From: ujwb@uxa.ecn.bgu.edu (Jeff Beer)
Subject: Re: Ornette Coleman
Organization: Educational Computing Network
Date: Fri, 11 Sep 1992 23:06:27 GMT

In article <RSHAPIRO.92Sep11143355@kariba.bbn.com> rshapiro@bbn.com (Richard Shapiro) writes:
>1. First two studio records, on the Contemporary label: SOMETHING ELSE
>and TOMORROW IS THE QUESTION. These are peculiar records in that they

At least on TOMORROW you have Ornette's compositional style in full
force.  Even though they still are mostly blues and I Got Rhythm tunes,
there are enough twists in them that they are unconventional.  
On the hard tunes, such as TOMORROW IS THE QUESTION, it seems that
Ornette is burying eveyone else in the band.  You either have Percy
Heath or Red Mitchell, and Shelly Manne.

I remember reading an interview with Red Mitchell, talking about this
date.  Ornette was telling Red that he didn't have to worry about
following the form (the repeating choruses of chord changes) but Red
said he needed it.  Red also was having problems with the form being 45
measures one time, 43 and 1/2 another.  They said they were talking
about this for 45 minutes.  Then Red was talking later to Percy, and
mentioned this conversation, and Percy said he had the same conversation
with Ornette.

They don't always play smoothly, there are some section where it sounds
like they all aren't comfortable, and even Ornette didn't have the
fluency that he has on Atlantic and now.  But still the ideas are
bold, the compositions very exciting, it is very musical.

>2. The early 4tet: Ornette, Don Cherry, Charlie Haden (and then Scott
>LaFaro) on bass, Billy Higgins (and then Ed Blackwell) on drums. These
>records are much more representative of early Ornette: SHAPE OF JAZZ
>TO COME, CHANGE OF THE CENTURY, THIS IS OUR MUSIC, ORNETTE!, ORNETTE
>ON TENOR, ART OF THE IMPROVISERS, TO WHOM WHO KEEPS A RECORD, TWINS.

Except it is Jimmy on bass on Tenor.  The Tenor might be my favorite,
but that's also because we do three of those tunes in the band I play
with.  The TENOR album is essential, because I think Jimmy has such a
different way of approaching the music than Scott and Charlie, it gives
the music a different propulsion.  The foward thrust of Jimmy works well
with Blackwell.

>3. The trio recordings, with David Izenson and Charles Moffett: TOWN
>HALL 1962, THE GREAT LONDON CONCERT, PARIS CONCERT 1965, LIVE AT THE
>TIVOLI '65, LIVE AT THE GOLDEN CIRCLE STOCKHOLM, CHAPPAQUA SUITE,
>WHO'S CRAZY. Again, every single one of these is worth hearing. The
>less swinging. My two favorites? CHAPPAQUA SUITE and LIVE AT THE
>GOLDEN CIRCLE.

Yes, we need the Chappaqua to come out again.  I like the Tivoli '65
with Izenson's arco work on Loney Women, and Moffet on Clergyman

>4. A transitional period, featuring various musicians in various
>configurations: THE EMPTY FOXHOLE, NEW YORK IS NOW, LOVE CALL, THE
>UNPRECEDENTED MUSIC OF ORNETTE COLEMAN, LIVE IN MILANO 1968, ORNETTE
>AT 12, STATING THE CASE, CRISIS, BROKEN SHADOWS (live), FRIENDS AND
>NEIGHBORS, SCIENCE FICTION, BROKEN SHADOWS (studio), SKIES OF AMERICA.
>In general, this is my least favorite period, as Ornette didn't seem
>to know what he wanted to do. Of this batch, I would most recommend
>SCIENCE FICTION and UNPRECEDENTED MUSIC.

Some of these are boots of concerts.  There also is a Paris Concert with
Dewey, Charlie, and Blackwell that was out on the TRIO label. (Japanese)
That has some very fluid playing by Ornette.  Science Fiction and the
studio Broken Shadows are my favorites, and they are some of my all-time
Ornette favorites.

There are a few albums where Ornette is a sideman.  Jackie McClean (New
And Old Gospel), Charlie Haden (Closeness, the Golden Number), and
a few with Jamaaladeen Tacuma.  The trumpet solo on The Golden Number is
very haunting and beautiful.

It should be mentioned there are two videos out:  ORNETTE: MADE IN
AMERICA, by Shirly Clarke.  This has a variety of performances from
different periods, some interviews with Ornette and other musicians and
artists, and some little skits re-enacting Ornette's childhood.  Some
things are pretty silly, but hey, it's about Ornette, so go see it.
There also is a video called David, Moffet, Ornette by Dick Fontaine,
and it shows them making the soundtrack to Who's Crazy.  This is pretty
much your standard PBS-style music documentary.  

Jeff
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