A fascinating reissue that comfortably straddles the lines of jazz,
folk, and world music, working up a storm by way of a jazz protest album
that points toward the Spanish Civil War in particular and the Vietnam
War in passing. Haden leads the charge and contributes material, but the
real star here may in fact be Carla Bley, who arranged numbers, wrote
several, and contributed typically brilliant piano work. Also of
particular note in a particularly talented crew is guitarist Sam Brown,
the standout of "El Quinto Regimiento/Los Cuatro Generales/Viva la
Quince Brigada," a 21-minute marathon. Reissue producer Michael Cuscuna
has done his best with the mastering here, but listeners will note a
roughness to the sound -- one that is in keeping with the album's tone
and attitude. Steven McDonald
Tracklist :
1 The Introduction 1:15
Carla Bley
2 Song of the United Front 1:52
Bertolt Brecht / Hanns Eisler
3 El Quinto Regimiento (The Fifth Regiment)/Los Cuatro Generales (The Four G 20:58
Carla Bley / Traditional
4 The Ending to the First Side 2:07
Carla Bley
5 Song for Ché 9:29
Charlie Haden
6 War Orphans 6:42
Ornette Coleman
7 The Interlude (Drinking Music) 1:24
Carla Bley
8 Circus '68 '69 6:10
Charlie Haden
9 We Shall Overcome 1:19
Guy Carawan / Frank Hamilton / Zilphia Horton / Pete Seeger / Traditional
Credits :
Bass, Producer – Charlie Haden
Clarinet – Perry Robinson
Cornet, Flute [Indian Wood Flute, Bamboo Flute] – Don Cherry (tracks: 3, 5)
French Horn, Wood Block [Hand Wood Blocks], Bells, Reeds [Crow Call], Whistle [Military Whistle] – Bob Northern
Guitar, Kalimba [Thumb Piano] – Sam Brown (tracks: 1, 3 to 7)
Percussion – Andrew Cyrille (tracks: 8), Paul Motian
Tambourine, Arranged By – Carla Bley
Tenor Saxophone, Alto Saxophone – Dewey Redman
Tenor Saxophone, Clarinet – Gato Barbieri
Trombone – Roswell Rudd
Trumpet – Michael Mantler
Tuba – Howard Johnson
29.11.23
CHARLIE HADEN — Liberation Music Orchestra (1970) Two Version | 1996, RM | BONUS TRACK | Impulse! – IMP 11882 + 2001, RM | Impulse! Best 50 – 38 | FLAC (tracks+.cue), lossless
24.12.22
ORNETTE COLEMAN - Broken Shadows (1982) LP | Contemporary Masters Series | 24bits-192Hz | FLAC (image+.cue), lossless
This LP contains eight selections taken from Ornette Coleman's three-year period with Columbia that were previously unreleased. Cut prior to Coleman's formation of Prime Time, these performances serve as an unintentional retrospective of his career up to that point. Not that any of the original compositions (all by Coleman) had ever been recorded before but such alumni as trumpeters Don Cherry and Bobby Bradford, tenor saxophonist Dewey Redman, bassist Charlie Haden, and drummers Ed Blackwell and Billy Higgins appear on most of the selections in one combination or another (and all of them are on two septet selections). In addition, a pair of numbers ("Good Girl Blues" and "Is It Forever") have Coleman, Redman, Haden and Blackwell joined by guitarist Jim Hall, pianist Cedar Walton, a singer and a woodwind section; these look back a bit at Ornette's guest appearances on a John Lewis/Gunther Schuller album. Scott Yanow
SIDE A
A1 Happy House 9'50
(Ornette Coleman)
Acoustic Bass – Charlie Haden
Alto Saxophone – Ornette Coleman
Drums – Billy Higgins, Ed Blackwell
Tenor Saxophone – Dewey Redman
Trumpet – Bobby Bradford
Trumpet [Pocket] – Don Cherry
A2 Elizabeth 10'30
(Ornette Coleman)
Acoustic Bass – Charlie Haden
Alto Saxophone – Ornette Coleman
Drums – Billy Higgins, Ed Blackwell
Tenor Saxophone – Dewey Redman
Trumpet – Bobby Bradford
Trumpet [Pocket] – Don Cherry
A3 School Work 5'40
(Ornette Coleman)
Acoustic Bass – Charlie Haden
Alto Saxophone – Ornette Coleman
Drums – Ed Blackwell
Tenor Saxophone – Dewey Redman
Trumpet – Bobby Bradford
SIDE B
B1 Country Town Blues 6'27
(Ornette Coleman)
Acoustic Bass – Charlie Haden
Alto Saxophone – Ornette Coleman
Drums – Billy Higgins
Trumpet [Pocket] – Don Cherry
B2 Broken Shadows 6'45
(Ornette Coleman)
Acoustic Bass – Charlie Haden
Alto Saxophone – Ornette Coleman
Drums – Billy Higgins, Ed Blackwell
Tenor Saxophone – Dewey Redman
Trumpet – Bobby Bradford
Trumpet [Pocket] – Don Cherry
B3 Rubber Gloves 3'26
(Ornette Coleman)
Acoustic Bass – Charlie Haden
Alto Saxophone – Ornette Coleman
Drums – Ed Blackwell
Tenor Saxophone – Dewey Redman
B4 Good Girl Blues 3'07
(Ornette Coleman)
Acoustic Bass – Charlie Haden
Alto Saxophone – Ornette Coleman
Drums – Ed Blackwell
Electric Guitar – Jim Hall
Piano [Acoustic] – Cedar Walton
Tenor Saxophone – Dewey Redman
Vocals – Webster Armstrong
B5 Is It Forever 4'52
(Ornette Coleman)
Acoustic Bass – Charlie Haden
Alto Saxophone – Ornette Coleman
Drums – Ed Blackwell
Electric Guitar – Jim Hall
Piano [Acoustic] – Cedar Walton
Tenor Saxophone – Dewey Redman
Vocals – Webster Armstrong
Notas.
