Tracklist :
1 Azan 3:38
Charles Davis / Arranged By, Conductor – Melba Liston
2 All Deliberate Speed 7:35
Arranged By, Conductor – Melba Liston
3 Elvin Elpus 5:52
Arranged By, Conductor – Melba Liston
4 Soon After 3:35
Arranged By, Conductor – Melba Liston5 Forever Summer 4:04
Thad Jones / Arranged By, Conductor – Melba Liston
6 Len Sirrah 3:42
Arranged By, Conductor – Melba Liston
7 And Then Again 6:21
Elvin Jones / Arranged By, Conductor – Melba Liston
Credits :
Baritone Saxophone – Charles Davis
Bass – Art Davis, Paul Chambers
Cornet – Thad Jones
Drums – Elvin Jones
Piano – Don Friedman, Hank Jones
Flute, Tenor Saxophone – Frank Wess
Trombone – Hunt Peters
Arranged By, Conductor – Melba Liston
Credit where credit is due: Palle Mikkelborg - trumpet, piano, Jasper van't Hoff - keyboards, Charlie Mariano - saxes + flute, John Lee - bass and Gerry Brown - drums. Catherine mostly on electric guitar but also occasional acoustic moments. It is never loud but still very intense, rarely fast but far from lame. While there are great solos throughout, the other players are not pushed to the background by the one in the spotlight but instead respond and challenge. This is more of a band album than a guitarist's showcase. Roxanne Walsh
Tracklist :
A1 Nairam 4:30
Composed By – Ph. Catherine
A2 Nineteen Seventy Fourths 9:44
Composed By – J. Lee
A3 T.P.C. 4:30
Composed By – P. Mikkelborg
A4 September Man 0:30
Composed By – Ph. Catherine, Instruments [All Instruments] – Philip Catherine
When It Is
Composed By – P. Mikkelborg
B1a The Beginning 5:59
B1b The Middle 10:00
B1c The End 2:43
Piano [Acoustic Piano] – Palle Mikkelborg
B2 Monday 13 2:05
Composed By – Ph. Catherine, Instruments [All Instruments] – Philip Catherine
Credits :
Bass [Basses] – John Lee
Drums – Gerry Brown
Guitar [Guitars] – Philip Catherine
Piano, Organ – Jasper Van't Hoff
Saxophone [Saxophones], Flute [Flutes] – Charlie Mariano
Trumpet – Palle Mikkelborg
Tracklist :
A1 We'll Find A Way 5:04
Written-By – Gerry Brown, John Lee, Philip Catherine, Rob Franken
A2 Five Thousand Policemen 1:58
Written-By – Charlie Mariano, Jasper Van't Hof, Philip Catherine
A3 Sneezing Bull 7:05
Written-By – Philip Catherine
A4 Rene Thomas 4:43
Written-By – Charlie Mariano, Gerry Brown, John Lee, Philip Catherine
A5 Moss And Weeds 1:15
Written-By – Philip Catherine
B1 Homecomings 5:43
Written-By – Gerry Brown, Philip Catherine
B2 Charlotte 3:52
Written-By – Charlie Mariano, Philip Catherine
B3 Noburl 8:05
Written-By – Gerry Brown, John Lee, Philip Catherine
B4 Isabelle 1:45
Written-By – Philip Catherine
Credits
Bass – John Lee
Drums – Gerry Brown
Electric Guitar, Acoustic Guitar, Classical Guitar, Banjo, Electric Bass, Piano, Bulbul Tarang, 12-String Acoustic Guitar – Philip Catherine
Piano – Jasper Van't Hof
Soprano Saxophone, Alto Saxophone – Charlie Mariano
Synth [String Ensemble] – Rob Franken
The Charles Lloyd Quartet was (along with Cannonball Adderley's band) the most popular group in jazz during the latter half of the 1960s. Lloyd somehow managed this feat without watering down his music or adopting a pop repertoire. A measure of the band's popularity is that Lloyd and his sidemen (pianist Keith Jarrett, bassist Ron McClure and drummer Jack DeJohnette) were able to have a very successful tour of the Soviet Union during a period when jazz was still being discouraged by the communists. This well-received festival appearance has four lengthy performances including an 18-minute version of "Sweet Georgia Bright" and Lloyd (who has always had a soft-toned Coltrane influenced tenor style and a more distinctive voice on flute) is in top form. Scott Yanow
Tracklist :
On this popular two-LP set, singer Carmen McRae interprets songs by Duke
Ellington, Cole Porter, Michel Legrand, Warren & Dubin, Henry
Mancini, and Jimmy Van Heusen, among others, but it is her rendition of a
humorous Jimmy Rowles novelty ("The Ballad of Thelonious Monk") that is
best remembered. Joined by pianist Rowles, guitarist Joe Pass, bassist
Chuck Domanico, and drummer Chuck Flores, McRae had what was at the time
a rare opportunity to record a live, spontaneous, jazz-oriented set.
