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Tomorrow is the Question!
Ornette Coleman
első megjelenés éve: 1959
43 perc
(1991)

CD
4.100 Ft 

 

IMPORT!
Kosaramba teszem
1.  Tomorrow Is The Question!
2.  Tears Inside
3.  Mind And Time
4.  Compassion
5.  Giggin'
6.  Rejoicing
7.  Lorraine
8.  Turnaround
9.  Endless
Jazz / Avant-Garde Jazz, Jazz Instrument, Saxophone Jazz

Recorded: January 16, February 23 and March 9 & 10, 1959, Contemporary's Studio, Los Angeles, California

Ornette Coleman (alto saxophone)
Don Cherry (trumpet); Percy Heath, Red Mitchell (bass); Shelly Manne (drums)

This is Ornette's second Contemporary album, recorded a year after his debut Something Else!!!!, again featuring Don Cherry but substituting the "house" rhythm section of Shelly Manne and Red Mitchell for Billy Higgins and Don Payne.
Albums followed on Atlantic, Blue Note, ESP, and Horizon. Ornette's "accessibility" remains a record company concern-a 1988 Portrait release was touted by the label as his "most accessible." But his music was accessible enough 40 years ago for Contemporary's Les Koenig to have launched Coleman's enduring and distinguished recording career.


On his second outing for the Contemporary label, Ornette dusted the piano from the bandstand and focused instead on a quartet. For some unexplained reason, Billy Higgins was replaced by Shelly Manne; the only constants remain Coleman and Don Cherry. The focus, then, is on the interplay between the altoist and trumpeter in executing Ornette's tunes, which were, more than on the preceding album (Something Else!, recorded a year earlier), knottier and tighter in their arrangement style. The odd-syncopation style of the front line on numbers such as "Tears Inside," which comes out of the box wailing and then simmers down into a moody, swinging blues, was a rough transition for the rhythm section. And the more Ornette and Cherry try to open it up into something more free and less attached to the tune's form, the more Manne and especially bassist Percy Heath hang on. Still, there are great moments here: for example, the celebratory freedom of "Giggin'," with its wonderful trumpet solo, and "Rejoicing," which has become one of Coleman's classics for its elongated melody line and simple obbligato phrasing, which become part of a wonderfully complex solo that keeps the blues firmly intact. The final track, "Endless," is pure magic. After Manne carries it in 6/8, Coleman uses a nursery rhyme to move to the solo terrain and, when he does, the solo itself becomes a part of that rhyme as even Don Cherry feels his way through it in his break. And, if anything, this is one of the things that came to define Ornette -- his willingness to let simplicity and its bright colors and textures confound not only other players and listeners, but also him too. In those days, Coleman's musical system -- although worked out in detail -- always left room for the unexpected and, in fact, was played as if his life depended on it. As a result, Tomorrow Is the Question! was a very literal title; who could have guessed the expansive, world-widening direction that Coleman's system would head into next?
---Thom Jurek, AMG

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