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1. Ornette Coleman Science Fiction Download Rar

Ornette Coleman - Science Fiction review: Ornette meets God. The Complete Science Fiction Sessions (2-CD) by Ornette Coleman - CD (2000) for $16.52 from OLDIES.com Jazz - Order by Phone 1-800-336-4627. Science Fiction is an album by the American jazz saxophonist and composer Ornette Coleman recorded in 1971 and released on the Columbia label.

Coleman plays his Selmer alto saxophone (with low A) at The Hague in 1994.
Background information
Birth name	Randolph Denard Ornette Coleman
Born	March 9, 1930 Fort Worth, Texas, U.S.
Died	June 11, 2015 (aged 85) New York City
Genres	Avant-garde jazz, free jazz, free funk, jazz fusion
Occupation(s)	Musician, composer
Instruments	Alto saxophone, tenor saxophone, violin, trumpet
Years active	1958–2015
Labels	Atlantic, Blue Note, Verve
Associated acts	Don Cherry, Charlie Haden, Scott LaFaro, Billy Higgins, Ed Blackwell, Dewey Redman, Denardo Coleman, Ronald Shannon Jackson, Jamaaladeen Tacuma

Randolph Denard Ornette Coleman (March 9 or 19, 1930^[dubious] – June 11, 2015)^[1] was an American jazz saxophonist, violinist, trumpeter, and composer. In the 1960s, he was one of the founders of free jazz, a term he invented for his album Free Jazz: A Collective Improvisation. His 'Broadway Blues' and 'Lonely Woman' have become standards and are cited as important early works in free jazz.^[2] His album Sound Grammar received the 2007 Pulitzer Prize for music.

• 1Biography

Biography[edit]

Early life[edit]

Coleman was born on the 9th of march, 1930 in Fort Worth, Texas^[3] where he was raised.^[4][5][6]

He attended I.M. Terrell High School, where he participated in band until he was dismissed for improvising during 'The Washington Post' march. He began performing R&B and bebop on tenor saxophone and started The Jam Jivers with Prince Lasha and Charles Moffett.^[6]

Eager to leave town, he accepted a job in 1949 with a Silas Green from New Orleans traveling show and then with touring rhythm and blues shows. After a show in Baton Rouge, Louisiana, he was assaulted and his saxophone was destroyed.^[7]

He switched to alto saxophone, which remained his primary instrument, first playing it in New Orleans after the Baton Rouge incident. He then joined the band of Pee Wee Crayton and traveled with them to Los Angeles. He worked at various jobs, including as an elevator operator, while pursuing his music career.

In California he found like-minded musicians such as Ed Blackwell, Bobby Bradford, Don Cherry, Charlie Haden, Billy Higgins, and Charles Moffett.^[8][9] He recorded his debut album, Something Else!!!! (1958) with Cherry, Higgins, Walter Norris, and Don Payne.^[10] During the same year he belonged briefly to a quintet led by Paul Bley that performed at a club in New York City.^[8] By the time Tomorrow Is the Question! was recorded soon after with Cherry, Higgins, and Haden, the jazz world had been shaken up by Coleman's alien music. Some jazz musicians called him a fraud, while conductor Leonard Bernstein praised him.^[9]

1959: The Shape of Jazz to Come[edit]

In 1959 Atlantic released The Shape of Jazz to Come According to music critic Steve Huey, the album 'was a watershed event in the genesis of avant-garde jazz, profoundly steering its future course and throwing down a gauntlet that some still haven't come to grips with.'^[11]Jazzwise listed it No. 3 on their list of the 100 best jazz albums of all time.^[12]

Coleman's quartet received a long – and sometimes controversial – engagement at Five Spot jazz club in New York City. Leonard Bernstein, Lionel Hampton, and Modern Jazz Quartet were impressed and offered encouragement. Hampton asked to perform with the quartet; Bernstein helped Haden obtain a composition grant from the John Simon Guggenheim Memorial Foundation. But trumpeter Miles Davis said Coleman was 'all screwed up inside'^[13] although he recanted this comment and became a proponent of Coleman's innovations.^[14]