She sounds quite enthusiastic about both her accompaniment and the
strong repertoire, which includes "At Long Last Love," "I Only Have Eyes
for You," "Sunday," "I Cried for You," and "I Thought About You." Scott Yanow
Tracklist :
1 Satin Doll 4'34
Duke Ellington / Johnny Mercer / Billy Strayhorn
2 At Long Last Love 2'27
Cole Porter
3 If the Moon Turns Green 4'22
Paul Coates / Bernie Hanighen
4 Day by Day 2'22
Sammy Cahn / Axel Stordahl / Paul Weston
5 What Are You Doing the Rest of Your Life? 4'14
Alan Bergman / Marilyn Bergman / Michel Legrand
6 I Only Have Eyes for You 4'12
Al Dubin / Harry Warren
7 Medley: Easy Living/The Days of Wine and Roses/It's Impossible 9'14
Henry Mancini / Armando Manzanero / Johnny Mercer / Ralph Rainger / Leo Robin / Sid Wayne
8 Sunday 4'10
Chester Conn / Benny Krueger / Ned Miller / Jule Styne
9 A Song for You 4'46
Leon Russell
10 I Cried for You 2'21
Gus Arnheim / Arthur Freed / Abe Lyman
11 Behind the Face 2'44
Jimmy Rowles
12 The Ballad of Thelonious Monk 3'29
Jimmy Rowles
13 There's No Such Thing as Love 5'00
Ian Fraser / Anthony Newley
14 (They Long to Be) Close to You 4'37
Burt Bacharach / Hal David
15 Three Little Words 1'58
Bert Kalmar / Harry Ruby
16 Mr. Ugly 4'00
Norman Mapp
17 It's Like Reaching for the Moon 2'53
Al Lewis / Gerald Marqusee / Al Sherman
18 I Thought About You 3'54
James Van Heusen / Johnny Mercer
Credits :
Bass – Chuck Domanico
Drums – Chuck Flores
Guitar – Joe Pass
Piano – Jimmy Rowles
Billy Cobham's second date as a leader was one of his better sessions.
Four songs (all originals by the leader/drummer) comprise "Spanish Moss
-- A Sound Portrait," and, in addition, Cobham contributed three other
pieces. The selections team him with guitarist John Abercrombie, both of
the Brecker Brothers, trombonist Garnett Brown, keyboardist George
Duke, bassist John Williams, and Latin percussionist Lee Pastora. In
general, the melodies and the vamps are reasonably memorable. Cobham
also takes an unaccompanied drum solo on "Storm." Worth searching for by
fusion collectors. Scott Yanow
Tracklist :
Spanish Moss - "A Sound Portrait" 17:08
1.a Spanish Moss 4:08
Acoustic Bass, Electric Bass – John Williams
Guitar – John Abercrombie
Keyboards – George Duke
Percussion – Billy Cobham
Percussion [Latin] – Lee Pastora
Trombone – Garnett Brown
Trumpet – Randy Brecker
Woodwind – Michael Brecker
1.b Savannah The Serene 5:09
Acoustic Bass – John Williams
Acoustic Guitar – John Abercrombie
Keyboards [Solo] – George Duke
Percussion – Billy Cobham
Trombone [Solo] – Garnett Brown
1.c Storm 2:46
Percussion [Solo] – Billy Cobham
1.d Flash Flood 5:05
Acoustic Bass, Electric Bass – John Williams
Guitar [Solo] – John Abercrombie
Keyboards – George Duke
Percussion – Billy Cobham
Percussion [Latin] – Lee Pastora
Trombone – Garnett Brown
Trumpet [Solo] – Randy Brecker
Woodwind – Michael Brecker
2 The Pleasant Pheasant 5:11
Acoustic Bass, Electric Bass – John Williams
Guitar – John Abercrombie
Keyboards [Solo] – George Duke
Percussion [Latin, Solo] – Lee Pastora
Percussion [Solo] – Billy Cobham
