Beauty Is A Rare Thing: The Complete Atlantic Recordings

Ornette Coleman - Beauty Is A Rare Thing: The Complete Atlantic Recordings

Beauty Is A Rare Thing: The Complete Atlantic Recordings
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CD Details

Artist: Ornette Coleman
Edition: Music CD
Format: Box set
CD Release Date: 1993-11-16
Music Label: Atlantic / Wea
Soundtracks:
Music CD 1
  1. Focus On Sanity
  2. Chronology
  3. Peace
  4. Congeniality
  5. Lonely Woman
  6. Monk And The Nun
  7. Just For You
  8. Eventually
  9. Una Muy Bonita
  10. Bird Food
  11. Change Of The Century
  12. Music Always
Music CD 2
  1. The Face Of The Bass
  2. Forerunner
  3. Free
  4. The Circle With A Hole In The Middle
  5. Ramblin'
  6. Little Symphony
  7. The Tribes Of New York
  8. Kaleidoscope
  9. Rise And Shine
  10. Mr. And Mrs. People
  11. Blues Connotation
  12. I Heard It Over The Radio
Music CD 3
  1. P. S. Unless One Has (Blues Connotation No.2)
  2. Revolving Doors
  3. Brings Goodness
  4. Joy Of A Toy
  5. To Us
  6. Humpty Dumpty
  7. The Fifth Of Beethoven
  8. Motive For Its Use
  9. Moon Inhabitants
  10. The Legend Of Bebop
  11. Some Other
  12. Embraceable You
  13. All
Music CD 4
  1. Folk Tale
  2. Poise
  3. Beauty Is A Rare Thing
  4. First Take
  5. Free Jazz
Music CD 5
  1. Proof Readers
  2. W.R.U.
  3. Check Up
  4. T. & T.
  5. C. & D.
  6. R.P.D.D.
  7. The Alchemy Of Scott Lafaro
Music CD 6
  1. EOS
  2. Enfant
  3. Ecars
  4. Cross Breeding
  5. Harlem's Manhattan
  6. MAPA
  7. Abstraction
  8. Variants On A Theme Of Thelonious Monk (Criss-Cross): A. Variant I/B. Variant II/C. Variant III...

Description of Beauty Is A Rare Thing: The Complete Atlantic Recordings

(6 audio CD set) Copyright 1993 Atlantic Recording Corp, and Rhino Records, Inc, Santa Monica Blvd. ISBN: 1-56826-275-2. Featuring Ornette Coleman (alto & tenor sax), Don Cherry (pocket trumpet cornet), Charlie Haden (bass), Billy Higgins (drums), Ed Blackwell (drums), WITH: Eric Dolphy (bass, clarinet, alto sax, flute), Bill Evans (piano), Jimmy Garrison (bass), Jim Hall (guitar), Freddie Hubbard (trumpet), Scott Lafaro (bass). ** All selections produced by Nesuhi Ertegun, except "Abstraction" & "Varainats on a Theme of Thelonius Monk(Criss-Cross)". Produced by John Lewis & Nesuhi Ertegun. **Digitally remastered from the original sterio master tapes by Stephan Innocenzi. Atlantic Studios. INCLUDES A 72 PAGE BOOKLET (With complete track by track credits and discography, essay by Robert Palmer, a compolayion of interview excerps with Ornette Coleman, numerous photographs and introductions by Ornette Coleman and Don Cherry.
The opportunity to possess--in one convenient package--every recording Ornette Coleman made for Atlantic is an opportunity most fans of modern jazz would be hard pressed to turn down. (It must be noted, however, that many jazz fans would have a very easy time turning down anything Ornette recorded, thank you very much). But for Coleman fans, this collection is an embarrassment of riches. Arranged chronologically by recording date, the set collects music from 1959 to 1961, the period many consider Ornette's most vital. Included are sessions from Free Jazz, Ornette!, The Shape of Jazz to Come, Twins, The Art of the Improvisers, Change of the Century, To Whom Who Keeps a Record, and This Is Our Music. As a bonus, producers have also included a handful of previously unreleased tracks. Packaged with gorgeous photos, terrific liner notes from Robert Palmer, as well as copious discographic information, Beauty is a terrific package. As for the music, the recordings are clean, with excellent stereo separation (usually featuring Ornette in one channel and pocket trumpeter Don Cherry in another). But what really sets this collection apart is how clearly the spirit of the music is visible. Beauty bristles with that coiled, edge-of-the-chair excitement that Ornette could so easily summon, capture, and manipulate. And while Coleman's horn playing here is genuinely pulse-quickening and vital, what also emerges from this set is the strength of his band. While Ornette was tensed and ready to pounce, the more esoteric Cherry was able to float and drift with the currents of music's emotion. Behind them, bassist Charlie Haden and drummer Ed Blackwell could roar like an open-throttle race car or purr like an idling sedan. But no matter what speed, this is music that gives the listener the impression it is going somewhere. And, of course, for Ornette Coleman, the destination isn't the point, it's the journey. S. Duda
The most astonishing thing about hearing Ornette Coleman's Atlantic recordings today is how accessible they seem. Back in the early '60s, when they were first released with immodest titles like "Change of the Century" and "The Shape of Jazz to Come," all we could hear was the way the alto saxophonist and his quartet felt free to disregard the usual bounds of keys and measures in their solos. Because Coleman's music was, in fact, the shape of jazz to come, his innovations don't seem so novel now. What we hear instead are the beauty of Coleman's melodies and the passionate bluesiness of his quartet's playing. --Geoffrey Himes

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