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2 x CD |
| 7.920 Ft
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| 1. CD tartalma: |
| 1. | Alpha
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| 2. | Jayne
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| 3. | Chippie
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| 4. | The Blessing
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| 5. | The Sphinx
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| 6. | Invisible
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| 7. | Angel Voice
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| 8. | The Disguise
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| 9. | When Will the Blues Leave?
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| 10. | Lorraine
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| 11. | Turnaround
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| 12. | Endless
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| 2. CD tartalma: |
| 1. | Tomorrow Is the Question
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| 2. | Tears Inside
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| 3. | Compassion
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| 4. | Giggin'
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| 5. | Rejoicing
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| 6. | Mind and Time
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| 7. | Focus on Sanity
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| 8. | Chronology
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| 9. | Peace
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| 10. | Congeniality (Nomad)
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| 11. | Lonely Woman
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| 12. | Eventually
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| 13. | Monk and the Nun (*) Bonus Track
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| 14. | Just for You (*) Bonus Track
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Jazz
"Something Else!!!!":
Recorded in Los Angeles, February 10 (#1-3), February 22 (#4-8), March 24 (#9), 1958
Ornette Coleman (as), Don Cherry (pocket tp), Walter Norris (p), Don Payne (b) and Billy Higgins (d)
"Tomorrow is the Question!":
Recorded in Los Angeles, January 16 (#10), February 23 (#11-12), March 9 & 10 (CD 2, #1-6), 1959
Ornette Coleman (as), Don Cherry (pocket tp), Red Mitchell (b), Percy Heath (b on CD 2, #1-6) and Shelly Manne (d)
"The Shape of Jazz" + Bonus:
Recorded in Los Angeles, on May 22, 1959
Ornette Coleman (as), Don Cherry (pocket tp), Charlie Haden (b) and Billy Higgins (d)
3 Lps On 2 Cd
Ornette Coleman (as), Don Cherry (pocket tp), Walter Norris (p), Don Payne, Red Mitchell, Percy Heath, Charlie Haden (b), Billy Higgins, Shelly Manne (d)
Includes a 40-page booklet with recording details, extensive notes and rare photos.
With his harsh, shrill tone and weird white plastic alto saxophone, Ornette Coleman's sudden arrival on the unsuspecting late 50s jazz scene came as an out-of-the-blue shock.
On his first album, "Something Else!" he was accompanied by his pocket-trumpet-playing partner Don Cherry and a traditional piano-bass-drums rhythm section. In the light of his later work it was an immature debut. The feel of his themes recalled the early Parker-Gillespie quintets, unjustly casting him back to the days of early bop. His subsequent albums - "Tomorrow Is the Question" and "The Shape of Jazz to Come" - dropped the piano, and a responsive bass allowed his music to come through vividly, more reassuring and provocative. His voice was his alone, and the quartet's playing as a unit was cohesive and empathetic. He proved he was not just "another Parker". His essential contribution to jazz was himself. Many critics and musicians thought he would point the way to a new direction in jazz, while others felt he had been pushed into the limelight before his time.
Ornette Coleman has always been bigger than life and, quite often, far ahead of his peers. But his debut was, for some, too much, too soon.
Jordi Pujol, from the CD liner notes.
All compositions by Ornette Coleman.
CD 1, tracks #1-9 from the 12" LP
"Something Else!!!!" (Contemporary S 7551).
CD 1, tracks #10-12 & CD 2, #1-6 from the 12" LP
"Tomorrow Is The Question!" (Contemporary S 7569).
CD 2, tracks #7-12 from the 12" LP
"The Shape of Jazz to Come" (Atlantic 1317).
Bonus Tracks:
CD 2, track #13 taken from the 12"
LP "Twins" (Atlantic SD 1588).
CD 2, track #14 taken from the 12"
LP "The Art of the Improvisers" (Atlantic SD 1572).
"Something Else!!!!" + "Tomorrow is the Question!":
Sessions produced by Lester Koenig.
Sound engineer Roy DuNann at Contemporary's studio.
"The Shape of Jazz" + Bonus:
Session produced by Nesuhi Ertegun.
Sound engineer Dayton 'Bones' Howe at Radio Recorders Studio.
