Ornette_Coleman_Quintet - Complete_Live_At_The_Hillcrest_Club
Artist : Ornette_Coleman_Quintet
Album : Complete_Live_At_The_Hillcrest_Club
Year : 2007
Genre : Jazz
Source : CDDA
Label : Gambit Records
CatNr : 69272
URL : n/a
Date : 21-02-2010
Quality : VBR
Size : 70,0 MB
Time : 66:24 min
01 klactoveesedstene 12:07
02 i remember harlem 03:53
03 the blessing 09:38
04 free 05:39
05 when will the blues leave 14:29
06 how deep is the ocean 04:36
07 ramblin' 14:07
08 crossroads 01:55
Ornette Coleman - Alto Sax
Don Cherry - Trumpet
Paul Bley - Piano
Charlie Haden - Bass
Billy Higgins - Drums
Recorded at the Hillcrest Club,
Los Angeles, Ocotober 1958.
This originally appeared on vinyl in the early 1970s under Paul Bley's
name. I could be wrong but I think he had the tapes and might have got
the gig too, although it would seem that the band was leaderless as
announced. From that point of view, re-titling it as a Coleman album is
probably as accurate as any other nomination.
Ornette Coleman Quintet - Complete Live At The Hillcrest Club
The recording dates from October 1958, more than half a year after
Ornette recorded Something Else! For Contemporary, again with Cherry and
Higgins but with Don Payne on bass and Walter Norris on piano, and four
months before Tomorrow Is The Question!, his first piano-less quartet
recording, for the same label and with Shelly Manne on drums. The
Hillcrest set repertoire includes 'The Blessing' and 'When Will The
Blues Leave?' from Something Else! but fleshes things out with 'How Deep
Is The Ocean', Roy Eldridge's 'I Remember Harlem' and Parker's
'Klactoveesedstene'.
There is also a preview version of 'Ramblin', a year before its eventual
waxing for Atlantic, and a fragment of another Coleman tune,
'Crossroads', that Bley did a cover version of in 1965. The date is not
well recorded, with Bley's piano losing out the most, but he does fit in
musically with what's going on around him and solos strongly. Ornette
reveals his Charlie Parker roots on 'Klacto', reproducing Parker licks
and showing he knew his bebop, even if his theme statements remain pure
Ornette for timing and pitch. Cherry, on 'How Deep is The Ocean', shows
he has closely studied Clifford Brown and taken more than a passing
interest in Kenny Dorham. So, a valuable historical document for
Coleman, Bley and Cherry fans and one marred only by the reversal of
'When Will The Blues Leave' and 'Ramblin' in the song listings and by a
disc that got stuck mid-way through the theme statement for
'Crossroads'. A bit like the TV series, when you come to think of it.
Keith Shadwick - Jazzwise Issue 112