Uncredited woodwind section on B4 and B5.
Original Contemporary Masters Series. Red and black label. "Columbia NY" on run-out groove.
A1 to B2 are previously unreleased sessions from the recording of Science Fiction in September 1971. Tracks B3 to B5 previously unreleased sessions recorded in September 1972.
23.12.22
THE ORNETTE COLEMAN QUARTET - The Belgrade Concert (1971-1995) FLAC (tracks), lossless
Tracklist :
1 Announcement
2 Street Woman
3 Who Do You Work For
4 Written Word
5 Song For Che
6 Rock The Clock
Credits :
Bass - Charlie Haden
Drums - Ed Blackwell
Saxophone [Tenor], Oboe [Musette] - Dewey Redman
Saxophone, Trumpet, Violin - Ornette Coleman
22.12.22
ORNETTE COLEMAN - The Complete Science Fiction Sessions (2000) 2CD | FLAC (tracks+.cue), lossless
Finally, on a pair of CDs in one collection are the rest of Ornette Coleman's Columbia recordings, all of them done before Skies of America. Science Fiction was a regular part of Columbia's jazz catalogue, and Broken Shadows was released on LP in 1982. On this double set, both of those records and three previously unreleased cuts from those sessions are together at last. Coleman assembled mostly alumni for his September 1971 sessions in the Columbia studios. The sizes of the ensembles range from septet to quartet to up to 11 players. His classic early bands are reunited here with trumpeter Don Cherry, saxophonist Dewey Redman, bassist Charlie Haden, and drummers Ed Blackwell and Billy Higgins. Augmenting these bands in places are pianist Cedar Walton, guitarist Jim Hall, trumpeter Bobby Bradford, vocalist Asha Puthi, and Science Fiction narrator, poet David Henderson. The swinging weirdness quotient is high on Science Fiction, especially on "What Reason Could I Give," "Street Woman," and "Civilization Day." The title track is an out, free-blowing fest that sounds hopelessly dated but is still cool, and on the tracks "School Work," "Broken Shadows," and "Happy House," listeners hear the first traces of the themes Coleman continues to employ. The inclusion of alternate takes offers the listener a cleaner view of the kind of harmonic theory Coleman was working against when he created harmolodics. Some of the oddities on these sessions are the seeming incongruities between Redman and Hall on "Good Girl Blues," with Webster Armstrong's singing with Walton's piano and Coleman just undermining the entire thing, trying to force another dimension out of the blues, or perhaps a new one into them. Elsewhere, on "Rock the Clock," listeners hear Coleman's first experiments with electricity, with a funky backbeat straining to maintain itself against his sawing violin, note-spattering trumpet; then there are Redman's bluesy post-bop chromatics (quoting Brubeck's "Take Five" in his solo) moving atop a funky doubled-up backbeat and one scary amplified Charlie Haden bass. Science Fiction is a stellar collection of Ornette-ology assembled in one place. This is some of his very best material, archived and issued the way it should have been in the first place.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Tracklist :
1-1 What Reason Could I Give 3'07
Alto Saxophone, Composed By – Ornette Coleman
Bass – Charlie Haden
Drums – Ed Blackwell
Tenor Saxophone – Dewey Redman
Timpani – Billy Higgins
Trumpet – Carmine Fornarotto, Gerard Schwarz
Vocals – Asha Puthli
1-2 Civilization Day 6'05
Alto Saxophone, Composed By – Ornette Coleman
Bass – Charlie Haden
Drums – Billy Higgins
Trumpet [Pocket] – Don Cherry
1-3 Street Woman 4'50
Alto Saxophone, Composed By – Ornette Coleman
Bass – Charlie Haden
Drums – Billy Higgins
Trumpet [Pocket] – Don Cherry
1-4 Science Fiction 5'02
Alto Saxophone, Composed By – Ornette Coleman
Bass – Charlie Haden
Drums – Billy Higgins, Ed Blackwell
Tenor Saxophone – Dewey Redman
Trumpet – Bobby Bradford
Trumpet [Pocket] – Don Cherry
Voice [Poet] – David Henderson
1-5 Rock The Clock 3'17
Bass – Charlie Haden
Drums – Ed Blackwell
Tenor Saxophone, Suona [Musette] – Dewey Redman
Trumpet, Violin, Composed By – Ornette Coleman
1-6 All My Life 3'56
Alto Saxophone, Composed By – Ornette Coleman
Bass – Charlie Haden
Drums – Ed Blackwell
Tenor Saxophone – Dewey Redman
Timpani – Billy Higgins
Trumpet – Carmine Fornarotto, Gerard Schwarz
Vocals – Asha Puthli
1-7 Law Years 5'22
Alto Saxophone, Composed By – Ornette Coleman
Bass – Charlie Haden
Drums – Ed Blackwell
Tenor Saxophone – Dewey Redman
Trumpet – Bobby Bradford
1-8 The Jungle Is A Skyscraper 5'27
Alto Saxophone, Composed By – Ornette Coleman
Bass – Charlie Haden
Drums – Ed Blackwell
Tenor Saxophone – Dewey Redman
Trumpet – Bobby Bradford
1-9 School Work 5'36
Alto Saxophone, Composed By – Ornette Coleman
Bass – Charlie Haden
Drums – Ed Blackwell
Tenor Saxophone – Dewey Redman
Trumpet – Bobby Bradford