Trombone – Garnett Brown
Trumpet – Randy Brecker
Woodwind [Solo] – Michael Brecker
3 Heather 8:25
Acoustic Bass, Electric Bass – John Williams
Guitar – John Abercrombie
Keyboards [Solo] – George Duke
Percussion – Billy Cobham
Percussion [Latin] – Lee Pastora
Trombone – Garnett Brown
Trumpet – Randy Brecker
Woodwind [Solo] – Michael Brecker
4 Crosswind 3:39
Acoustic Bass, Electric Bass – John Williams
Guitar [Solo] – John Abercrombie
Keyboards – George Duke
Percussion – Billy Cobham
Percussion [Latin] – Lee Pastora
Trombone – Garnett Brown
Trumpet – Randy Brecker
Woodwind – Michael Brecker 
Tracklist:
1. Aquamarine (Doug Hall) 4:59
2. Monterey (Danny Gottlieb, Joe Satriani) 4:22
3. The Aviary (Danny Gottlieb, John Abercrombie) 4:39
4. Alaska (Danny Gottlieb, Doug Hall) 6:52
5. Waterfall (Doug Hall) 3:08
6. Being (Mitchell Forman) 6:27
7. Duet (John McLaughlin) 3:28
8. Upon A Time (John Abercrombie) 4:54
9. Peace Of Mind (John McLaughlin) 3:33
Credits:
Personnel:
Bass – Mark Egan (tracks: 2, 4, 5, 9)
Drums – Danny Gottlieb
Guitar – Jeff Mironov (tracks: 4), Joe Satriani (tracks: 2), John Abercrombie (tracks: 1, 3, 8), John McLaughlin (tracks: 7), Steve Kahn (tracks: 1)
Keyboards – Mitchell Forman (tracks: 2)
Keyboards, Producer, Engineer, Mixed By – Doug Hall (tracks: 1, 2, 4, 5)
Percussion – Cafe (tracks: 1, 2, 5)
Saxophone – Bill Evans (tracks: 4, 5)
Vibraphone – Dave Samuels (tracks: 5)
Conceptually, sonically, this is really the first Weather Report album in all but name, confirming that Joe Zawinul was the primary creative engine behind the group from the beginning. It is also the link between WR and Miles Davis' keyboard-laden experiments on In a Silent Way; indeed, the tune "In a Silent Way" is redone in the more complex form in which Zawinul envisioned it, and Miles even contributes a brief, generous tribute to Zawinul on the liner. Two keyboardists -- Zawinul and the formidable Herbie Hancock -- form the underpinning of this stately, probing album, garnishing their work with the galactic sound effects of the Echoplex and ring modulator. Earl Turbinton provides the Wayne Shorter-like beams of light on the soprano sax, spelled by Wayne himself on "Double Image." The third founder of WR, Miroslav Vitous, checks in on bass, and hard-bopping trumpeter Woody Shaw proves to be perfectly adept at the jazz-rock game. Two short-lived standards of the jazz-rock era, the aforementioned "Double Image" and "Doctor Honoris Causa," are introduced here, yet it is mood pieces like "His Last Journey" and "Arrival in New York" that with the help of tape-speed manipulation, establish the lasting, murky, reflective ambience of this CD. Richard S. Ginell Tracklist & Credits : 
Comes with a mini description. Ballads & Blues is an album by American jazz vibraphonist Milt Jackson featuring performances recorded in 1956 and released on the Atlantic label. The unassuming title of this compilation understates the fact that Milt Jackson is a master of ballad and blues forms, and an inspired collaborator when working flautists.