Ornette Coleman
Active Decades: '50s, '60s, '70s, '80s, '90s and '00s
Born: Mar 09, 1930 in Fort Worth, TX
Genre: Jazz
Styles: Modern Creative, Fusion, Free Jazz, Free Funk, Avant-Garde Jazz, Jazz Instrument, Saxophone Jazz
One of the most important (and controversial) innovators of the jazz avant-garde, Ornette Coleman gained both loyal followers and lifelong detractors when he seemed to burst on the scene in 1959 fully formed. Although he, and Don Cherry in his original quartet, played opening and closing melodies together, their solos dispensed altogether with chordal improvisation and harmony, instead playing quite freely off of the mood of the theme. Coleman's tone (which purposely wavered in pitch) rattled some listeners, and his solos were emotional and followed their own logic. In time, his approach would be quite influential, and the quartet's early records still sound advanced many decades later.
Unfortunately, Coleman's early development was not documented. Originally inspired by Charlie Parker, he started playing alto at 14 and tenor two years later. His early experiences were in R&B bands in Texas, including those of Red Connors and Pee Wee Crayton, but his attempts to play in an original style were consistently met with hostility both by audiences and fellow musicians. Coleman moved to Los Angeles in the early '50s, where he worked as an elevator operator while studying music books. He met kindred spirits along the way in Don Cherry, Charlie Haden, Ed Blackwell, Bobby Bradford, Charles Moffett, and Billy Higgins, but it was not until 1958 (after many unsuccessful attempts to sit in with top L.A. musicians) that Coleman had a nucleus of musicians who could play his music. He appeared as part of Paul Bley's quintet for a short time at the Hillcrest Club (which is documented on live records), and recorded two very interesting albums for Contemporary. With the assistance of John Lewis, Coleman and Cherry attended the Lenox School of Jazz in 1959, and had an extended stay at the Five Spot in New York. This engagement alerted the jazz world toward the radical new music, and each night the audience was filled with curious musicians who alternately labeled Coleman a genius or a fraud.
During 1959-1961, Coleman recorded a series of classic and somewhat startling quartet albums for Atlantic (all of which have been reissued on CD). With Don Cherry, Charlie Haden, Scott LaFaro, or Jimmy Garrison on bass, and Billy Higgins or Ed Blackwell on drums, Coleman created music that would greatly affect most of the other advanced improvisers of the 1960s, including John Coltrane, Eric Dolphy, and the free jazz players of the mid-'60s. One set, a nearly 40-minute jam called Free Jazz (which other than a few brief themes was basically a pulse-driven group free improvisation) had Coleman, Cherry, Haden, LaFaro, Higgins, Blackwell, Dolphy, and Freddie Hubbard forming a double quartet.
In 1962, Coleman, feeling that he was worth much more money than the clubs and his label were paying him, surprised the jazz world by retiring for a period. He took up trumpet and violin (playing the latter as if it were a drum), and in 1965, he recorded a few brilliant sets on all his instruments with a particularly strong trio featuring bassist David Izenzon and drummer Charles Moffett. Later in the decade, Coleman had a quartet with the very complementary tenor Dewey Redman, Haden, and either Blackwell or his young son Denardo Coleman on drums. In addition, Coleman wrote some atonal and wholly composed classical works for chamber groups, and had a few reunions with Don Cherry.
In the early '70s, Coleman entered the second half of his career. He formed a "double quartet" comprised of two guitars, two electric bassists, two drummers, and his own alto. The group, called "Prime Time," featured dense, noisy, and often-witty ensembles in which all of the musicians are supposed to have an equal role, but the leader's alto always ended up standing out. He now called his music harmolodics (symbolizing the equal importance of harmony, melody, and rhythm), although free funk (combining together loose funk rhythms and free improvising) probably fits better; among his sidemen in Prime Time were drummer Ronald Shannon Jackson and bassist Jamaaladeen Tacuma, in addition to his son Denardo. Prime Time was a major (if somewhat unacknowledged) influence on the M-Base music of Steve Coleman and Greg Osby. Pat Metheny (a lifelong Ornette admirer) collaborated with Coleman on the intense Song X, Jerry Garcia played third guitar on one recording, and Coleman had irregular reunions with his original quartet members in the 1980s.
Coleman, who recorded for Verve in the '90s, has remained true to his highly original vision throughout his career and, although not technically a virtuoso and still considered controversial, is an obvious giant of jazz. He recorded sparingly as the 21st century began, appearing on Joe Henry's Scar in 2000 and on single tracks on Lou Reed's Raven and Eddy Grant's Hearts & Diamonds, both released in 2002.
--- Scott Yanow, All Music Guide |
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