1-10 Country Town Blues 6'25
Alto Saxophone, Composed By – Ornette Coleman
Bass – Charlie Haden
Drums – Billy Higgins
Trumpet [Pocket] – Don Cherry
1-11 Street Woman (Alternate Take) 5'46
Alto Saxophone, Composed By – Ornette Coleman
Bass – Charlie Haden
Drums – Billy Higgins
Trumpet [Pocket] – Don Cherry
1-12 Civilization Day (Alternate Mix) 6'04
Alto Saxophone, Composed By – Ornette Coleman
Bass – Charlie Haden
Drums – Billy Higgins
Trumpet [Pocket] – Don Cherry
2-1 Happy House 9'47
Alto Saxophone, Composed By – Ornette Coleman
Bass – Charlie Haden
Drums – Billy Higgins, Ed Blackwell
Tenor Saxophone – Dewey Redman
Trumpet – Bobby Bradford
Trumpet [Pocket] – Don Cherry
2-2 Elizabeth 10'26
Alto Saxophone, Composed By – Ornette Coleman
Bass – Charlie Haden
Drums – Billy Higgins, Ed Blackwell
Tenor Saxophone – Dewey Redman
Trumpet – Bobby Bradford
Trumpet [Pocket] – Don Cherry
2-3 Written Word 9'44
Alto Saxophone, Composed By – Ornette Coleman
Bass – Charlie Haden
Drums – Billy Higgins, Ed Blackwell
Tenor Saxophone – Dewey Redman
Trumpet – Bobby Bradford
Trumpet [Pocket] – Don Cherry
2-4 Broken Shadows 6'42
Alto Saxophone, Composed By – Ornette Coleman
Bass – Charlie Haden
Drums – Billy Higgins, Ed Blackwell
Tenor Saxophone – Dewey Redman
Trumpet – Bobby Bradford
Trumpet [Pocket] – Don Cherry
2-5 Rubber Gloves 3'24
Alto Saxophone, Composed By – Ornette Coleman
Bass – Charlie Haden
Drums – Ed Blackwell
Tenor Saxophone – Dewey Redman
2-6 Good Girl Blues 3'05
Alto Saxophone, Composed By – Ornette Coleman
Bass – Charlie Haden
Drums – Ed Blackwell
Guitar – Jim Hall
Piano – Cedar Walton
Tenor Saxophone – Dewey Redman
Vocals – Webster Armstrong
2-7 Is It Forever 4'49
Alto Saxophone, Composed By – Ornette Coleman
Bass – Charlie Haden
Drums – Ed Blackwell
Guitar – Jim Hall
Piano – Cedar Walton
Tenor Saxophone – Dewey Redman
Vocals – Webster Armstrong
16.12.22
ORNETTE COLEMAN - Love Call (1968-2014) RM | SHM-CD | Blue Note, The Masterworks | FLAC (tracks+.cue), lossless
Love Call is other half of the New York Is Now session, which is, in a sense, ridiculous. Blue Note issued two records when they really only had one. There were two dates, April 29 and May 7, 1968. Half the tunes from this volume and half from New York Is Now were recorded at each session. Coleman, with Dewey Redman and the rhythm section of Elvin Jones and Jimmy Garrison, work through Coleman's melodic conceptions and harmonic constructs on five numbers. Coleman plays alto on four tunes and trumpet on three -- better than violin. "Airborne" is the most successful thing here in that Coleman's music matches the rhythm section's energy for the only time on the session. Redman's tenor solo is one of the most bleating and emotionally intense of his career, careening across microphonics as he flats fifths and screeches through a series of arpeggios that cause Coleman to begin his solo at 60 mph at the very top of a scale, and cruise through six or seven melodic variations on its theme before bringing it back down. Meanwhile, Elvin barely breaks a sweat and Garrison creates such a taut harmonic template for Coleman and Redman, they have to stretch. The title track is perhaps Coleman's finest moment on the trumpet. He spatters his notes in such a way that across the B-flat diminished nine scalar invention, he picks up all the tonal qualities in the color palette and chromatically orders them in such a way that they set Redman up with a prime opportunity to alter the melody of the tune one note at a time. Also, the bluesy theme in "Check Out Time," with its echoes of Thelonious Monk's "Blue Monk," is a nice touch, but it should have opened or closed the album.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Tracklist :
1 Airborne 10:29
2 Love Call 8:44
3 Open To The Public 8:03
4 Check Out Time 8:21
- BONUS TRACKS -
5 Love Call (Alternate Take) 5:29
6 Check Out Time (Alternate Take) 7:55
7 Just For You 4:13
Credits :
Alto Saxophone, Composed By – Ornette Coleman
Bass – Jimmy Garrison
Drums – Elvin Jones
Tenor Saxophone – Dewey Redman
ORNETTE COLEMAN - New York Is Now! (1968-2014) RM | SHM-CD | Blue Note, The Masterworks | FLAC (tracks+.cue), lossless
Recorded during the same session that resulted in the Love Call album
(in late April and early May of 1968), New York Is Now is one of the
true curiosity pieces in Ornette's catalog. With a rhythm section
comprised of ex-Coltrane sidemen Jimmy Garrison and Elvin Jones as well
as tenorist Dewey Redman, Ornette is, in some sense, at odds with
himself here. This particular rhythm section is a lot more modally than
harmonically propelled -- especially Jones, who sounds here like he
doesn't know what to do with himself in the restrictive tempos -- and
creates a complex set of issues for Coleman and Redman to contend with.
