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▐███▓██▀▀▓▀░ [ J U S T F U N . P R E S E N T S ] ██▓▓█▀▀
░ ▓████▓▌ ░ ▐▓▀▀
▓ ▐█████▓█ ▀ ░
▀█▄▓████▓▓▄█▀ Artist.......: Ornette Coleman ░▓ ▌
▄▀██▓██▓▓▀ Album.Title..: Free (1959) ░▓░▐▓
▓▓▄▀█▓▓▓▀ Label........: Giants Of Jazz ░▓░ █▓▌
▐█▓▓ ▀▓ Genre........: Jazz ░▓▓▓ ▐█▓▓
▓█▓▌ ▓░ ███▓▓[z0o]░
▐██░ ░ ░ ▄ ░▄▄▄▄▓▄▄▓████▓▓▄▄▄▄▓▄▄
▀▓█░▄ ▌ ░▓░ [ R E L E A S E . I N F O ] ▓░ ▓▀▓█████████████▓▓▓▀
░ ▀▀▓█▄▐▓ ░▓▓▓░ ░▓▓▓░ ░ ▀▓██████▓██▓▓▀ ░
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░▓▓░ ▐█▓▓ ░ ░▓▓░ rip.date....: Sep-08-2005 ░▓▓ ▐███████▓▓▌ ░
░░ ███▓▓ ▓▓░▓░ str.date....: 000-00-0000 ░▓▓░ ▓███▀ ▀▓█▓▓ ░
▄▄▄▄▄▓▄▄▓████▓▓▄▄▄▄░▄▄ ripper......: JUST ▓ ▐█▓▀ ░ ░▀█▓▌
▀▓█████████████▓▓▓▀ quality.....: VBR kbps ░▓░ █▀ ░░▓▓▓ ▀▓
░ ▀▓██████▓██▓▓▀ ▓░ size........: 89,7 MB ▓▓ ▀░ ░ ░ ░▓░ ░▀
▀▓█████▓▓▓ ░░▓ playtime....: 66:47 min ░▓▓░▓▓▓▓ ▓▓▓░
░ ▐███████▓▓▌░▓▓▓░ Catnr.......: 53212 ░▓▓▓▓▓ ▓░▓▓░░ ░
▓███▀ ▀▓█▓▓ ▓░░ URL.........: n/a ░▒░ ░▓░ ░
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░ ▄█▒████████▓▓▀ ▀▓██▓███▓▄
▄▓██░██████▓▓█▀ [ T R A C K . L I S T I N G ] ▀▀▀▓██▓▌
▓█████████▓▓█▀ ▐█▄██▓▀
▐███▓██▀▀▓▀░ ██▓▓█▀▀
▓████▓▌ ░ track title time ▐▓▀▀
▓████▓▌ ▀ ░▌
▓████▓▌ 01. chronology 06:07 ▓▌
▓████▓▌ 02. eventually 04:22 ▓▌
▓████▓▌ 03. change of the century 04:43 ▓▌
▓████▓▌ 04. peace 09:04 ▓▌
▓████▓▌ 05. congeniality 06:47 ▓▌
▓████▓▌ 06. monk and the nun 05:57 ▓▌
▓████▓▌ 07. forerunner 05:16 ▓▌
▓████▓▌ 08. free 06:22 ▓▌
▓████▓▌ 09. music always 05:32 ▓▌
▓████▓▌ 10. una muy bonita 06:01 ▓▌
▓████▓▌ 11. ramblin 06:36 ▓▌
▓████▓▌ ▓▌
▓████▓▌ [ A B O U T . T H i S . R E L E A S E ] ▓▌
▓████▓▌ ▓▌
▓████▓▌ Compilation of early Ornette recordings from 1959. ▓▌
▓████▓▌ ▓▌
▓████▓▌ ............................. ▓▌
▓████▓▌ ▓▌
▓████▓▌ One of the most important (and controversial) ▓▌
▓████▓▌ innovators of the jazz avant-garde, Ornette Coleman ▓▌
▓████▓▌ gained both loyal followers and lifelong detractors ▓▌
▓████▓▌ when he seemed to burst on the scene in 1959 fully ▓▌
▓████▓▌ formed. Although he, and Don Cherry in his original ▓▌
▓████▓▌ quartet, played opening and closing melodies ▓▌
▓████▓▌ together, their solos dispensed altogether with ▓▌
▓████▓▌ chordal improvisation and harmony, instead playing ▓▌
▓████▓▌ quite freely off of the mood of the theme. ▓▌
▓████▓▌ Coleman's tone (which purposely wavered in pitch) ▓▌
▓████▓▌ rattled some listeners, and his solos were ▓▌
▓████▓▌ emotional and followed their own logic. In time, ▓▌
▓████▓▌ his approach would be quite influential, and the ▓▌
▓████▓▌ quartet's early records still sound advanced many ▓▌
▓████▓▌ decades later. ▓▌
