but the melodic component of the tune -- despite its hard bop tempo -- is, for the most part, free. But what is most compelling is evident in abundance here and on the next two tunes, 'The Blessing' and 'Jayne': a revitalization of the blues as it expressed itself in jazz. Coleman refurbished the blues framework, threaded it through his jazz without getting rid of its folk-like, simplistic milieu. In other words, the groove Coleman was getting here was a people's groove that only confounded intellectuals at the time. Coleman restored blues to their 'classic' beginnings in African music and unhooked their harmonies. Whether the key was D flat, A, G, whatever, Coleman revisited the 17- and 25-bar blues. There are normal signatures, however, such as 'Chippie' in F and in eight-bar form, and "The Disguise" is in D, but in a strange 13-bar form where the first and the last change places, altering the talking-like voice inherent in the melodic line. But the most important thing about Something Else!!! was that, in its angular, almost totally oppositional way, it swung and still does; like a finger-poppin' daddy on a Saturday night, this record swings from the rafters of the human heart with the most unusually gifted, emotional, and lyrical line since Bill Evans first hit the scene." --Thom Jurek, All Music
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
WLV 82110LP
|
Wax Love present a reissue of Ornette Coleman's Change Of The Century, originally released in in 1960. The second album by Ornette Coleman's legendary quartet featuring Don Cherry, Charlie Haden, and Billy Higgins, Change Of The Century is every bit the equal of the monumental The Shape Of Jazz To Come (1959), showcasing a group that was growing ever more confident in its revolutionary approach and the chemistry in the bandmembers' interplay. When Coleman concentrates on melody, his main themes are catchier, and when the pieces emphasize group interaction, the improvisation is freer. Two of Coleman's most memorable classic compositions are here in their original forms -- "Ramblin'" has all the swing and swagger of the blues, and "Una Muy Bonita" is oddly disjointed, its theme stopping and starting in totally unexpected places. An American free-jazz classic from one of the biggest names in the genre.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
WLV 82040LP
|
Wax Love present a reissue of Ornette Coleman's At The Town Hall, December 1962, originally released as Town Hall - 1962 in 1965. Ornette Coleman's Town Hall show from December 1962 is the stuff legends are made of. He'd already made a name for himself with incredible releases on Atlantic including The Shape Of Jazz To Come (1959) and Free Jazz (1961), but to some extent this live date feels like his free-jazz coming out party. A true artistic statement of pure free energy, this live date is both totally unhinged and completely in control. A necessary piece of free jazz history on Wax Love.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
OUT 5007LP
|
A watershed album in the genesis of avant-garde jazz, Ornette Coleman's 1959 The Shape of Jazz to Come is true to his title. Switching from tenor to alto sax, Ornette literally invents free jazz by approaching classic structures in a revolutionary way, and creating a language where chord structures are absent (he refused to use any piano or guitar on this music) and harmony gives way to improvisational whims. Backed by an all-star line-up consisting of Charlie Haden, Billy Higgins, and Don Cherry, this is the album that freed jazz and reinvented it. 180 gram vinyl.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
ESPDISK 1006CD
|
On Christmas evening 1962, Coleman produced and recorded his own concert at Town Hall in New York City, with David Izenzon (bass), Charles Moffett (drums) and a string ensemble. An important release documenting a point of change in Coleman's work. "'Dedication To Poets and Writers for string quartet, is now widely recognized as Ornette's first harmolodic chamber music based on his ideas he would later call Harmolodics. This classical string quartet curiously fits together with the three trio pieces, due to the input of bassman David Izenzon. His classical approach and his broad understanding of rhythmical complexity are the perfect match to Ornette's free and lyrical alto lines. Izenzon's ability to improvise out of context with anything that is going around him, also makes him the perfect partner for drummer Charles Moffett. Moffett is merely providing an atmospherical background, sometimes with a hard swing indeed, sometimes experimenting with free noise." -- Remco Takken
|
viewing 1 To 12 of 12 items
|
|