That said, on "The Garden of Souls," which opens the album, Coleman
makes the most of this sprightly, energetic rhythm team and moves
through quotations of "Moon River," "Danny Boy," and even Paul Muriat's
"Love Is Blue" during his solo, before shifting the harmonics around and
anchoring them somewhere between E flat 7 and E major. On "Broadway
Blues," Coleman actually makes use of Monk in his melodic conception,
and he and Redman have a go at turning a seven-note vamp into all sorts
of knotty material for soloing -- you can almost feel Jones smile as the
tempo reaches triple time; the saxophonists have to race each other
through it. And while this date is of only marginal interest it is
pleasant if not amazing -- with the exception of "For a Commercial,"
which features Ornette's strident violin playing above the rest of the
band in the mix.
1 - The Garden Of Souls
ORNETTE COLEMAN - Friends and Neighbors : Ornette Live at Prince Street (1970-2001) RM | FLAC (tracks+.cue), lossless
This disc contains one of Ornette Coleman's lesser-known sessions. In addition to his own alto (and occasional trumpet and violin), Coleman is joined by Dewey Redman on tenor, bassist Charlie Haden, drummer Ed Blackwell, and (on one of the two versions of "Friends and Neighbors") a variety of friends who sing along as best they can. Actually, the most notable tracks are the two extended pieces, "Long Time No See" and "Tomorrow." The music is typically adventurous, melodic in its own way, yet still pretty futuristic, even if (compared with his other releases) the set as a whole is not all that essential. Scott Yanow
Tracklist :
1 Friends And Neighbors (Vocal) 4:13
2 Friends And Neighbors (Instrumental) 2:55
3 Long Time No See 10:53
4 Let's Play 3:23
5 Forgotten Songs 4:24
6 Tomorrow 12:07
Credits :
Performer [Personnel], Alto Saxophone, Trumpet, Violin – Ornette Coleman
Performer [Personnel], Bass – Charlie Haden
Performer [Personnel], Drums – Ed Blackwell
Performer [Personnel], Tenor Saxophone – Dewey Redman
Producer [Original Album Produced By], Written-By – Ornette Coleman
ORNETTE COLEMAN - Science Fiction (1972) LP | FLAC (tracks+.cue), lossless
Ornette Coleman's first album for Columbia followed a stint on Blue Note that found the altoist in something of a holding pattern. Science Fiction was his creative rebirth, a stunningly inventive and appropriately alien-sounding blast of manic energy. Coleman pulls out all the stops, working with a variety of different lineups and cramming the record full of fresh ideas and memorable themes. Bassist Charlie Haden and drummers Billy Higgins and/or Ed Blackwell are absolutely indispensable to the overall effect, playing with a frightening, whirlwind intensity throughout. The catchiest numbers -- including two songs with Indian vocalist Asha Puthli, 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 Coleman's classic quartet of Haden, Higgins, and Don Cherry; "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 Haden, Blackwell, tenorist Dewey Redman, and trumpeter Bobby Bradford; both have racing, stop-start themes, and "Jungle"'s solos have some downright weird groaning effects. "Rock the Clock" foreshadows Coleman's '70s preoccupations, with Redman playing the musette (an Arabic double-reed instrument) and Haden amplifying his bass through a wah-wah pedal to produce sheets of distorted growls. The title track is a free septet blowout overlaid with David Henderson'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. Science Fiction is a meeting ground between Coleman'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. Steve Huey
Tracklist :
A1 What Reason Could I Give 3:01
Alto Saxophone – Ornette Coleman
Bass – Charlie Haden
Drums – Billy Higgins, Ed Blackwell
Tenor Saxophone – Dewey Redman
Trumpet – Carmon Fornarotto, Gerard Schwarg
Vocals – Asha Puthli
A2 Civilization Day 6:02
Alto Saxophone – Ornette Coleman
Bass – Charlie Haden
Drums – Billy Higgins
Trumpet [Pocket] – Don Cherry
A3 Street Woman 5:45
Alto Saxophone – Ornette Coleman
Bass – Charlie Haden
Drums – Billy Higgins
Trumpet [Pocket] – Don Cherry
A4 Science Fiction 5:05
Alto Saxophone – Ornette Coleman
Bass – Charlie Haden
Drums – Billy Higgins, Ed Blackwell
Tenor Saxophone – Dewey Redman
Trumpet – Bobby Bradford
Trumpet [Pocket] – Don Cherry
Voice [Poet] – David Henderson (5)
B1 Rock The Clock 4:52
Bass – Charlie Haden
Drums – Ed Blackwell
Tenor Saxophone, Suona [Musette] – Dewey Redman
Trumpet, Violin – Ornette Coleman
B2 All My Life 4:00
Alto Saxophone – Ornette Coleman
Bass – Charlie Haden
Drums – Billy Higgins, Ed Blackwell
Tenor Saxophone – Dewey Redman
Trumpet – Carmon Fornarotto*, Gerard Schwarg*
Vocals – Asha Puthli
B3 Law Years 5:29
Alto Saxophone – Ornette Coleman
Bass – Charlie Haden
Drums – Ed Blackwell
Tenor Saxophone – Dewey Redman
Trumpet – Bobby Bradford
B4 The Jungle Is A Skyscraper 5:25
Alto Saxophone – Ornette Coleman
Bass – Charlie Haden
Drums – Ed Blackwell
Tenor Saxophone – Dewey Redman
Trumpet – Bobby Bradford
ORNETTE COLEMAN - Skies Of America (1972-2014) RM | Jazz Collection 1000 | FLAC (tracks+.cue), lossless