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Coleman's early sound was due in part to his use of a plastic saxophone. He bought a plastic horn in Los Angeles in 1954 because he was unable to afford a metal saxophone, though he didn't like the sound of the plastic instrument at first.^[6]

On the Atlantic recordings, Coleman's sidemen in the quartet are Cherry on cornet or pocket trumpet; Charlie Haden, Scott LaFaro, and then Jimmy Garrison on bass; and Higgins or his replacement Ed Blackwell on drums. The complete recordings for the label were collected on the box set Beauty Is a Rare Thing.^[8]

1960: Free Jazz[edit]

In 1960, Coleman recorded Free Jazz: A Collective Improvisation, which featured a double quartet, including Don Cherry and Freddie Hubbard on trumpet, Eric Dolphy on bass clarinet, Haden and LaFaro on bass, and both Higgins and Blackwell on drums. The album was recorded in stereo with a reed/brass/bass/drums quartet isolated in each stereo channel. Free Jazz was, at nearly 40 minutes, the longest recorded continuous jazz performance to date and was one of Coleman's most controversial albums. The music features a regular but complex pulse, one drummer playing 'straight' while the other played double-time; the thematic material is a series of brief, dissonant fanfares. A series of solo features for each member of the band, but the other soloists are free to chime in as they wish. In the January 18, 1962 issue of Down Beat magazine, in a review titled 'Double View of a Double Quartet,' Pete Welding gave the album five stars while John A. Tynan rated it zero stars.^[15]

Coleman intended 'free jazz' as simply an album title. But his growing reputation placed him at the forefront of jazz innovation, and free jazz was soon considered a new genre, though Coleman has expressed discomfort with the term. Among the reasons he may have disapproved of the term is that his music contains composition. His melodic material, although skeletal, recalls melodies that Charlie Parker wrote over standard harmonies. The music is closer to the bebop that came before it than is sometimes popularly imagined.^[16]

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1960s–70s: Avant-garde and harmolodic funk[edit]

After the Atlantic period and into the early part of the 1970s, Coleman's music became more angular and engaged with the avant-garde jazz which had developed in part around his innovations.^[8]

After his quartet disbanded, he formed a trio with David Izenzon on bass and Charles Moffett on drums. He extended the sound of his music, introducing string players and playing trumpet and violin, which he played left-handed. He had little conventional musical technique and used the instruments to make large, unrestrained gestures. His friendship with Albert Ayler influenced his development on trumpet and violin. Charlie Haden sometimes joined this trio to form a two-bass quartet.

Coleman signed with Blue Note and recorded At the Golden Circle Stockholm.^[17] In 1966, he recorded The Empty Foxhole with his son, Denardo Coleman, who was ten years old. Freddie Hubbard and Shelly Manne regarded this as an ill-advised piece of publicity on Coleman's part.^[18][19] Despite his youth, Denardo Coleman had studied drumming for several years. His technique was unrefined but enthusiastic, owing more to pulse-oriented free jazz drummers like Sunny Murray than to bebop drummers.^[17] He became his father's primary drummer in the late 1970s.

Coleman formed another quartet. Haden, Garrison, and Elvin Jones appeared, and Dewey Redman joined the group, usually on tenor saxophone. On February 29, 1968 in a group with Haden, Ed Blackwell, and David Izenzon Coleman performed live with Yoko Ono at Albert Hall. One song was included on the album Yoko Ono/Plastic Ono Band (1970)^[20]

He continued to explore his interest in string textures – from Town Hall, 1962, culminating with the Skies of America album in 1972. (Sometimes this had a practical value, as it facilitated his group's appearance in the UK in 1965, where jazz musicians were under a quota arrangement but classical performers were exempt.)

