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Ornette Coleman - What Reason Could I Give. Ornette Coleman. 8 videos Play all Ornette Coleman - Science Fiction Supernaut03; Ornette Coleman.
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Tracklist: CD 1 (1:01:03) 01. What Reason Could I Give (03:07) 02. Civilization Day (06:05) 03. Street Woman (04:50) 04.
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 ' which simply levitates from the grooves and beautiful renditions of songs like '. Just listen to how the peaceful flute-work that opens the piece is shattered by the saxophone, then coalesces into a frantic dance.
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. As is conventional in jazz, there are a series of solo features for each member of the band, but the other soloists are free to chime in as they wish, producing some extraordinary passages of collective improvisation by the full octet. In the January 18, 1962 issue of magazine, in a special review titled 'Double View of a Double Quartet,' Pete Welding awarded the album Five Stars while John A. Tynan rated it No Stars.
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.
The catchiest numbers -- including two songs with Indian vocalist, which sound like pop hits from an alternate universe -- have spacy, long-toned melodies that are knocked out of orbit by the rhythm section's churning chaos, which often creates a totally different pulse. Two tracks reunite 's classic quartet of,, and; 'Street Woman' just wails, and 'Civilization Day' is a furious, mind-blowing up-tempo burner. 'Law Years' and 'The Jungle Is a Skyscraper' feature a quintet with,, tenorist, and trumpeter; both have racing, stop-start themes, and 'Jungle's solos have some downright weird groaning effects.
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.
“AOS” from Yoko Ono's Plastic Ono Band (Apple, 1970). 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.
At first I thought this was wordless vocalizing before I checked the back of the LP cover and saw that she was singing the free verse poem there. I’ll have to assume her voice is deliberately submerged in the mix, perhaps to trigger subliminal spiritual contemplation. Deliberate, because producer Arif Mardin was no amateur. That guy knew how to mix. And this record sounds great.
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For an in-depth discussion on this album, read Ethan Iverson's piece. 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.
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Two tracks reunite 's classic quartet of,, and; 'Street Woman' just wails, and 'Civilization Day' is a furious, mind-blowing up-tempo burner. 'Law Years' and 'The Jungle Is a Skyscraper' feature a quintet with,, tenorist, and trumpeter; both have racing, stop-start themes, and 'Jungle's solos have some downright weird groaning effects. 'Rock the Clock' foreshadows 's '70s preoccupations, with playing the musette (an Arabic double-reed instrument) and amplifying his bass through a wah-wah pedal to produce sheets of distorted growls. The title track is a free septet blowout overlaid with 's echoed poetry recitations, plus snippets of a crying baby; it could sound awkward today, but in context it's perfectly suited to the high-octane craziness all around it. Is a meeting ground between 's past and future; it combines the fire and edge of his Atlantic years with strong hints of the electrified, globally conscious experiments that were soon to come. And, it's overflowing with brilliance.
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.
Rubber Gloves (03:24) 06. Good Girl Blues (03:05) 07. Is It Forever (04:49).
At the 'Golden Circle' Stockholm, Volumes One and Two (Blue Note, 1965). 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.