Here's what is known about Ornette Coleman's first recorded orchestral symphonic work (he had written others previously and had them performed but never put on tape): After hiring conductor David Measham and the London Symphony Orchestra, British musicians' union rules prohibited Coleman from using his own quartet to play on the record. As a result, he had to re-examine the work without the concerto grosso form and, to fit the work on a single LP, he had to cut many of the recurrent themes of the work. It is also known that the recording quality isn't the greatest. So what? The bottom line is this: In the 21st century, Skies of America, which was Ornette's first attempt at employing his newly developed harmolodic theory (whereby using modulation many players could solo at once using different keys), still sounds ahead of its time. Though there are 21 bands marked on the cover, this is a single unbroken work with many of the themes recurring -- either in that they had long been present in Ornette's musical iconography, or would become so. (Check the theme in "The Good Life," as it evolved from "School Work" from 1962 and became "Dancing in Your Head" in the late '70s.) Coleman himself solos beautifully in the middle of the disc, from "The Artist in America" on and off until the work's end with "Sunday in America." This is loaded music: politically, emotionally, and also spiritually. The dissonance doesn't seem so profound now, but it still rubs against the grain of Western harmonic principles in all the right ways. It's difficult to find the sense of what chord is dominant in Coleman's composition, and for that alone it's valuable. But also, it's compelling listening on a level that music such as this is not yet the cultural norm or even close to approaching its standard -- which means that it is not yet fully possible. Ornette's was an opening volley, thrown down as a gauntlet that has yet to be picked up. This is still dangerous and rewarding music.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Tracklist :
1 Skies Of America 2:48
2 Native Americans 1:11
3 The Good Life 1:33
4 Birthdays And Funerals 3:14
5 Dreams 0:53
6 Sounds Of Sculpture 1:19
7 Holiday For Heroes 1:09
8 All Of My Life 3:40
9 Dancers 1:18
10 The Soul Within Woman 0:50
11 The Artist In America 3:56
12 The New Anthem 0:31
13 Place In Space 2:44
14 Foreigner In A Free Land 1:19
15 Silver Screen 1:12
16 Poetry 1:14
17 The Men Who Live In The White House 2:50
18 Love Life 4:34
19 The Military 0:33
20 Jam Session 0:40
21 Sunday In America 4:28
Credits :
Alto Saxophone [Uncredited], Composed By, Liner Notes, Orchestrated By – Ornette Coleman
Bass [Uncredited] – Charlie Haden
Conductor – David Measham
Drums [Uncredited] – Ed Blackwell
Orchestra – The London Symphony Orchestra
Tenor Saxophone, Oboe [Uncredited] – Dewey Redman
11.12.22
ORNETTE COLEMAN QUARTET - Live in Paris 1971 (1971-2007) FLAC (tracks+.cue), lossless
Ahhh, glorious, simply glorious. Coleman's turn of the '70s, pre-Prime Time quartet with Dewey Redman, Charlie Haden, and Ed Blackwell always felt somewhat overshadowed in his discography -- it was the Skies of America era, too, and the expanded lineups for the Science Fiction/Broken Shadows sessions -- so this more than welcome spotlight on that unit is exactly what a veteran Ornette Coleman hand would hope for. There's nothing remotely bootleg about the sound quality, the jacket photos by Val Wilmer are great, the liner notes informative enough, and the music simply exceptional. Two pieces were staples of his concert repertoire for this 1971 tour, and another pair ("Silhouette" and "Summer-Thang" -- ouch) apparently listed as untitled improvisations or compositions in discographies, were as fresh to the players then as it is to the listener now. With all four compositions clocking in between ten and 15 minutes, there are plenty of open spaces for the quartet to listen and play off one another -- and they take full advantage of it. The opening "Street Woman" is taken at a measured and leisurely clip, with Coleman musing in a trio setting or with just Haden behind him before Redman enters the arrangement to exchange comments. Live in Paris 1971 really serves to illuminate the latter's role as Coleman's foil, less in the traditional vein as a second soloist but more a complementary player whose tenor lines intertwine strategically around Coleman's alto melodies to give the music greater body and breadth. "Summer-Thang" features Redman at first with Blackwell driving hard as the former patiently develops his solo with occasional phrases structured on Coleman patterns, before Coleman breaks in with quicksilver runs that ultimately trigger a lively solo that stretches his tonal envelope more than usual. The uptempo "Silhouette" is serious intertwine time for Coleman and Redman, with the latter developing thick, knotted lines during his solo that work beautifully with Blackwell. Coleman's solo lightens things up, the music getting more playful, open, and spacious but it is a prime Coleman outing as the music rides the current through varied changes and Blackwell, excellent throughout, takes a short solo before a brief final statement. Rock the Clock initially sports the combination of Coleman on trumpet and Redman on musette with Haden (who has no featured solos on this disc) prominent in support. The trumpet works as a soothing tonal contrast to the musette, Redman then returns the favor before their joint finale of