Coleman, like Miles Davis before him, took to playing with electrified instruments. The 1976 funk album Dancing in Your Head, Coleman's first recording with the group which later became known as Prime Time, prominently featured electric guitars. While this marked a stylistic departure for Coleman, the music maintained certain similarities to his earlier work. These performances had the same angular melodies and simultaneous group improvisations – what Joe Zawinul referred to as 'nobody solos, everybody solos' and what Coleman called harmolodics – and although the nature of the pulse was altered, Coleman's rhythmic approach did not.

1980s–90s[edit]

In the 1980s, albums like Virgin Beauty and Of Human Feelings continued to use rock and funk rhythms, sometimes called free funk.^[21][22]Jerry Garcia played guitar on three tracks from Coleman's 1988 album Virgin Beauty: 'Three Wishes', 'Singing in the Shower', and 'Desert Players'. Coleman joined the Grateful Dead on stage in 1993 during 'Space' and stayed for 'The Other One', 'Stella Blue', Bobby Bland's 'Turn on Your Lovelight', and the encore 'Brokedown Palace'.^[23][24] Another collaboration was with guitarist Pat Metheny, with whom Coleman recorded Song X (1985); though released under Metheny's name, Coleman was essentially co-leader (contributing all the compositions).

In 1990, the city of Reggio Emilia in Italy held a three-day 'Portrait of the Artist' featuring a Coleman quartet with Cherry, Haden, and Higgins. The festival also presented performances of his chamber music and the symphonic Skies of America. In 1991, Coleman played on the soundtrack for David Cronenberg's Naked Lunch; the orchestra was conducted by Howard Shore. It is notable among other things for including a rare sighting of Coleman playing a jazz standard: Thelonious Monk's 'Misterioso'. Two 1972 (pre-electric) Coleman recordings, 'Happy House' and 'Foreigner in a Free Land', were used in Gus Van Sant's 2000 Finding Forrester. He released four records in 1995 and 1996, and for the first time in many years worked regularly with piano players (either Geri Allen or Joachim Kühn).

2000s[edit]

In September 2006 he released a live album titled Sound Grammar with his son, Denardo Coleman, and two bassists, Greg Cohen, and Tony Falanga. This was his first album of new material in ten years and was recorded in Germany in 2005. It won the 2007 Pulitzer Prize for music, Coleman being only the second jazz musician to win the prize.^[25]

Jazz pianist Joanne Brackeen stated in an interview with Marian McPartland that Coleman mentored her and gave her music lessons.^[26]

Personal life and death[edit]

Coleman married poet Jayne Cortez in 1954. The couple divorced in 1964. They had one son, Denardo, born in 1956.^[27]

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Coleman died of a cardiac arrest at the age of 85 in New York City on June 11, 2015.^[1] His funeral was a three-hour event with performances and speeches by several of his collaborators and contemporaries.^[28]

Awards and honors[edit]

• Down Beat Jazz Hall of Fame, 1969
• MacArthur Fellowship, 1994
• Praemium Imperiale, 2001
• Dorothy and Lillian Gish Prize, 2004^[29]
• Honorary doctorate of music, Berklee College of Music, 2006^[30]
• Grammy Lifetime Achievement Award, 2007
• Pulitzer Prize for music, 2007^[25]
• Miles Davis Award, Festival International de Jazz de Montréal, 2009^[31]
• Honorary doctorate by the Graduate Center, CUNY, 2008^[32][33]
• Honorary doctorate of music, University of Michigan, 2010^[34]

Discography[edit]

Notes[edit]