The small group settings for these performances allow the players – some of the very best in jazz and all in top form – to be heard to full advantage. The guitarists are particularly effective, the crisp, cool tones of Skeeter Best, Barry Galbraith, Barney Kessel, and Kenny Burrell complementing the rich, ringing cascade from Jackson's vibes. Of note from 1956's Ballads and Blues are two performances with tenor saxophonist Lucky Thompson. These will be appreciated by anyone who has enjoyed Jackson's work with Thompson on the Savoy label. The 1956 date also has three Ralph Burns arrangements that augment the players with a woodwind quintet. While neither overly lush or cloying, the oboes, etc., still don't add a lot to what the core group has to say.
Tracklist :
1 So In Love 3:11
Lennie Tristano's Atlantic debut was a controversial album at the time of its release. Though Tristano was regarded as a stellar and innovative bebop pianist, he had been absent from recording for six years and had founded a jazz school where he focused instead on teaching. The first four tunes on this set shocked the jazz world at the time of their release (though not critic Barry Ulanov, who was Tristano's greatest champion and wrote the liner notes for the set). The reason was that on those four original tunes -- "Line Up," "Requiem," "Turkish Mambo," and "East Thirty-Second" -- Tristano actually overdubbed piano lines, and sped the tape up and down for effect. While the effect is quite listenable and only jarring in the most splendid sense of the word -- because of the sharp, angular arpeggios and the knotty, involved method of improvising that came directly by improvising against the rhythm section of drummer Jeff Morton and bassist Peter Ind -- it was literally unheard of at the time. The last five tunes on the disc were recorded live with a rhythm section of bassist Gene Ramey and drummer Art Taylor. Lee Konitz plays alto as well. The tunes are all standards, including "These Foolish Things," "Ghost of a Chance," and "All the Things You Are." The performance is flawless, with beautiful interplay between Lee and Lennie and stellar harmonic ideas coming down from the bandstand in a fluid relaxed manner. This is a gorgeous album with a beautiful juxtaposition between its first and second halves, with the rhythmic and intervallic genius of Tristano as an improviser on full display during the first half and the pianist as a supreme lyrical and swinging harmonist during the back half.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Tracklist :
1 Line Up 3:34
Lennie Tristano
2 Requiem 4:54
Lennie Tristano
3 Turkish Mambo 3:36
Lennie Tristano
4 East Thirty-Second 4:33
Lennie Tristano
5 These Foolish Things 5:45
Harry Link / Holt Marvell / Jack Strachey
6 You Go to My Head 5:20
J. Fred Coots
7 If I Had You 6:28
Jimmy Campbell / Reginald Connelly / Ted Shapiro
8 Ghost of a Chance 6:04
Bing Crosby / Ned Washington / Victor Young
9 All the Things You Are 6:11
Oscar Hammerstein II / Jerome Kern
Credits :
Alto Saxophone – Lee Konitz (tracks: 2, 3, 5 to 9)
Bass – Gene Ramey (tracks: 2, 3, 5 to 9), Peter Ind (tracks: 1, 4)
Drums – Art Taylor (tracks: 2, 3, 5 to 9), Jeff Morton (tracks: 1, 4)
Piano – Lennie Tristano
Tristano's piano solos are challenging and ambitious on these unaccompanied solo works, recorded between 1960 and 1962 (all except "You Don't Know What Love Is" Tristano originals). The variety and sheer amount of ideas, plus the facility of the lines and the overall performances, are impressive. This is a superb presentation of Lennie Tristano's work. Ron Wynn
Tracklist :
1 Becoming 4:31
William H. Bauer / Lennie Tristano
2 C Minor Complex 5:47
William H. Bauer / Lennie Tristano
3 You Don't Know What Love Is 3:26
Gene DePaul / Don Raye
4 Deliberation 4:48
William H. Bauer / Lennie Tristano
5 Scene and Variations: Carol/Tania/Bud 11:40
William H. Bauer / Lennie Tristano
6 Love Lines 2:18
William H. Bauer / Lennie Tristano
7 G Minor Complex 3:49
William H. Bauer / Lennie Tristano
Credits :
Piano, Engineer – Lennie Tristano
Notas.
Recorded in New York City, 1960-1962.
"Lennie Tristano is heard on this album in unaccompanied piano solos.