flurries leads to Coleman jettisoning trumpet for violin and Redman switching to tenor. The rhythm section drops out and what must be Coleman's wah-wah violin (it almost sounds like a Jew's harp twang) playing down low (or could it be Haden bowing high?) takes over, followed by the rhythm section dropping in and out behind Redman. In other words, there's no way of anticipating what's going to happen when by who, always a sure sign of vintage Coleman. In fact, it was Haden doing the wah-wah twang because Coleman comes flying back in on trumpet, Redman switches back to musette, Haden returns to pizzicato plucking, and Blackwell rejoins the proceedings. And the end comes very abruptly and suddenly behind the musette. Live in Paris 1971 is hands down the best CD to emerge from that particular tour to date and certainly ranks as a prime showcase for this quartet. Glorious music, simply glorious. Don Snowden
Tracklist :
1 Street Woman 15'01
Ornette Coleman
2 Summer-Thang 11'10
Ornette Coleman
3 Sillhouette 13'05
Ornette Coleman
4 Rock the Clock 14'34
Ornette Coleman
Credits :
Alto Saxophone [Alto Sax], Trumpet, Violin – Ornette Coleman
Bass – Charlie Haden
Drums – Ed Blackwell
Tenor Saxophone [Tenor Sax], Suona [Mussette] – Dewey Redman
13.11.22
DEWEY REDMAN - Look for the Black Star (1966-1994) FLAC (tracks), lossless
Although always a bit under-recognized and overshadowed by his
contemporaries, tenor-saxophonist Dewey Redman has long been one of the
giants of the avant-garde and bop. This early recording finds Redman
discovering his own individual voice on five of his frequently emotional
originals. Assisted by pianist Jym Young, bassist Donald Raphael Gareet
and drummer Eddie Moore, this San Francisco date is quite adventurous
and holds one's interest throughout. Scott Yanow
Tracklist :
1 Look For The Black Star
2 For Eldon
3 Spur Of The Moment
4 Seven And One
Clarinet – Donald Garrett
5 Of Love
Credits :
Bass – Donald Garrett
Drums – Eddie Moore
Piano [African Thumb Piano] – Jym Young
Tenor Saxophone, Written-By – Dewey Redman
DEWEY REDMAN - Tarik (1970-2001) FLAC (tracks+.cue), lossless
This is tenor saxophonist Dewey Redman's second recording as a leader cut for the French Byg label. Redman has long been one of the most accessible of the avant-garde players due to his large tone, his willingness to swing hard, and his logical if emotional ideas. At the time of this album, he was working regularly with Ornette Coleman, and the altoist's free-bop approach definitely had a permanent influence on Redman. Joined by bassist Malachi Favors (from the Art Ensemble of Chicago) and the colorful drummer Ed Blackwell, Redman mostly cooks on five originals; in addition, he plays his atmospheric and often droning musette on the title track. This album is well worth searching for. Scott Yanow
Tracklist
1 Tarik 5:00
2 Fo Io 5:35
3 Paris? Oui! 13:25
4 Lop-O-Lop 12:55
5 Related And Unrelated Vibrations 10:40
Credits
Bass – Malachi Favors
Drums – Ed Blackwell
Tenor Saxophone, Suona [Musette], Composed By, Interviewee – Dewey Redman 
DEWEY REDMAN - The Ear of the Behearer (1973-1998) RM | FLAC (tracks+.cue), lossless
This 1998 CD reissues Dewey Redman's entire The Ear of the Behearer album (although it leaves out an alternate take of "Interconnection" that was released on a different set), plus four of the seven selections from his Coincide record of a year later. Some of the music is quite adventurous and free, while other tracks include some freebop, a struttin' blues ("Boody"), and quieter ballads. Redman, a distinctive tenor saxophonist, actually plays alto on five of the first six selections; he is less memorable (although no less exploratory) on the smaller horn. Redman is joined on most cuts by trumpeter Ted Daniel, throughout the Behearer date by cellist Jane Robertson, and on the full set by bassist Sirone and drummer Eddie Moore; violinist Leroy Jenkins and percussionist Danny Johnson also make guest appearances. These two albums were Redman's only sets as a leader for Impulse. Intriguing music. Scott Yanow
Tracklist
1 Innerconnection 4:53
Dewey Redman
2 Imani 7:07
Dewey Redman
3 Walls-Bridges 4:06
Dewey Redman
4 PS 5:36
Dewey Redman
5 Boody 12:05
Dewey Redman
6 Sunlanding 2:25
Dewey Redman
7 Image (In Disguise) 6:32
Dewey Redman
8 Seeds And Deeds 4:50
Dewey Redman
9 Joie De Vivre 3:19
Dewey Redman
10 Funcitydues 3:15
Dewey Redman
11 QOW 10:17
Dewey Redman
Credits
Alto Saxophone – Dewey Redman (tracks: 1 to 4, 6)
Bagpipes [Musette] – Dewey Redman (tracks: 7)
Bass – Sirone
Bugle [Morrocan] – Ted Daniel (tracks: 7)
Cello – Jane Robertson (tracks: 1 to 7)
Drums – Eddie Moore (tracks: 1 to 3, 5 to 11) Gong (tracks: 2)
Percussion – Danny Johnson (tracks: 2, 4, 6)
Saw – Eddie Moore (tracks: 4)
Tenor Saxophone – Dewey Redman (tracks: 2, 3, 5, 8 to 11)
Timpani – Eddie Moore (tracks: 4)
Trumpet – Ted Daniel (tracks: 1 to 6, 8)
Violin – Leroy Jenkins (tracks: 8)
DEWEY REDMAN - Coincide (1975) lp | FLAC (tracks), lossless