1. ^ ^abRatliff, Ben (June 11, 2015). 'Ornette Coleman, Saxophonist Who Rewrote the Language of Jazz, Dies at 85'. The New York Times. Retrieved December 16, 2018.
2. ^Hellmer, Jeffrey; Lawn, Richard (May 3, 2005). Jazz Theory and Practice: For Performers, Arrangers and Composers. Alfred Music. pp. 234–. ISBN978-1-4574-1068-0. Retrieved December 15, 2018.
3. ^Fordham, John (June 11, 2015). 'Ornette Coleman obituary'. The Guardian. Retrieved December 16, 2018.
4. ^Palmer, Robert (December 1972). 'Ornette Coleman and the Circle with a Hole in the Middle'. The Atlantic Monthly. Ornette Coleman since March 19, 1930, when he was born in Forth Worth, Texas
5. ^Wishart, David J. (ed.). 'Coleman, Ornette (b. 1930)'. Encyclopedia of the Great Plains. Archived from the original on July 7, 2012. Retrieved March 26, 2012. Ornette Coleman, born in Fort Worth, Texas, on March 19, 1930
6. ^ ^abcLitweiler, John (1992). Ornette Coleman: the harmolodic life. London: Quartet. pp. 21–31. ISBN0-7043-2516-0.
7. ^Spellman, A.B. (1985). Four Lives in the Bebop Business (1st Limelight ed.). Limelight. pp. 98–101. ISBN0-87910-042-7.
8. ^ ^abcdYanow, Scott. 'Ornette Coleman'. AllMusic. Retrieved August 14, 2018.
9. ^ ^ab'Ornette Coleman biography on Europe Jazz Network'. Archived from the original on May 2, 2005.
10. ^Jurek, Thom. 'Something Else: The Music of Ornette Coleman'. AllMusic. Retrieved August 14, 2018.
11. ^Huey, Steve. 'The Shape of Jazz to Come'. AllMusic. Retrieved August 14, 2018.
12. ^Flynn, Mike (July 18, 2017). 'The 100 Jazz Albums That Shook The World'. www.jazzwisemagazine.com. Retrieved December 16, 2018.
13. ^Roberts, Randall (January 11, 2015). 'Why was Ornette Coleman so important? Jazz masters both living and dead chime in'. latimes.com. Retrieved December 16, 2018.
14. ^Kahn, Ashley (November 13, 2006). 'Ornette Coleman: Decades of Jazz on the Edge'. NPR.org. Retrieved December 16, 2018.
15. ^Welding, Pete (January 18, 1962). 'Double View of a Double Quartet'. DownBeat. 29 (2).
16. ^Howard Reich (September 30, 2010). Let Freedom Swing: Collected Writings on Jazz, Blues, and Gospel. Northwestern University Press. pp. 333–. ISBN978-0-8101-2705-0.
17. ^ ^abFreeman, Phil (December 18, 2012). 'Good Old Days: Ornette Coleman On Blue Note'. Blue Note Records. Retrieved August 14, 2018.
18. ^Gabel, J. C. 'Making Knowledge Out of Sound'(PDF). stopsmilingonline.com. Retrieved August 14, 2018.
19. ^Spencer, Robert (April 1, 1997). 'Ornette Coleman: The Empty Foxhole'. All About Jazz. Retrieved August 14, 2018.
20. ^Chrispell, James. 'Yoko Ono/Plastic Ono Band'. AllMusic. Retrieved August 14, 2018.
21. ^Appiah, Anthony; Appiah, Kwame Anthony; Gates, Henry Louis (March 16, 2005). 'Africana: The Encyclopedia of the African and African American Experience'. Oxford University Press. Retrieved March 18, 2017.
22. ^Berendt, Joachim-Ernst; Huesmann, Günther (August 1, 2009). 'The Jazz Book: From Ragtime to the 21st Century'. Chicago Review Press. Retrieved March 18, 2017.
23. ^Scott, John W.; Dolgushkin, Mike; Nixon, Stu (1999). DeadBase XI: The Complete Guide to Grateful Dead Song Lists. Cornish, New Hampshire: DeadBase. ISBN1-877657-22-0.
24. ^'Grateful Dead Live at Oakland-Alameda County Coliseum on 1993-02-23'. Internet Archive.
25. ^ ^ab'Pulitzer Prize winning jazz visionary Ornette Coleman dies aged 85'. HeraldScotland. Retrieved December 16, 2018.
26. ^Lyon, David (March 14, 2014). 'Joanne Brackeen On Piano Jazz'. NPR.org. Retrieved December 16, 2018.
27. ^Fox, Margalit (January 3, 2013). 'Jayne Cortez, Jazz Poet, Dies at 78'. The New York Times. Retrieved December 16, 2018.
28. ^Remnick, David (June 27, 2015). 'Ornette Coleman and a Joyful Funeral'. The New Yorker. Retrieved December 16, 2018.
29. ^The Dorothy and Lillian Gish PrizeArchived October 6, 2013, at the Wayback Machine, official website.
30. ^'Archived copy'. Archived from the original on April 19, 2017. Retrieved April 18, 2017.CS1 maint: Archived copy as title (link)
31. ^Montreal Jazz Festival official pageArchived May 16, 2010, at the Wayback Machine
32. ^'Press Release: 2008 CUNY Graduate Center Commencement'. www.gc.cuny.edu. Retrieved December 16, 2018.
33. ^'CUNY 2008 Commencements'. cuny.edu. Retrieved December 16, 2018.
34. ^Mergner, Lee (June 3, 2010). 'Ornette Coleman Awarded Honorary Degree from University of Michigan'. JazzTimes. Retrieved December 16, 2018.