▓████▓▌ ▓▌
▓████▓▌ Unfortunately, Ornette Coleman's early development ▓▌
▓████▓▌ was not documented. Originally inspired by Charlie ▓▌
▓████▓▌ Parker, he started playing alto at 14 and tenor two ▓▌
▓████▓▌ years later. His early experiences were in R&B ▓▌
▓████▓▌ bands in Texas, including those of Red Connors and ▓▌
▓████▓▌ Pee Wee Crayton, but his attempts to play in an ▓▌
▓████▓▌ original style were consistently met with hostility ▓▌
▓████▓▌ both by audiences and fellow musicians. Coleman ▓▌
▓████▓▌ moved to Los Angeles in the early '50s, where he ▓▌
▓████▓▌ worked as an elevator operator while studying music ▓▌
▓████▓▌ books. He met kindred spirits along the way in Don ▓▌
▓████▓▌ Cherry, Charlie Haden, Ed Blackwell, Bobby ▓▌
▓████▓▌ Bradford, Charles Moffett, and Billy Higgins, but ▓▌
▓████▓▌ it was not until 1958 (after many unsuccessful ▓▌
▓████▓▌ attempts to sit in with top L.A. musicians) that ▓▌
▓████▓▌ Coleman had a nucleus of musicians who could play ▓▌
▓████▓▌ his music. He appeared as part of Paul Bley's ▓▌
▓████▓▌ quintet for a short time at the Hillcrest Club ▓▌
▓████▓▌ (which is documented on live records), and recorded ▓▌
▓████▓▌ two very interesting albums for Contemporary. With ▓▌
▓████▓▌ the assistance of John Lewis, Coleman and Cherry ▓▌
▓████▓▌ attended the Lenox School of Jazz in 1959, and had ▓▌
▓████▓▌ an extended stay at the Five Spot in New York. This ▓▌
▓████▓▌ engagement alerted the jazz world toward the ▓▌
▓████▓▌ radical new music, and each night the audience was ▓▌
▓████▓▌ filled with curious musicians who alternately ▓▌
▓████▓▌ labeled Coleman a genius or a fraud. ▓▌
▓████▓▌ ▓▌
▓████▓▌ During 1959-1961, Ornette Coleman recorded a series ▓▌
▓████▓▌ of classic and somewhat startling quartet albums ▓▌
▓████▓▌ for Atlantic (all of which have been reissued on a ▓▌
▓████▓▌ six-CD set by Rhino). With Don Cherry, Charlie ▓▌
▓████▓▌ Haden, Scott LaFaro or Jimmy Garrison on bass, and ▓▌
▓████▓▌ Billy Higgins or Ed Blackwell on drums, Coleman ▓▌
▓████▓▌ created music that would greatly affect most of the ▓▌
▓████▓▌ other advanced improvisers of the 1960s, including ▓▌
▓████▓▌ John Coltrane, Eric Dolphy, and the free jazz ▓▌
▓████▓▌ players of the mid-'60s. One set, a nearly ▓▌
▓████▓▌ 40-minute jam called Free Jazz (which other than a ▓▌
▓████▓▌ few brief themes was basically a pulse-driven group ▓▌
▓████▓▌ free improvisation) had Coleman, Cherry, Haden, ▓▌
▓████▓▌ LaFaro, Higgins, Blackwell, Dolphy, and Freddie ▓▌
▓████▓▌ Hubbard forming a double quartet. ▓▌
▓████▓▌ ▓▌
▓████▓▌ In 1962, Ornette Coleman, feeling that he was worth ▓▌