No use is made of multi-tracking, overdubbing, or tape-speeding on any selection." 
While it's true this set has been given the highest rating AMG awards, it comes with a qualifier: the rating is for the music and the package, not necessarily the presentation. Presentation is a compiler's nightmare in the case of artists like John Coltrane and Ornette Coleman, who recorded often and at different times and had most of their recordings issued from the wealth of material available at the time a record was needed rather than culling an album from a particular session. Why is this a problem? It's twofold: First is that listeners got acquainted with recordings such as The Shape of Jazz to Come, This Is Our Music, Change of the Century, Twins, or any of the other four records Ornette Coleman released on Atlantic during that period. The other is one of economics; for those collectors who believe in the integrity of the original albums, they need to own both those recordings and this set, since the box features one album that was only issued in Japan as well as six unreleased tunes and the three Coleman compositions that appeared on Gunther Schuller's Jazz Abstractions record. Politically what's interesting about this box is that though the folks at Rhino and Atlantic essentially created a completely different document here, putting Coleman's music in a very different context than the way in which it was originally presented, his royalty rate was unchanged -- he refused to do any publicity for this set when it was issued as a result. As for the plus side of such a collection, there is a certain satisfaction at hearing complete sessions in context. That cannot be argued -- what is at stake is at what price to the original recorded presentations. Enough complaining. As for the music, as mentioned, the original eight albums Coleman recorded for Atlantic are here, in one form or another, in their entirety: Shape of Jazz to Come, Change of the Century, The Art of the Improvisers, Twins, This Is Our Music, Free Jazz, Ornette, and Ornette on Tenor, plus To Whom Keeps a Record, comprised of recordings dating from 1959 to 1960. In fact all of the material here was recorded between 1959 and 1961. Given that there is a total of six completely unreleased compositions as well as alternate takes and masters, this is a formidable mountain of material recorded with not only the classic quartet of Coleman, Don Cherry, Charlie Haden, and Billy Higgins, but also the large double quartet who produced the two-sided improvisation that is Free Jazz with personalities as diverse as Eric Dolphy, Freddie Hubbard, and Scott LaFaro, as well as Coleman, Cherry, Haden, and Ed Blackwell, who had replaced Higgins on the music for To Whom Keeps a Record and This Is Our Music -- though Higgins does play on Free Jazz.
The progression of the recording sessions musically is one of dynamics, color, and, with the addition of Blackwell, firepower. As the listener moves from the first session that would become most of The Shape of Jazz to Come, listeners can hear how the interplay between Cherry and Coleman works lyrically not so much as a system, but as system of the creation of melody from dead fragments of harmony, thereby creating a harmonic sensibility that cares not for changes and chord progressions, but for the progression of music itself in the context of a quartet. From the sharp edges on "Focus on Sanity," through "Peace" and "Congeniality," through "Lonely Woman," Coleman's approach to harmony was one of disparate yet wholly compatible elements. This is the story as the sessions unfold, one kind of lyricism evolving into itself more fully and completely with time. On Change of the Century, Twins, and This Is Our Music, Coleman shifts his emphasis slightly, adding depth and dimension and the creation of melody that comes out of the blues as direct and simply stated as possible. By the time LaFaro enters the picture on Free Jazz and Art of the Improvisers, melody has multiplied and divided itself into essence, and essence becomes an exponential force in the creation of a new musical syntax. The recordings from 1960 and 1961, along with the unreleased masters and alternates, all show Coleman fully in possession of his muse. The trek of musicians through the band -- like Jimmy Garrison and Eric Dolphy, as well as people like Jim Hall and Bill Evans where Coleman appeared in Gunther Schuller's experiments -- all reveal that from The Shape of Jazz to Come through Ornette on Tenor, Coleman was trying to put across the fully developed picture of his musical theory of the time. And unlike most, he completely succeeded. Even on the unreleased compositions, such as the flyaway storm of "Revolving Doors" or "PROOF Readers" or the slippery blues of "The Tribes of New York," Coleman took the open-door approach and let everything in -- he didn't necessarily let it all out. The package itself is, as are all Rhino boxes, handsome and original; there are three double-CD sleeves that all slip into a half box, which slips, reversed, into the whole box. There is a 68-page booklet with a ton of photographs, complete session notes, and liners by Coleman (disappointingly brief, but he was pissed off at the label), a fantastic essay by the late Robert Palmer, recollections by all the musicians, and quotes from Coleman from interviews given through the decades. The sound is wonderful and the mastering job superb. In all -- aside from the breach of pop culture's own historical context, which is at least an alternate reality -- this is, along with John Coltrane's Atlantic set and the Miles & Coltrane box, one of the most essential jazz CD purchases.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
All Tracks & Credits :
Notas.
