Tracklist :
1 Lonely Woman 12:11
Ornette Coleman
2 Clergyman's Dream 19:03
Ornette Coleman
3 Sadness 4:05
Ornette Coleman
4 Falling Star 14:23
Ornette Coleman
5 Interview 3:10
Credits :
Bass – David Izenson
Drums – Charles Moffett
Alto Saxophone (1 to 3), Trumpet, Violin (4) – Ornette Coleman
Notas.
Tivoli, Copenhagen, Denmark, November 30, 1965.
Issued for the first time. 
Tracklist :
1 Forms And Sounds For Wind Quintet (In Ten Movements) 25:03
Bassoon – Cecil James
Clarinet – Sidney Fell
Flugelhorn – John Burden
Flute – Edward Walker
Oboe – Derek Wickens
Performer – The Virtuoso Ensemble
2 Sadness 3:40
3 Clergyman's Dream 12:22
4 Falling Stars 9:02
5 Silence 9:17
6 Happy Fool 7:13
7 Ballad 5:20
8 Dough Nuts 6:15
Credits :
Bass – David Izenzon
Drums – Charles Moffett
Trumpet, Violin (4), Alto Saxophone, Composed By – Ornette Coleman
Notas.
Live at Fairfield Hall, Croydon, England, August 29, 1965.
Track 1 is an extended Ornette Coleman composition performed by the Virtuoso Ensemble.
Tracklist :
1 Doughnut 9:00
2 Sadness 4:00
3 Dedication To Poets And Writers 8:50
4 The Ark 23:24
Credits :
Bass – David Izenzohn
Cello – Kermit Moore
Saxophone [Sax], Composed By [All Compositions By] – Ornette Coleman
Percussion – Charles Moffet
Viola – Julian Barber
Violin – Nathan Goldstein, Selwart Clark
This four-part suite is actually a film soundtrack to the debut feature by Conrad Rooks, though it was never used as such. Recorded in 1965, it was performed by the Ornette Coleman Trio with Charles Moffett on drums and David Izenson on bass; augmenting the session were Pharoah Sanders on tenor and a large studio orchestra arranged by Joseph Tekula. What is most notable is the kind of control Coleman has over the orchestra. His trio is playing by intuition, which was normal for them, but they open to accommodate the more formal constructs of a band who knows little about improvisation and how it works in the free jazz context. Sanders' interaction with Coleman is startling too, in that his normally overpowering voice is tempered here, playing along with the nuances and odd harmonic figures Coleman suggests and then blatantly states from his alto. The improvisation is complementary, not a cutting contest at all. Most of all, the rhythm section carries the balance of power and keeps the entire thing moving, handling the dynamic changes with a feral grace while at the same time suggesting a knottier path for Coleman to follow in the tempting pastoral sections of the work. While not considered a masterwork of Coleman's, perhaps because of its unavailability in the United States in its entirety, Chappaqua Suite is a testament to Coleman's vision as a composer and the power of his orchestral direction. Very worthwhile indeed.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Chappaqua Suite
1-1 Part I 21:25
1-2 Part II 19:00
2-1 Part III 17:40
2-2 Part IV 21:58
Credits :
Alto Saxophone, Trumpet – Ornette Coleman
Bass – David Izenzon
Drums – Charles Moffett
Tenor Saxophone – Pharoah Sanders 
Tracklist :
A1 Doughnut 9:00
A2 Sadness 4:00
A3 Dedication To Poets And Writers 8:50
B1 The Ark 23:24
Credits :
Alto Saxophone – Ornette Coleman (pistas: A1, A2, B1)
Bass – David Izenzon (pistas: A1, A2, B1)
Cello – Kermit Moore (pistas: A3)
Composed By – Ornette Coleman
Drums – Charles Moffett (pistas: A1, A2, B1)
Viola – Julien Barber (pistas: A3)
Violin – Nathan Goldstein (pistas: A3), Selwart Clarke (pistas: A3)
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Tracklist :
1 Announcement 1:09
2 Faces And Places 11:37
3 European Echoes 7:53
4 Dee Dee 10:38
5 Dawn 8:05
- BONUS TRACKS -
6 Faces And Places (Alternate Take) 8:31
7 European Echoes (Alternate Take) 14:13
8 Doughnuts 13:30
Credits :
Alto Saxophone, Composed By – Ornette Coleman
Bass – David Izenzon
Drums – Charles Moffett
