Ornette Coleman - Free Jazz
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CD Details
Artist: Ornette ColemanEdition: Music CD
CD Release Date: 1990-10-25
Music Label: Atlantic / Wea
Soundtracks:
- Free Jazz
- First Take [#][*]
Music reviews of Free Jazz
Music Review: Landmark album. Coleman's role in promoting the avant-garde cannot be over-stated.
Rating: 5 Stars
Well...not hardly. And it is usually understated. Before this album, critics were applying the term 'free jazz' to Coleman's music. And of course, big-shot Columbia recording artist, Miles Davis had the 'foresight' to declare that Ornette was 'all mixed up in the head.' I must admit, Miles did some good work, but it ends for me just about where this album began, that is, 1960. And usually when another musician goes so far as to make it personal, they do indeed feel threatened. Of course, what Ornette did with this album, and was approaching prior to this album, was a music totally distinct from bebop. And sure enough, Miles made some steps towards that himself. But, what was to come (didn't Coleman have an album with that in the name?) was the Free Jazz movement. And realizing that the collective improvisation as assembled by Coltrane was to come five years after the release of this really puts things into perspective. I mean, Coltrane did a whole bunch to promote the free jazz movement (actually, I like the term Avant-Garde better), because Coltrane had some commercial success and let's face it, before he had reached his creative stride, he produce albums that appeased the establishment. So it may be said that Coltrane did more than anybody to open recording and other such opportunities for avant-garde musicians, but Coleman was a visionary and not to be exceeded, also not to be really understood as a visionary even by the ones who would later learn from his example for quite a while. And in the sixties, five years was a long time in jazz. Anthony Braxton, who is way out there now, was a young man learning alto at the time and recalls in an interview in the eighties how a man told him of Ornette music "this is jazz' and Braxton took some time to even admit it was music. Anyway the music is really playful, and the only reason I'd say I prefer the first track is it is more extended. Dolphy is wonderful on Bass Clarinet. And you've really got a double quartet here. Eric and Ornette on reeds, Hubbard and Cherry on trumpet, two drummers and two bassists. By the way, does anyone remember the oddity of two drum-sets playing on a 1969 album called Bitches Brew? Anyway, enough cracks about Miles who with the title of an album demanded: 'Call Me Sir!.' Don't ignore this album though there are things in Ascension and especially in New York Eye And Ear Control that I prefer to this album, but vice versa. Also at least check out some clips of Coleman's prior recordings and his stuff he has done more recently and all along (he has far from faded away!). I especially love Tomorrow is the Question and The Complete Science Fiction Sessions. Also I am here to download Sound Grammar for which he recently won a pulitzer. And can you believe he spent most of his career playing a plastic alto? Now he's apparently picked up Violin and Trumpet, two very hard instruments, all the more hard considering he could have just worked some more reeds into his repertoire already playing one. The man is amazing! Although I am afraid I must tell you he has sold out. He has consented to use a metal sax. (kidding)
Complete Science Fiction SessionsNew York Eye & Ear Control (1964 Film)Ascension
Description of Free Jazz
By 1961, when Free Jazz was released, alto saxophonist and composer Ornette Coleman was infamous in the jazz world. His searing alto sax and full-ensemble take on melody were assailed by critics. Free Jazz only furthered Coleman's infamy, with its seamless, seemingly atonal high energy and wholesale lack of a melodic or harmonic center. For the session, Coleman assembled two complete quartets and had them play the same music opposite each other, with diving power and a kind of strange grace usually associated with acoustic blues. The music is raw and incisive, with sharp tones and biting solos appearing amidst propulsive rhythms that still seem whispery in their swishing shuffle. This recording helped cast the 1960s--and every decade since--in jazz. It drew a line in the sand, and critics, fans, and musicians are still haggling over the line today. --Andrew BartlettGeneral CDs
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