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Ornette Coleman

"Free Jazz (A Collective Improvisation)" (1960)

Artist: Ornette Coleman

Title: Free Jazz (A Collective Improvisation)

Genre: Jazz

Styles: Avant-Garde Jazz, Free Jazz

Recording Date: at A&R Studios, New York, December 21, 1960

Label: Atlantic

Total Time: 56:13

Bitrate: CBR 320 kb/s, 44100 Hz, 16 bit stereo

Tracks: 2

Размер: 124 Mb

Tracklist:

01. Free Jazz

02. First Take - (bonus track)

Personnel:

Ornette Coleman Double Quartet:

Ornette Coleman: alto saxophone

Freddie Hubbard: trumpet

Don Cherry: pocket trumpet

Eric Dolphy: bass clarinet

Scott LaFaro: bass

Charlie Haden: bass

Billy Higgins: drums

Ed Blackwell: drums

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Review (by Steve Huey): As jazz's first extended, continuous free improvisation LP, Free Jazz practically defies superlatives in its historical importance. Ornette Coleman's music had already been tagged "free," but this album took the term to a whole new level. Aside from a predetermined order of featured soloists and several brief transition signals cued by Coleman, the entire piece was created spontaneously, left on the spot. The lineup was expanded to a double-quartet format, split into one quartet for each stereo channel: Ornette, trumpeter Don Cherry, bassist Scott LaFaro, and drummer Billy Higgins on the left; trumpeter Freddie Hubbard, bass clarinetist Eric Dolphy, bassist Charlie Haden, and drummer Ed Blackwell on the left. The rhythm sections all play at once, anchoring the whole improvisation with a steady, driving pulse. The six spotlight sections feature each horn in turn, plus a bass duet and drum duet; the "soloists" are really leading dialogues, where the other instruments are free to support, push, or punctuate the featured player's lines. Since there was no road map for this kind of recording, each player simply brought his already established style to the table. That means there are still elements of convention and melody in the individual voices, which makes Free Jazz far more accessible than the efforts that followed once more of the jazz world caught up. Still, the album was enormously controversial in its bare-bones structure and lack of repeated themes. Despite resembling the abstract painting on the cover, it wasn't quite as radical as it seemed; the concept of collective improvisation actually had deep roots in jazz history, going all the way back to the freewheeling early Dixieland ensembles of New Orleans. Jazz had long prided itself on reflecting American freedom and democracy and, with Free Jazz, Coleman simply took those ideals to the next level. A staggering achievement.

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Ornette Coleman:

Born: Mar 9, 1930 in Fort Worth, TX

Genre: Jazz

Styles: Free Jazz, Free Funk, Avant-Garde Jazz, Mixed Media

Instruments: Sax (Alto), Leader, Composer, Violin, Trumpet

Краткая биография:

Саксофонист (альт), композитор, скрипач и трубач. Стили: свободный джаз, фанк, авангардный джаз. Один из наиболее значительных, а также и противоречивых авангардных джазовых музыкантов. У Ornette Coleman было достаточно как последователей, так и очернителей.

Ornette Coleman увлекся джазом под впечатлением от музыки Charlie Parker, начав играть на альте в 14 лет. Первые выступления проходили в составе техасских групп вместе с Red Connors и Pee Wee Crayton, но попытки молодого музыканта играть оригинально были враждебно встречены как слушателями, так и коллегами-музыкантами. В начале пятидесятых Ornette Coleman решил уехать в Лос-Анджелес, где устроился на работу лифтером и начал усердно читать книги о музыке. Определенное стилистическое родство было найдено с Don Cherry, Charlie Haden, Ed Blackwell, Bobby Bradford, Charles Moffett и Billy Higgins, но только в 1958 (после многих неудачных попыток войти в джазовую элиту Лос-Анджелеса) К. по-настоящему нашел сподвижников, способных играть его музыку.

Сначала Ornette Coleman пробовал себя в Paul Bley's Quintet, выступая в Hillcrest Club (сохрани-лось несколько записей "живых" выступлений), а в 1959 вместе с Don Cherry и John Lewis стал посещать Lenox School of Jazz и достаточно долго выступал в нью-йоркском джаз-клубе Five Spot. Эти шоу заставили заговорить общественность о принципиально новой музыке — каждый вечер зал заполнялся любопытствующими музыкантами, каждый вечер Ornette Coleman называли и гением, и мошенником. Его музыка воодушевляла многих импровизаторов, в том числе John Coltrane и Эрика Дольфи. В 1962 Ornette Coleman решил ненадолго уйти в тень, поскольку начал понимать, что лейблы и клубы предлагают слишком низкие гонорары. Это время он посвятил изучению игры на скрипке и трубе.

В начале семидесятых началась вторая часть его карьеры. Ornette Coleman основал двойной квартет, состоящий из двух гитаристов, двух басистов, двух барабанщиков (одним из которых был его собственный сын Денардо), а сам играл на альте. Группа, названная Prime Time, играла достаточно насыщенный джаз, где каждому музыканту отводилась равная роль, но лидирующим был все-таки альт. Ритм, мелодия и гармония — вот три ключевых слова, определяющие этот стиль. В будущем Ornette Coleman несколько раз заново объединял свой знаменитый коллектив. Подробно о музыканте читайте .

Biography (by Scott Yanow):

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, Ornette 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, Ornette Coleman recorded a series of classic and somewhat startling quartet albums for Atlantic (all of which have been reissued on a six-CD set by Rhino). 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, Ornette 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, Ornette 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 Ornette Coleman had irregular reunions with his original quartet members in the 1980s.

Ornette 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.

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