This six-CD set contains the entirely of Ornette Coleman's recorded output for the Atlantic label, including the contents of the following albums:
The Shape Of Jazz To Come
Change Of The Century
This Is Our Music
Free Jazz
Ornette!
Ornette On Tenor
The Art Of The Improvisers
Twins
To Whom Who Keeps A Record
Also included are six previously unreleased compositions (2-7, 2-9, 2-10, 2-12, 3-2, 5-1) and two selections from (composer) Gunther Schuller's Jazz Abstractions featuring Ornette Coleman on alto saxophone. 
Ornette Coleman's Atlantic debut, The Shape of Jazz to Come, 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. The record shattered traditional concepts of harmony in jazz, getting rid of not only the piano player but the whole idea of concretely outlined chord changes. The pieces here follow almost no predetermined harmonic structure, which allows Coleman and partner Don Cherry an unprecedented freedom to take the melodies of their solo lines wherever they felt like going in the moment, regardless of what the piece's tonal center had seemed to be. Plus, this was the first time Coleman recorded with a rhythm section -- bassist Charlie Haden and drummer Billy Higgins -- that was loose and open-eared enough to follow his already controversial conception. Coleman's ideals of freedom in jazz made him a feared radical in some quarters; there was much carping about his music flying off in all directions, with little direct relation to the original theme statements. If only those critics could have known how far out things would get in just a few short years; in hindsight, it's hard to see just what the fuss was about, since this is an accessible, frequently swinging record. It's true that Coleman's piercing, wailing alto squeals and vocalized effects weren't much beholden to conventional technique, and that his themes often followed unpredictable courses, and that the group's improvisations were very free-associative. But at this point, Coleman's desire for freedom was directly related to his sense of melody -- which was free-flowing, yes, but still very melodic. Of the individual pieces, the haunting "Lonely Woman" is a stone-cold classic, and "Congeniality" and "Peace" aren't far behind. Any understanding of jazz's avant-garde should begin here. Steve Huey
Tracklist :
1 Tomorrow Is The Question! 3:09
2 Tears Inside 5:00
3 Mind And Time 3:08
4 Compassion 4:37
5 Giggin' 3:19
6 Rejoicing 4:01
7 Lorraine 5:55
8 Turnaround 7:55
9 Endless 5:18
Credits :
Alto Saxophone – Ornette Coleman
Bass – Charlie Haden
Cornet – Don Cherry
Drums – Billy Higgins
The second album by Ornette Coleman's legendary quartet featuring Don Cherry, Charlie Haden, and Billy Higgins, Change of the Century is every bit the equal of the monumental The Shape of Jazz to Come, showcasing a group that was growing ever more confident in its revolutionary approach and the chemistry in the bandmembers' interplay. When Coleman concentrates on melody, his main themes are catchier, and when the pieces emphasize group interaction, the improvisation is freer. Two of Coleman's most memorable classic compositions are here in their original forms -- "Ramblin'" has all the swing and swagger of the blues, and "Una Muy Bonita" is oddly disjointed, its theme stopping and starting in totally unexpected places; both secure their themes to stable, pedal-point bass figures. The more outside group improv pieces are frequently just as fascinating; "Free," for example, features a double-tongued line that races up and down in free time before giving way to the ensemble's totally spontaneous inventions. The title cut is a frantic, way-out mélange of cascading lines that nearly trip over themselves, brief stabs of notes in the lead voices, and jarringly angular intervals -- it must have infuriated purists who couldn't even stomach Coleman's catchiest tunes. Coleman was frequently disparaged for not displaying the same mastery of instrumental technique and harmonic vocabulary as his predecessors, but his aesthetic prized feeling and expression above all that anyway. Maybe that's why Change of the Century bursts with such tremendous urgency and exuberance -- Coleman was hitting his stride and finally letting out all the ideas and emotions that had previously been constrained by tradition. That vitality makes it an absolutely essential purchase and, like The Shape of Jazz to Come, some of the most brilliant work of Coleman's career. Steve Huey
