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Détails sur le produit

  • CD (23 octobre 2003)
  • Nombre de disques: 1
  • Label: Rhino Record
  • ASIN : B0000C24JW
  • Autres versions : CD  |  Téléchargement MP3
  • Moyenne des commentaires client : Soyez la première personne à écrire un commentaire sur cet article
  • Classement des meilleures ventes d'Amazon: 284.200 en Musique (Voir les 100 premiers en Musique)
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Liste des titres

Disque : 1

  1. Wru remastered
  2. T t remastered
  3. C and d - Ornette Coleman
  4. Rpdd remastered
  5. Proof readers outtake remastered - Billy Higgins

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Amazon.com: HASH(0x9b573b7c) étoiles sur 5 13 commentaires
34 internautes sur 36 ont trouvé ce commentaire utile 
HASH(0x9b1c681c) étoiles sur 5 A handy introduction to a great original 9 janvier 2001
Par N. Dorward - Publié sur Amazon.com
Format: CD
Ornette Coleman's music remains one of the most challenging oeuvres in modern music; it has been profoundly influential in jazz, among both "mainstream" & "avantgarde" musicians, but also outside it (Zappa, Captain Beefheart, punk, funk, &c, all took something from his example; Jerry Garcia even joined forces with Coleman for one album). His music still sounds stunningly fresh. Coleman's most famous innovation was to drop the "changes" of jazz tunes--the regularly recurring 32-bar cycles of chords that made up the usual jazz standard. Instead, the musicians created the structure as they went along--& all parts of the group were equally important, were in a sense "soloing" at the same time. Though such intuitive polytonality had long been a feature of jazz (for instance, in Miles Davis's 1950s group with Coltrane), Coleman put it centre-stage, & only musicians of the calibre & empathy as those in his group--Don Cherry on trumpet, Charlie Haden on bass, Ed Blackwell or Billy Higgins on drums--could have made it work so well. Ears used to the polish of, say, the Jazz Messengers will be startled by Coleman's deliberate microtonality & distortions; one's sense of what is unison, what is harmony is disoriented & then reoriented by the theme statements of Coleman & his trumpeter Don Cherry--they are stating the same melody, but so individually that the lines are complementary, not blended. While Coleman is often paired with Coltrane as one of the radicals of the early 1960s, I can hardly think of two more dissimilar musicians; the high seriousness & hypnotic devoutness of Coltrane are the opposite from Coleman's earthiness & mordant sense of humour--Charlie Parker's ironic doodles of "Country Gardens" around "Lover Man" or Rachmaninov around "All the Things You Are" reached their culmination in Coleman's devastating take on "Embraceable You". -- The other key to Coleman's music is his ability as a composer: he is with Wayne Shorter the major post-bop composer, & his tunes have become more & more frequently performed by musicians of every stripe. (I even have a bluegrass version of "Ramblin'" in my collection!)
This CD is a shrewdly selected survey of Coleman's music, mostly focussing on the brief period where Coleman recorded for Atlantic in the early 1960s; the Atlantics remain the cornerstone of his oeuvre. "The Sphinx" comes from his mid-1950s work for Contemporary--a lesser body of work, certainly, though perhaps deserving of a little more representation, as those albums are where you can find some of Coleman's most famous tunes, such as "Turnaround", "The Blessing" and "Tears Inside" (a blues that became one of the first Coleman tunes to be covered--by Art Pepper, on _Smack Up_). No arguments with this compilation's choice of "Congeniality", "Embraceable You", "Lonely Woman", "Blues Connection" & "Ramblin'" from the seminal Atlantics; these are classics, no less than Armstrong's "West End Blues", Parker's "Parker's Mood" or Rollins' "Blue Seven". Kudos go to this compilation for including the "First Take" of _Free Jazz_, a risky move: this is a 18-minute track that samples some of Coleman's most daring but difficult music, a double quartet of musicians assembled in the studio who were given the task of creating a large-scale piece from the most skeletal of fanfares as the only pre-composed material; the original _Free Jazz_ had just the 38-minute master version but the much shorter first take was first issued in the 1970s & is a useful pocket-sized version with its own contours. Difficult but necessary listening. -- One criticism I'd have here is that room might have been found for Coleman's quartet from the Atlantic period with the doomed virtuoso bassist Scott LaFaro on _Ornette!_, an album that also features some of Ed Blackwell's best playing. -- After the Atlantics this compilation quickly moves through the rest of Coleman's career. That's perhaps inevitable, given that that career has been somewhat erratic & uneven since the mid-1960s. As usual with the Ken Burns project, there's a distinct implication that jazz took a wrong turn after the mid-1960s, especially with electrified jazz-rock, funk & fusion (there's only one track here from this aspect of Coleman's oeuvre). The compilation would have given a fairer impression of Coleman's career by representing recent work--for instance, the incendiary encounter with Pat Metheny in the 1980s, _Song X_, or the fine 1990s duets with Joachim Kuhn on _Colors_. -- But these are nitpicky points: this is about as good a one-disc job as could have been done.
21 internautes sur 21 ont trouvé ce commentaire utile 
HASH(0x9b1cbc0c) étoiles sur 5 41 days after "Free Jazz"... 31 août 2005
Par Michael Stack - Publié sur Amazon.com
Format: CD
Recorded a month and ten days after his landmark "Free Jazz", Ornette Coleman's "Ornette!" finds the leader on fire-- coming off such a huge acheivement, his working quartet (now consisting of trumpeter Don Cherry, bassist Scott LaFaro and drummer Ed Blackwell) entered the studio to record four new compositions. Remarkably, this album seems to be a big step forward in performance from his earlier records. At a minimum, Don Cherry, who always seemed a bit fragile, is suddenly much more powerful and confident as a performer-- it could be a tour he conducted the summer before in Europe, or his first recording session as a (co) leader (the as-of-then unreleased "The Avant-Garde" with John Coltrane), or soemthing else, but Cherry playing is brilliant throughout, matching Coleman's. Likewise, Ed Blackwell seems fully integrated in the quartet and his signature sound, slightly absent on "This is Our Music" (his first recording with Coleman) and "Free Jazz", is fully present-- the New Orleans marching band feel he brings to the best of his work is prevelent throughout. Look no further than "T. & T.", a drum feature where Blackwell plays a marching beat and an amazingly patient and subtle solo to see a good example of his stellar perforamnce. And certainly, Coleman, for someone so pioneering and on the edge, plays with extraordinary confidence and skill. But the last piece of the puzzle is Scott LaFaro.