Dewey Redman is featured in a few different settings on this intriguing and generally successful album. The best cuts are the originals that match Redman's tenor with bassist Sirone and drummer Eddie Moore. In addition, he is heard on zither on two cuts (one of which is unaccompanied), and his trio adds trumpeter Ted Daniel and violinist Leroy Jenkins for two complex originals; Redman switches to clarinet on "Somnifacient." Although it is interesting to hear Redman on clarinet and zither, his tenor playing is clearly his strong point and the main reason to search for this LP. His ten-minute workout on "Qow" is outstanding. Scott Yanow
SIDE A
1 Seeds And Deeds 4:50
Dewey Redman - Tenor Saxophone
Ted Daniel - Trumpet
Leroy Jenkins - Violin
Sirone - Bass
Eddie Moore - Drums
9th September, 1974
2 Somnifacient 7:13
Dewey Redman - Clarinet
Ted Daniel - Trumpet
Leroy Jenkins - Violin
Sirone - Bass
Eddie Moore - Tympani, Cymbals
9th September, 1974
3 Meditation Submission Purification 8:13
Dewey Redman - Zither
Sirone - Bass
Eddie Moore - Bowed And Struck Idiophone
10th September, 1974
SIDE B
1 Joie De Vivre 3:18
Dewey Redman - Tenor Saxophone
Sirone - Bass
Eddie Moore - Drums
10th September, 1974
2 Funcitydues 3:14
Dewey Redman - Tenor Saxophone
Sirone - Bass
Eddie Moore - Drums
10th September, 1974
3 Phadan-Sers 3:40
Dewey Redman - Zither
10th September, 1974
4 Qow 10:15
Dewey Redman - Tenor Saxophone
Sirone - Bass
Eddie Moore - Drums
10th September, 1974
DON CHERRY | DEWEY REDMAN | CHARLIE HADEN | EDDIE BLACKWELL - Old and New Dreams (1977-1993) FLAC (tracks+.cue), lossless
1 Handwoven 6:53
Composed By – Ornette Coleman
2 Dewey's Tune 5:52
Composed By – Dewey Redman
3 Chairman Mao 7:33
Composed By – Charlie Haden
4 Next To The Quiet Stream 6:42
Composed By – Don Cherry
5 Augmented 10:05
Composed By – Don Cherry
6 Old And New Dreams 6:26
Composed By – Dewey Redman
Credits :
Bass – Charlie Haden
Drums, Gong – Eddie Blackwell
Tenor Saxophone, Suona [Musette] – Dewey Redman
Trumpet [Pocket Trumpet] – Don Cherry
DEWEY REDMAN - Musics (1978-1995) RM | Original Jazz Classics Limited Edition Series | FLAC (tracks+.cue), lossless
This is one of tenor-saxophonist Dewey Redman's more accessible
sessions. With the assistance of pianist Fred Simmons, bassist Mark
Helias and drummer Eddie Moore, Redman is heard on the lyrical ballad
"Alone Again (Naturally)," a bossa nova, jamming over parade rhythms and
performing originals that sometimes are advanced bop. The music is
excellent although not as explorative as most of Redman's other
recordings. This fine Galaxy set has been reissued on CD in the OJC
series. Scott Yanow
Tracklist
1 Need to Be 10:11
Dewey Redman
2 The Virgin Strike March 5:35
Dewey Redman
3 Alone Again (Naturally) 6:19
Gilbert O'Sullivan
4 Unknown Tongue 9:06
Dewey Redman
5 One Beautiful Day 5:36
Dewey Redman
6 Daystar Nightlight 6:04
Dewey Redman
Credits
Bass – Mark Helias
Percussion, Drums – Eddie Moore
Piano – Fred Simmons
Tenor Saxophone – Dewey Redman 
DEWEY REDMAN | ED BLACKWELL - Red And Black In Willisau (1980-1985) FLAC (tracks+.cue), lossless
Tenor saxophonist Dewey Redman and drummer Ed Blackwell had first met up in the late '60s in Ornette Coleman's band and later on as half of Old And New Dreams. This set of live duets from the Willisau '80 Jazz Festival succeeds due to Redman's huge sound, Blackwell's colorful rhythms, and the close interplay between the two. Redman's musette playing on "We Hope" is an acquired taste, but otherwise, his tenor playing is heard in top form on his originals, particularly "Communication" and "Willisee," which clock in at just over 14 minutes apiece. Although some listeners will miss the usual chordal instruments (and particularly the bass), this combination works. Scott Yanow
Tracklist :
1 Willisee 14:11
Composed By – Dewey Redman
2 We Hope 9:22
Composed By – Dewey Redman
3 F 1 2:00
Composed By – Dewey Redman
4 Communication 14:10
Composed By – Dewey Redman
5 S 126 T 6:40
Composed By – Dewey Redman
Credits :
Drums – Ed Blackwell
Tenor Saxophone, Suona [Musette] – Dewey Redman
DEWEY REDMAN QUARTET - The Struggle Continues (1982-2007) FLAC (tracks+.cue), lossless
When ECM released Dewey Redman's The Struggle Continues in January 1982, he was busier than he had been in years. He'd spent three years recording and touring with Old and New Dreams (and a few more after). This date has Redman fronting a standard rhythm trio comprised of bassist Mark Helias, pianist Charles Eubanks, and drummer Ed Blackwell (a bandmate from the time they spent with Ornette Coleman through to Old and New Dreams, and with other Coleman alumni Cherry and Charlie Haden). Redman was versatile, as comfortable playing inside as outside, and here he does a bit of both, straying in and out of free and hard bop mode. It is one of the saxophonists most consistent and "melodic" recordings, but that doesn't mean he's any less adventurous. On his five compositions and an excellent eight-plus-minute workout on Charlie Parker's "Dewey Square," Redman is at the top of his game as an improviser and as a bandleader. The session is tight, with quick changes and rhythmic twists and turns throughout. He revisits his beautiful, easy loper "Joie de Vivre" with something approaching Thelonious Monk's sense of time and humor. Eubanks is particularly fine here, seemingly able to anticipate both Redman and the rhythm section in every comped bar; he fills the spaces just enough. His chord voicings on this tune in particular are an utter delight, as Redman plays one of the most relaxed and yet idea rich solos of his recorded career.