References[edit]

• Interview with Roy Eldridge, Esquire March 1961
• Interview with Andy Hamilton. 'A Question of Scale' The Wire July 2005
• Broecking, Christian (2004). Respekt!. Verbrecher. ISBN3-935843-38-0.
• Jost, Ekkehard (1975). Free Jazz (Studies in Jazz Research 4). Universal Edition.
• Mandel, Howard (2007). Miles, Ornette, Cecil: Jazz Beyond Jazz. Routledge. ISBN0-415-96714-7.

External links[edit]

• Ornette Coleman at the Encyclopædia Britannica
• 'Forms and Sounds' by Ethan Iverson about early Coleman and Harmolodics
• New York Observer, December 19, 2005

In memory of Ornette Coleman, who passed away on June 11th, we are presenting reflections on selections from his influential discography. The recordings presented here not in release order but rather grouped by our contributors. We look forward to your thoughts as well.

Ornette Coleman Science Fiction Download Rar

Something Else!!!! (Atlantic, 1958)

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 here.

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. 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)

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.

Free Jazz: A Collective Improvisation (Atlantic, 1960)

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.

Science Fiction(Columbia, 1971)

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)

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)

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. The album contains tunes that have become standards, most notably Lonely Women, one of the most haunting melodies ever written, and Ornette’s most covered composition; all the more surprising as it opens with two different pulses running simultaneously: part of its spellbinding effect.

At the 'Golden Circle' Stockholm, Volumes One and Two (Blue Note, 1965)

This Trio toured Europe in 1965 – 1966 and although it hasn’t received the plaudits of the earlier Atlantic quartets – possibly due to the limited recordings that were made – it provided Ornette with arguably his most flexible and responsive rhythm section: David Izenzon (bass) and Charles Moffett (drums, percussion). As the sole melody instrument, Ornette’s alto (with occasional violin and trumpet) was not so much exposed as revealed in all its glory, showing how central the human voice was to his playing – its cries, laments and laughter. Think of speech patterns rather than bar line metre, and it all falls into place.

In All Languages (Caravan Of Dreams Productions, 1987)

A good way to hear how Ornette’s two major phases relate, as eight of these vignettes (only one lasts longer than four minutes) are covered by both his acoustic The Shape of Jazz to Come quartet and the electric Prime Time double-quartet (Ornette plus two guitars, two bass guitars and two drummers) allowing side by side comparisons. Ornette’s inspired melodic explorations -- the range of places to which a tune can be taken -- are common to both settings, but the acoustic quartet has the bonus of Don Cherry’s delicately chiselled contributions, Haden’s perfectly weighted notes and the melodic contours of Higgins’ drums. Prime Time, which was more about group texture than personalities, throws Ornette’s playing into sharper relief as his agile lines dance across the band’s glittering cross-currents.
- Colin Green