The second night of Ornette Coleman's two-week stand in Sweden was even fierier than the first, if the recorded documents are to be believed. For starters, December 4 was the night that Coleman brought out the violin and the trumpet on the first tune; "Snowflakes and Sunshine" must have taken club-goers by surprise. Those first notes skitter across the neck as the bow goes "scree" in the middle registers and bassist David Izenzon moves to create an atonal bed of rock for Coleman, while Charles Moffett plays in the triple time to a cipher of a time signature. And just as the violin starts to create a tension that is difficult for the other two members of his trio to endure musically, Coleman switches to trumpet and hauls it back inside, or at least to the ledge's edge before returning to the violin a few minutes later. The rhythm sect tries to rein him in, but he careens off Izenzon's arco playing and into an entirely new harmonic language. For the rest of the gig, it's back to the alto, with Coleman even going as far as to goof on Gershwin's "Rhapsody in Blue" on the opening bars of "Morning Song" before playing a ballad every bit as tender and angularly beautiful as one of his. "Riddles" is one of Coleman's Eastern screamers, played modally with the same kind of breathy acrobatics Coltrane used on the music that made it onto the posthumous Sunship. There are several drone modes created by Izenzon, with off-measure rhythmic figures cut by Moffett. Coleman plays the alto as one would a Tibetan oboe or a thighbone trumpet, reaching deep into the lower register to touch the drone and then sail off into scalar abandon. There is more than enough fire, but the astonishing thing is the color and texture Coleman gets from the horn. The set closes with a lovely, knotty piece called "Antiques," in which Izenzon and Coleman match modes for an interesting meeting of the minds in a dramatic wash of color and mood. This is the stronger of the two evenings, but they are both fine records by an under-recognized band in Coleman's development.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Tracklist :
1 Snowflakes And Sunshine 10:42
2 Morning Song 10:41
3 The Riddle 9:54
4 Antiques 12:35
5 Morning Song (Alternate Take) 8:16
6 The Riddle (Alternate Take) 12:39
7 Antiques (Alternate Take) 13:00
Credits :
Alto Saxophone, Composed By – Ornette Coleman
Bass – David Izenzon
Drums – Charles Moffett
Remastered By [2001] – Rudy Van Gelder
Released as a double LP in the U.S. on the Arista Freedom label in the early '70s, this live concert captures Coleman in a transitional period that found him experimenting with contemporary classical forms as well as making more frequent use of the violin and trumpet. In many ways, it can be heard as an extension of the ideas first encountered on the ESP Town Hall Concert recording. It begins with a lengthy piece for wind quintet (on which neither Coleman nor his partners for this event, bassist David Izenson and drummer Charles Moffett, perform) that foreshadows later work such as Skies of America. While it's somewhat derivative of, even at that point, rather clichéd modernist styles, it still possesses a uniquely Coleman-ish verve and lilt. This is followed by his harrowing "Sadness," led in by Izenson's grinding arco and launched into the ether by Coleman's bone-piercing alto; it's an amazing performance. There's a brilliant reading of "Clergyman's Dream," the leader's alto never sounding creamier, rolling and bouncing over his rhythm section as naturally as a stream over boulders. His use of trumpet and violin earned him the wrath of many a jazz critic and listener at the time, those who retained an adherence to "professionalism" at all costs and couldn't understand Coleman's willful primitivism and the rationale behind it. A few years hence, they would be even more outraged when he introduced his 12-year-old son into the band as drummer. Heard now, there's an extremely refreshing freedom in his approach, one that strongly underlines his contention that innate musical ability trumps technique. An Evening with Ornette Coleman is a wonderful recording and should command a place in the collection of any serious fan of this great musician. Brian Olewnick
Tracklist :
1 Sounds and Forms for Wind Quintet 16:13 
Ornette Coleman
2 Sadness 3:33
Ornette Coleman
3 Clergyman's Dream 12:15