In addition, Redman freely allows the influence of his time with Coleman come to the front of his own compositions. "Thren," the set's opener, has a melody unmistakably Colemanesque. The knotty little melody played after the first line is juxtaposed with contrapuntal lower, middle register chords by Eubanks, before he takes off and uses Coleman's own phrasing in his solo but with his own sense of harmonic invention. Helias and Blackwell are phenomenal together. Blackwell, with that big dancing ride cymbal, breaks the beat after eight measures before double timing it and coming out on the money every time. "Love Is" starts with a honk and a quartet swell on a minor chord before Redman takes it into a literally lyrical solo unaccompanied for a chorus or two before the band enters, and what emerges is a gorgeous, mid-tempo ballad that moves between waltz and 4/4 before moving a step or two to the outside to become a solo vehicle for everyone in the band. It returns as a ballad, a tad slower than before. Redman's playing is so soulful and rich, he's got Eubanks singing along with his chords. "Turn over Baby," the big, deep, funky, Texas tenor blues, Redman style. Helias really pops those strings and gets in the bucket. "Combinations" is the hard, fast, and free blower on the set, but at only five-minutes-and-twenty-four-seconds it almost feels too short. Redman and Eubanks charge one another, chasing each other to the top before Blackwell solos, and what emerges is intense free bop for another couple of minutes before it closes. The Parker tune is a beautiful sum up of what has come before, both in terms of The Struggle Continues, and in terms of Redman's own development. As he works on the melody and off the changes in the tune, you can hear Redman's entire musical evolution -- as well as Blackwell's and Eubanks. This is one of Dewey Redman's strongest but least celebrated dates. Perhaps those who dug hard into brilliant albums like Tarik, Look for the Black Star, and Ear of the Behearer weren't ready to hear music that stayed so close to the bop tradition. But it's only close for Redman; further elements of this sound appear on every record Redman ever made as a leader; it was in his musical DNA and he never tried to prove otherwise. This is as fine as any of those albums, with an ensemble that understood his considerable strengths and played directly to them. Inspired and inspiring, The Struggle Continues is one of the gems of the ECM catalog in the '80s and a shining star in jazz, period. Perry, Lee Morgan, Talib Daawud.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Tracklist :
1 Thren 7:51
Dewey Redman
2 Love Is 10:25
Dewey Redman
3 Turn Over Baby 4:28
Dewey Redman
4 Joie De Vivre 8:27
Dewey Redman
5 Combinations 5:22
Dewey Redman
6 Dewey Square 8:01
Charlie Parker
Credits :
Double Bass – Mark Helias
Drums – Ed Blackwell
Piano – Charles Eubanks
Tenor Saxophone – Dewey Redman 
DEWEY REDMAN QUARTET - Living on the Edge (1990) FLAC (tracks+.cue), lossless
The great tenor Dewey Redman has always been a versatile player and he really gets a chance to show off his individuality on this set, whether it is some freebop a la early Ornette Coleman, "Mirror Windows" (which is an explosion of sound and pure energy), the soulful "Blues for J.A.M. - Part 1," a free and speechlike tenor-piano duet with Geri Allen on "As One" and a boppish "Lazy Bird." On "If I Should Lose You," Redman has a rare chance to play some conventional but cliché-free alto. With bassist Cameron Brown and drummer Eddie Moore forming a solid team, this is an easily recommended set of inside/outside music. Scott Yanow
Tracklist :
1 Boo Boodoop 9:46
Composed By, Arranged By – Dewey Redman
2 Mirror Windows 8:32
Composed By, Arranged By – Dewey Redman
3 Blues or J.A.M., Pt. 1 5:02
Composed By, Arranged By – Dewey Redman
4 If I Should Lose You 8:07
Ralph Rainger / Leo Robin
Arranged By – Dewey Redman, Geri Allen
5 As One 5:58
Composed By, Arranged By – Dewey Redman
6 Lazy Bird 6:20
John Coltrane
Arranged By – Dewey Redman, Geri Allen
Credits :
Alto Saxophone, Tenor Saxophone – Dewey Redman
Bass – Cameron Brown
Drums – Eddie Moore
Piano – Geri Allen
DEWEY REDMAN ft. JOSHUA REDMAN - African Venus (1994) FLAC (tracks+.cue), lossless
By the time African Venus was recorded in 1992, Dewey Redman was combining the fire of his earlier playing with a gentler, melodic approach. On "Satin Doll," "Mr. Sandman," and "Take the 'A' Train," Redman glides along in a more traditional bop vein, while the title track and Ornette Coleman's "Turnaround" sound more like the fiery Redman of Look for the Black Star or Tarik. Joining Redman on this date are Charles Eubanks (piano), Anthony Cox (bass), Carl Allen (drums), Danny Sadownick (percussion), and Joshua Redman (tenor saxophone), on three tracks. Not an essential disc, but far from a throwaway. Al Campbell
Tracklist :
1 African Venus 9:27
Composed By – Dewey Redman
2 Venus And Mars 7:48
Composed By – Dewey Redman
3 Mr. Sandman 6:54
Composed By – Francis Drake Ballard
4 Echo Prayers 5:53
Composed By – Dewey Redman
5 Satin Doll 8:23
Composed By – Billy Strayhorn, Duke Ellington
6 Take The "A" Train 7:41
Composed By – Billy Strayhorn
7 Turnaround 6:25
Composed By – Ornette Coleman
Credits :
Bass – Anthony Cox
Drums – Carl Allen
Percussion – Danny Sadownick
Piano – Charles Eubanks
Tenor Saxophone [Tenor Sax] – Joshua Redman (pistas: 2, 3, 5)
Tenor Saxophone [Tenor Sax], Alto Saxophone [Alto Sax], Suona [Musette] – Dewey Redman
+ last month
ESBJÖRN SVENSSON TRIO — Winter In Venice (1997) FLAC (tracks+.cue), lossless
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...