Twins (Atlantic, 1971)

An album of outtakes from the Atlantic years, Twins contains the first take of “Free Jazz” and a vehicle for bassist Scott La Faro called “Chalk Up,” which are probably the selling points; but the remaining three cuts almost outshine them. “Joy of a Toy” and “Little Symphony,” both from the This Is Our Music sessions, are full of light but challenging work, especially from drummer Ed Blackwell, who swings better than most hard bop players on their best days. The main theme of “Monk & The Nun” does its namesake justice while Don Cherry's solo predates the type of runs Miles Davis would play during his electric years a decade later.

“AOS” from Yoko Ono's Plastic Ono Band (Apple, 1970)

Yoko's warbled cries bury Ornette's crying trumpet warbles as an orgasmic climax turns homicidal on this rehearsal tape featuring Coleman's band from 1968. (The band is Blackwell, Haden, David Izenzon & Coleman.) Ono's cues lead throughout, making this more flux than free, and the piece ends with a few flying globs of phlegm in your ear.
Predates No Wave by eight or nine years.

Skies of America (Columbia, 1972)

Ornette's grandest orchestral work, Skies of America conjures up beautiful (but stormy) landscapes that encompass every stage of the American dream – including the fear, greed, and white self-righteousness that resulted in the blood of Native Americans and the horror of slavery. Is it any wonder that certain passages sound like Charles Ives scored a thunderstorm? I'm reminded of Ives and Duke and Partch and Moondog – iconoclastic brothers of Coleman's in a cruel, intolerant world – whenever I listen to this recording; but mostly I think about how wholly compassionate Ornette was to sift through the history and the landscapes and the God and the shit of America and mold it into a work of un-pretty, difficult, unflinchingly honest beauty so that we might recognize ourselves in it – as equals.
- Tom Burris

‘Free Funk Workouts’

Three of my favourite Ornette Coleman albums are some of his lesser-known works. In particular, I’ve chosen three albums which all have Bern Nix & Charlie Ellerbee on electric guitars and Jamaaladeen Tacuma on bass. Combined with Ornette’s unique harmolodic approach these three excellent albums whip up a free funk that still sounds as fresh as the day it was recorded.

Body Meta (Artists House, 1976)

Recorded before the Dancing In Your Head album but released after it, this was a new and welcome departure for Coleman, who yet again dared to do something different. His horn sounds at home amongst the angularities of the guitars and the funky bass, which is rhythmically delineated by the drumming of Ronald Shannon Jackson. A gem in his back catalogue that surely now deserves a long awaited re-release.

Of Human Feelings (Antilles, 1982)

This album features similar personnel to Body Meta but this time with two drummers. Released under his own name again but practically a Prime Time album where four to the floor disco beats mix it up with heterophonic melodies. This is a right royal funkster that is as dense at times as it is downright groovy.

Opening The Caravan Of Dreams (Caravan of Dreams, 1983)

This live album billed as ‘Ornette & Prime Time’ features Coleman fronting the full two guitars, two basses and two drummers line-up. There are six originals on this that show why they were THE ‘free funk’ band. Sharp contrasts of simple riff-based melodies, chaotic sounding textures, free blowing and more spacious interplay makes this album a great document of Ornette’s music around this period.
- Chris Haines

Beauty is a Rare Thing - The Complete Atlantic Recordings (Rhino/Atlantic Jazz Gallery, 1993)

By the time that this box was released Coleman’s legendary quartet music did not sound radical or revolutionary, at least not to me. Still it taught me a lot about freedom, beauty and love. Even today, I am still fascinated by its intuitive melodic, its impeccable rhythmic drive and its urgent passion and joyful spirit. The music radiates a great need to shout - I, we, the quartet - found a new sound, beautiful sound, and our search for this sound was, still is, so liberating and full of joy.
- Eyal Hareuveni