▓████▓▌ much more money than the clubs and his label were ▓▌
▓████▓▌ paying him, surprised the jazz world by retiring ▓▌
▓████▓▌ for a period. He took up trumpet and violin ▓▌
▓████▓▌ (playing the latter as if it were a drum) and, in ▓▌
▓████▓▌ 1965, he recorded a few brilliant sets on all his ▓▌
▓████▓▌ instruments with a particularly strong trio ▓▌
▓████▓▌ featuring bassist David Izenzon and drummer Charles ▓▌
▓████▓▌ Moffett. Later in the decade, Coleman had a quartet ▓▌
▓████▓▌ with the very complementary tenor Dewey Redman, ▓▌
▓████▓▌ Haden, and either Blackwell or his young son ▓▌
▓████▓▌ Denardo Coleman on drums. In addition, Coleman ▓▌
▓████▓▌ wrote some atonal and wholly-composed classical ▓▌
▓████▓▌ works for chamber groups, and had a few reunions ▓▌
▓████▓▌ with Don Cherry. ▓▌
▓████▓▌ ▓▌
▓████▓▌ In the early '70s, Ornette Coleman entered the ▓▌
▓████▓▌ second half of his career. He formed a "double ▓▌
▓████▓▌ quartet" comprised of two guitars, two electric ▓▌
▓████▓▌ bassists, two drummers, and his own alto. The ▓▌
▓████▓▌ group, called "Prime Time," featured dense, noisy, ▓▌
▓████▓▌ and often-witty ensembles in which all of the ▓▌
▓████▓▌ musicians are supposed to have an equal role, but ▓▌
▓████▓▌ the leader's alto always ended up standing out. He ▓▌
▓████▓▌ now called his music harmolodics (symbolizing the ▓▌
▓████▓▌ equal importance of harmony, melody, and rhythm), ▓▌
▓████▓▌ although free funk (combining together loose funk ▓▌
▓████▓▌ rhythms and free improvising) probably fits better; ▓▌
▓████▓▌ among his sidemen in Prime Time were drummer Ronald ▓▌
▓████▓▌ Shannon Jackson and bassist Jamaaladeen Tacuma, in ▓▌
▓████▓▌ addition to his son Denardo. ▓▌
▓████▓▌ ▓▌
▓████▓▌ Prime Time was a major (if somewhat unacknowledged) ▓▌
▓████▓▌ influence on the M-Base music of Steve Coleman and ▓▌
▓████▓▌ Greg Osby. Pat Metheny (a lifelong Ornette admirer) ▓▌
▓████▓▌ collaborated with Coleman on the intense Song X, ▓▌
▓████▓▌ Jerry Garcia played third guitar on one recording, ▓▌
▓████▓▌ and Ornette Coleman had irregular reunions with his ▓▌
▓████▓▌ original quartet members in the 1980s. ▓▌
▓████▓▌ ▓▌
▓████▓▌ Ornette Coleman, who recorded for Verve in the ▓▌
▓████▓▌ '90s, has remained true to his highly original ▓▌
▓████▓▌ vision throughout his career and, although not ▓▌
▓████▓▌ technically a virtuoso and still considered ▓▌
▓████▓▌ controversial, is an obvious giant of jazz. ▓▌
▓████▓▌ ▓▌
░ ▓████▓▌ ▓▌
▓ ▐█████▓█ [ A B O U T . U S ] ▓▌
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▀█▓▓▓▀ siasts. Justfun is releasing different kind of music ▓▌
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