Tracklist :
1 Ramblin' 6:34
2 Free 6:20
3 The Face Of The Bass 6:53
4 Forerunner 5:13
5 Bird Food 5:25
6 Una Muy Bonita 5:51
7 Change Of The Century 4:41
Credits :
Alto Saxophone, Written-By – Ornette Coleman
Bass – Charlie Haden
Drums – Billy Higgins
Trumpet [Pocket] – Donald Cherry
Recorded a little over a month after his groundbreaking work Free Jazz, this album found Coleman perhaps retrenching from that idea conceptually, but nonetheless plumbing his quartet music to ever greater heights of richness and creativity. Ornette! was the first time bassist Scott LaFaro recorded with Coleman, and the difference in approach between LaFaro and Charlie Haden is apparent from the opening notes of "W.R.U." There is a more direct propulsion and limberness to his playing, and he can be heard driving Coleman and Don Cherry actively and more aggressively than Haden's warm, languid phrasing. The cuts, with titles derived from the works of Sigmund Freud, are all gems and serve as wonderful launching pads for the musicians' improvisations. Coleman, by this time, was very comfortable in extended pieces, and he and his partners have no trouble filling in the time, never coming close to running out of ideas. Special mention should be made of Ed Blackwell, with one of his finest performances. Ornette! is a superb release and a must for all fans of Coleman and creative improvised music in general. Brian Olewnick
Tracklist :
1 W.R.U. 16'25
Ornette Coleman
2 T. & T. 4'35
Ornette Coleman
3 C. & D. 13'10
Ornette Coleman
4 R.P.D.D. 9'39
Ornette Coleman
- BONUS TRACK -
5 Proof Readers 10'25
Ornette Coleman
Credits :
Alto Saxophone – Ornette Coleman
Bass – Scott LaFaro
Drums – Ed Blackwell
Trumpet [Pocket] – Donald Cherry
It's an understatement to say that Ornette Coleman's stint with Atlantic altered the jazz world forever, and Ornette on Tenor was the last of his six LPs (not counting outtakes compilations) for the label, wrapping up one of the most controversial and free-thinking series of recordings in jazz history. Actually, it's probably his least stunning Atlantic, not quite as revolutionary or memorable as many of its predecessors, but still far ahead of its time. Coleman hadn't played much tenor since a group of Louisiana thugs beat him and destroyed his instrument, but he hadn't lost his affection for the tenor's soulful, expressive honk and the ease with which people connected with it. That rationale might suggest a more musically accessible session, but that isn't the case. Ornette on Tenor is just as challenging and harmonically advanced as any of his previous Atlantics. In fact, it's arguably more so, since there aren't really any memorable themes to return to. That means there are fewer opportunities for Coleman and Don Cherry to interact and harmonize, which puts the focus mainly on Coleman's return to tenor playing. And, actually, it isn't tremendously different from his alto playing. There are a few traces of Coleman's early Texas gutbucket R&B days, plus a few spots where he explores a breathier tone, but for the most part his spiraling solo lines are very similar to his other Atlantic albums, and his upper-register sound is often a dead ringer for his plaintive alto cries. With Coleman ostensibly exploring new territory, it's hard not to be a little disappointed that Ornette on Tenor doesn't have the boundary-shattering impact of his previous work -- but then again, it's probably asking too much to expect a revolution every time out. Steve Huey
Tracklist :
1 Cross Breeding 11:20
2 Mapa 9:08
3 Enfant 6:29
4 Eos 6:38
5 Ecars 7:37
Credits :
Bass – Jimmy Garrison
Drums – Ed Blackwell
Tenor Saxophone – Ornette Coleman
Trumpet [Pocket] – Donald Cherry
Esbjörn Svensson has stood not only once on stage in Montreux. He was already a guest in the summer of 1998 at the jazz festival on Lake Gen...