Virgin Beauty (Portrait Records, 1988)

This was my first Ornette Coleman album, which I purchased because of guest guitarist Jerry Garcia (I was in college, it was the early 90s, and I had much to learn). I didn't get it at first - the music was often frenetic, the rhythms funky but the harmonies didn't conform entirely to what I had been conditioned to - and it took a little while for me to really hear it. 'Three Wishes' has a single note motif that repeats incessantly and devilishly as the music pivots around it. The track 'Chanting' is a lovely ballad with Coleman on trumpet, and Garcia contributes flair to three of the tracks, like on 'Singing in the Shower' over its 'Shakedown Street' like riff. The band is a double quartet with guitarists Bern Nix and Charlie Ellerbee, electric bassists Al MacDowell and Chris Walker, and drummers Denardo Coleman and Calvin Weston.

Crisis (Impulse, 1969)

Crisis is a live album recorded at New York University in 1969 featuring Charlie Haden, Don Cherry, Denardo Coleman and Dewey Redman. It's kin to Broken Shadows and Science Fiction (or, the Complete Science Fiction) and is an out-of-print gem. The musical program features Haden's 'Song For Che' which simply levitates from the grooves and beautiful renditions of songs like 'Trouble in the East'. Just listen to how the peaceful flute-work that opens the piece is shattered by the saxophone, then coalesces into a frantic dance. Theseemingly politicized album cover, sporting the Bill of Rights burning with the title printed starkly on it, is nearly reason enough to seek it out.

Song X (Geffen, 1986)

It's old news now, but Ornette Coleman and Pat Metheny's collaboration was a surprise. The guitarist can be a bit saccharine at times but then comes up with brilliant project like Song X. The album was recorded with bassist Charlie Haden (who worked with both Coleman and Metheny) and drummers Denardo Coleman and Jack DeJohnette. The music is Coleman originals along with some mutually penned compositions. I think what Allmusic says captures it best: 'Metheny often manages to be a quite expressive second voice, racing along beside the master saxophonist, offering alternative strategies and never showboating.. and in fact, the album also contains some of Coleman's best work since the mid-'70s.'
- Paul Acquaro

Change of the Century (Atlantic, 1960)

The record which revealed to me just how many chances a jazz musician could take and still swing. Yes, it’s true that this music doesn’t sound nearly as radical now as it did when it was released in 1960. But Coleman’s and Don Cherry’s playful leaps and heartfelt cries were (and remain) pretty adventurous stuff—and with the unfailingly nimble and fluid rhythm section of Charlie Haden and Billy Higgins, each cut still possesses an irresistible groove. “Ramblin’” in particular is an all-time classic and a superb representation of Coleman’s most accessible work.

Soapsuds, Soapsuds (Artists House, 1977)

In a duet setting with Charlie Haden, Ornette’s melodic side comes to the surface with arresting passages of lyrical beauty. The dialogue between the two musicians is stunning on these five tracks, and the recording quality is superb, particularly noteworthy as it highlights Haden’s outstanding bass playing. This is now out of print, unfortunately, but certainly worth getting for the sheer joy of hearing Coleman stretch out on pieces that are consistently expansive and explorative.

Sound Grammar (Sound Grammer, 1996)

Released in 2006, ten years after his previous record (Sound Museum: Three Women), this worthy document reminded all of us of Coleman’s continuing vitality at a youthful 75 years of age. With an astonishingly tight group, consisting of Denardo Coleman on drums and two bassists (Greg Cohen and Tony Falanga, the latter heard to exceptionally fine effect on arco), Sound Grammar showcases Ornette in a live performance of mostly classic Coleman repertoire, and the energy and sense of adventure that define each track more than justify the record’s winning the Pulitzer Prize in music that year. The rendition of “Song X” that closes the record is at times jaw-dropping in its group cohesion and righteous fury.
- Troy Dostert