No slight against Charlie Haden, he's a fantastic bass player and perhaps more inventive than LaFaro, but LaFaro was a virtuoso performer of extraordinary ability, endurance, speed, and strength. His work throughout is nothing short of amazing, be it arco (his beautiful solo on "C. & D.") or pizzicato (the jaw-dropping one on "W.R.U."-- agile and exciting and really beyond words).

Also of note, and different from Coleman's earlier records-- all the cuts barring drum feature "T. & T." (where no one but Blackwell solos) are extended and really give lots of room for the players to stretch and cut loose. As a result, solos by all four are well developed and overflowing with ideas.

The bonus track on this album, "Proof Readers", recorded at the same session, was likely left off because of length of record, not because of merit. The piece is notable certainly for featuring among the best interaction between Coleman and Blackwell-- the two play with a near psychic level of interaction, Coleman twists and turns during his extended solo and Blackwell (and for that matter LaFaro) are right there offering encouragement. In many ways, its quite unfortunate it didn't end up on the album.

With LaFaro's death later in 1961, this was not an effort that would ever be repeated, but certainly its a record deserving attention. Those new to Coleman's work should look to "The Shape of Jazz to Come" first, but "Ornette!", finally in print after being out for quite a while, is a worthy second place to look. Highly recommended.
9 internautes sur 9 ont trouvé ce commentaire utile 
HASH(0x9b192198) étoiles sur 5 Ornette Coleman In His Prime!!! 22 octobre 2005
Par Louie Bourland - Publié sur Amazon.com
Format: CD
Ornette Coleman was definitely on a winning streak during his prolific time with Atlantic Records from 1959-1962. His fifth album for the label, simply titled "Ornette!", continued his explorations into the outer realms of free improvisation and tight musical interplay. Most importantly, the "Ornette!" album was recorded shortly after the monumental and groundbreaking "Free Jazz" session from December 1960.