Ornette Coleman
4 Falling Stars 8:54
Ornette Coleman
5 Silence 9:13
Ornette Coleman
6 Happy Fool 7:11
Ornette Coleman
7 Ballad 5:19
Ornette Coleman
8 Doughnuts 6:10
Ornette Coleman
Credits :
Alto Saxophone, Violin, Trumpet, Written-By – Ornette Coleman
Bass – David Izenzon
Drums – Charles Moffett
This two-LP set contains the soundtrack Ornette Coleman and his trio contributed for the obscure Belgian film of the same name. Coleman (switching between alto, trumpet and violin), bassist Dave Izenzon and drummer Charles Moffett did not merely provide filler music but full-blown improvisations that stand very much on their own. Fans of Coleman's very explorative music are advised to search for this valuable two-fer. Scott Yanow
Tracklist :
1-1 European Echoes 14:20
1-2 Unnamed 13:49
1-3 Unnamed 13:49
2-1 The Fifth Of Beethoven 14:56
2-2 Wedding Day 16:15
2-3 Unnamed 14:41
2-4 Sadness 4:03
Credits :
Alto Saxophone, Violin, Trumpet, Composed By – Ornette Coleman
Bass – David Izenzon
Percussion – Charles Moffett
Tracklist :
1-1 European Echoes 14:20
1-2 Unnamed 13:49
1-3 Unnamed 13:49
2-1 The Fifth Of Beethoven 14:56
2-2 Wedding Day 16:15
2-3 Unnamed 14:41
2-4 Sadness 4:03
Credits :
Alto Saxophone, Tenor Saxophone, Painting [Cover], Written-By – Ornette Coleman
Alto Saxophone, Trumpet, Violin – Ornette Coleman
Bass – David Izenzon
Drums – Charles Moffett
From 1964, Archie Shepp's first date as a leader featured -- as one would expect from the title -- four tunes by John Coltrane, his mentor, his major influence, and his bandleader. The fact that this album holds up better than almost any of Shepp's records nearly 40 years after the fact has plenty to do with the band he chose for this session, and everything to do with the arranging skills of trombonist Roswell Rudd. The band here is Shepp on tenor, John Tchicai on alto, Rudd on trombone, Trane's bassist Reggie Workman, and Ornette Coleman's drummer Charles Moffett. Even in 1964, this was a powerhouse, beginning with a bluesed-out wailing version of "Syeeda's Song Flute." This version is ingenious, with Shepp allowing Rudd to arrange for solos for himself and Tchicai up front and Rudd punching in the blues and gospel in the middle, before giving way to double time by Workman and Moffett. The rawness of the whole thing is so down-home you're ready to tell someone to pass the butter beans when listening. Rudd's arrangement of "Naima" is also stunningly beautiful: He reharmonizes the piece for the mid-register tone of Shepp, who does his best Ben Webster and adds a microtonal tag onto the front and back, dislocating the tune before it begins and after it ends, while keeping it just out of the range of the consonant throughout. Wonderful! The only Shepp original here is "Rufus (Swung, His Face at Last to the Wind, Then His Neck Snapped)." It's not a terribly sophisticated tune, but it works in the context of this band largely because of the soloing prowess of all the members -- particularly Tchicai -- here. There is barely any melody, the key changes are commensurate with tempo shifts, and the harmonics are of the sliding scale variety. Still, there are the blues; no one can dig into them and honk them better than Shepp. When it came to sheer exuberance and expression, he was a force to be reckoned with in his youth, and it shows in each of the tunes recorded here. Four for Trane is a truly fine, original, and lasting album from an under-celebrated musician.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Tracklist :
1 Syeeda's Song Flute 8:28
John Coltrane
2 Mr. Syms 7:39
John Coltrane
3 Cousin Mary 7:13
John Coltrane
4 Naima 7:08
John Coltrane
5 Rufus (Swung, His Face At Last To The Wind, Then His Neck Snapped) 6:25
Archie Shepp
Credits :
Alto Saxophone – John Tchicai
Bass – Reggie Workman
Drums – Charles Moffett
Engineer – Rudy Van Gelder
Producer – Bob Thiele, John Coltrane
Tenor Saxophone – Archie Shepp
Trombone – Roswell Rudd
Trumpet – Alan Shorter
An exploration of the traces left by Celtic music on its journey from European music into jazz. In "Jazz at Berlin Philharmonic," ...
