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.
Disc two of this two-CD set chronicling Ornette Coleman's two bass quartet tour of Italy in 1968 has been fairly available to fans before as Live in Milano, 1968. The first disc of 2006's Complete 1968 Italian Tour is 45 minutes of unheard prime Coleman with David Izenzon, Charlie Haden, and Ed Blackwell from Rome, where Coleman mixes the reedy shenai and trumpet in with his trademark alto. The sound quality is not the greatest -- these are audience recordings, not board tapes -- but not that bad, either, given those parameters. No pieces are duplicated and Coleman is quite animated and expansive in his playing -- the two-bass interplay sends his alto soaring and stretching out, especially on the Milan disc. The Rome concert is more compact, with four pieces clocking in between 10-13 minutes, and opens with a version of "Lonely Woman" that goes in a far more buoyant and upbeat direction than usual. The sound reduces Haden to a fairly subliminal level here, swallowed up by Izenzon's bowing and Blackwell being, well, Blackwell: his own African-New-Orleans-chop-funk-swing-thing-masterful self.
The midtempo "Monsieur le Prince" jumps into a strong Haden walking foundation, with Izenzon filling the middle arco-style, giving Coleman a broad band connection to bounce around and off rhythmically. Izenzon's bass drops in and out, a very effective sonic guerilla element (or the "X factor") employing radical low string sounds at times. "Forgotten Children" pits Coleman playing bluesy trumpet against the Izenzon arco; shades of Albert Ayler are evident in the melody here and Coleman displays a more impressive command of this secondary instrument than he sometimes does. Be it open bell or muted, he isn't missing or fracturing notes and is conveying deep feeling. When Blackwell lays out later, the exchange between the two bassists nears the chamber zone, before an abrupt reentry by the full quartet is marked by supercharged walking from Haden and Blackwell powerhousing through a brief solo. It is (as usual) impossible to predict where the music may be heading, all part and parcel of Coleman's endless capacity for surprise.
Blackwell shows off his New Orleans roots on "Buddah Blues," setting up a powerful, physical undercurrent with Haden that leaves Izenzon a bit nonplussed concerning how to fit in. The piece quickly veers off towards freer territory with Haden coming through much stronger during this track supporting Coleman's shenai -- all reedy wails, trills, slurs and smears, and bumblebee flurries. "Tutti" is the "Dancing in Your Head" theme five years before it officially took on that name, but the echo-y room in Milan renders Izenzon hard to make out, and Haden fares even worse. But it hardly matters because Coleman and Blackwell are simply flying, and an unusual honking section closing Coleman's solo gets a big crowd response. "Three Wisemen and a Saint" finds Coleman again going for more flurries, honks, and wails than is customary for him. It's enough to make you wonder if something set him off that night (for better or worse) because his playing sounds agitated and notes are just pouring out of the alto. He finally lets more space in on the lyrical ballad "New York," Izenzon supporting with a yearning undertone to the melody. The piece is a reflective summing up, with some detail in phrasing or pure emotion invariably sustaining interest just when you think he's gone back to the central motif once too often.
Coleman's regular group for the prior few years used the same two-bass formation. With Haden, Izenzon, and Blackwell here, though, the arco bass tones seem to offer musical possibilities that inspire Coleman to improvise at great lengths and the music here is hard to argue with despite the sound shortcomings. Coleman wasn't very far removed from his self-imposed mid-'60s creative hiatus here, and Complete 1968 Italian Tour is a worthy addition to the catalog of European concert recordings documenting this era, sound quality and all. Fussy or audiophile ears are hereby forewarned, though. Don Snowden
Tracklist :
1-1 Lonely Woman 10:32
1-2 Monsieur Le Prince 9:48
1-3 Forgotten Children 11:08
1-4 Buddha Blues 13:12
2-1 Tutti 23:05
2-2 Three Wisemen And The Saint 13:48
2-3 New York 18:48
Credits :
Alto Saxophone, Composed By – Ornette Coleman
Bass – Charlie Haden, David Izenzon
Drums – Ed Blackwell
Trumpet, Shenai – Ornette Coleman (pistas: 1-1 to 1-4)
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
Although rather difficult to track down now, The Unprecedented Music of Ornette Coleman was actually a generously distributed bootleg in the 1980s, seeing at least three separate pressings in that decade alone. The disc documents a 1968 performance of the Coleman Quartet in Milan, Italy, and features the interesting lineup of Coleman on alto sax, trumpet, and shanai, Ed Blackwell on drums, and the bass duo of David Izenzon and Charlie Haden. As can be expected, the quartet plays with great care and collective understanding throughout. Opening the date is a touching version of "Lonely Woman" performed in the style, perhaps, of his 1965 trio featuring Izenzon and Charles Moffett. This time, though, Blackwell's polyrhythms and the added bass of Haden fill in the wide open space afforded by the trio setting heard on such dates as At the Golden Circle. At first, one may get the impression that Izenzon and Haden are battling each other to be heard, but as the disc rolls on it is clear that the two are indeed partners striving toward a common end. Coleman enthusiasts will definitely be interested in the album's closer, the shanai workout "Buddah Blues," during which he displays a tenacity seldom heard even in his discography. The post-Bird, bluesy R&B shouts listeners commonly associate with him are abandoned almost entirely here in favor of a blistering splatter of upper-register runs and Eastern modes, a style resembling Don Van Vliet (Captain Beefheart) as much as anyone else. As a result, "Buddah Blues" takes the date into a direction more akin to ESP or BYG/Actuel sessions than that typically expected of Coleman. Worth hunting for. Brandon Burke
Tracklist :
1 Lonely Woman 10:10
Ornette Coleman
2 Monsieur le Prince 9:30
Ornette Coleman
3 Forgotten Children 10:53
Ornette Coleman
4 Buddah Blues 12:57
Ornette Coleman
Credits :
Alto Saxophone, Trumpet, Shanai – Ornette Coleman
Bass – Charlie Haden, David Izenzon
Drums – Ed Blackwell
Notas.
"Recorded live in Rome, 1967", but it is actually the concert in Rome, February 8, 1968.
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...