Joining Coleman on this album is his long-time sideman and trumpeter Don Cherry along with a new rhythm section of drummer Ed Blackwell (who replaced Billy Higgins) and Scott LaFaro (who took over for Charlie Haden). Although this album is somewhat overshadowed by the more successful "Shape Of Jazz To Come" as well as the aforementioned "Free Jazz", "Ornette!" is still a solid effort that is just as exciting and strong as its predecessors.

Standouts include the mammoth 16-minute "W.R.U.", Ed Blackwell's drum feature "T&T", LaFaro's eeire bowed bass solo in "C&D" and Coleman's extended alto workout on "R.P.D.D." The newly reissued CD also features an excellent bonus track, "Proof Readers" which was recorded during the same sessions as this album.

The remastering on this CD presents the album in stunning sound quality and sounds as if your standing in the room with the musicians as they are playing the music.

Additionally, the CD booklet includes the original LP liner notes from Gunther Schuller as well as new notes from noted Jazz critic Nat Hentoff.

With that said, "Ornette!" is another fine album in Ornette Coleman's varied catalog. There's great playing and awesome improvisation here and is full of energy and excitement.

Footnote: The complete music from the January 1961 session that this album was taken from can be heard on the boxed set "Beauty Is A Rare Thing: The Complete Atlantic Recordings", a full 74 minutes of music recorded at this one session.
11 internautes sur 12 ont trouvé ce commentaire utile 
HASH(0x9b21a4f8) étoiles sur 5 Great intro to the cutting-edge of modern jazz! 12 février 2001
Par J. Lund - Publié sur Amazon.com
Format: CD
The success of Ken Burns' JAZZ video series has obviously revived interest in the music, and particularly for these single-disc representations of the careers of a number of all-time jazz greats. I can imagine more than a few potential collectors of the Ken Burns CD series coming upon this disc and getting a little queasy, given the "avant-garde" label tagged on Ornette Coleman's music.
To those potential purchasers, I would recommend this CD if your newfound affinity for jazz extends to the likes of modernists Charles Mingus, Miles Davis, Thelonious Monk, and John Coltrane (all of whom are also represented in this series). Yes, Ornette's music is perhaps less formally tied to the structural paradigms of the bop / post-bop era of modern jazz. Yet most of the music here follows a familiar theme / solos / theme approach, the musicians are top-rate (Haden, Cherry, Higgins, Blackwell, Lafaro, Tacuma, etc.), the melodies are generally memorable (often joyous and witty), and the blues has an overt presence, albeit taken to somewhat more abstract levels than even his modernist predecessors. Indeed, if you like Charlie Parker's playing, you might feel quite at home with most of Coleman's solos, even though Ornette uses slurred phrases and other vocal sounds to a greater extent than Bird.
...and if FREE JAZZ (FIRST TAKE)--the most "avant-garde" cut on this CD--is a bit of a struggle to get through at first, you're not alone. However, there is a method to the seeming madness that becomes clearer with subsequent hearings. Other than that, this CD primarily focuses on small-group recordings, including a number of Ornette's most-famous compositions (LONELY WOMAN, etc.). The last two tracks demonstrate Coleman's willingness to find dramatic new contexts to his approach: THE GOOD LIFE and THEME FROM A SYMPHONY (variation 2) is the same tune performed first with a symphony orchestra, second with an avant-funk/jazz electric ensemble (two guitars, two basses, two drums). THEME takes the listener to 1975...in a perfect world there would be a disc two to bring us up to the present. Nonetheless, this is as good an intro to Ornette as one will find.
3 internautes sur 3 ont trouvé ce commentaire utile 
HASH(0x9b57c1e0) étoiles sur 5 Definitive 30 avril 2002
Par Blues Bro - Publié sur Amazon.com
Format: CD
With over 70 minutes of music, you definitely get your money's worth with this one. And there is no other compilation that includes tracks from various labels for which Ornette recorded. One track from Ornette's first session, two tracks from the 'shape of jazz to come' one from 'the golden circle'and even some of his later work like 'Dancing in your head'. You even get 17 minutes of 'first take' from 'Free Jazz'. Quite simply, the definitive compilation of Ornette Coleman out there.
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