Ornette Coleman

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Ornette Coleman
Ornette Coleman.jpg
Coleman plays his Selmer alto saxophone (with low A) at The Hague in 1994.
Background information
Birth nameRandolph Denard Ornette Coleman
Born(1930-03-09)March 9, 1930
Fort Worth, Texas, U.S.
DiedJune 11, 2015(2015-06-11) (aged 85)
New York City
Genres Avant-garde jazz, free jazz, free funk, jazz fusion
Occupation(s)Musician, composer
Instruments Alto saxophone, tenor saxophone, violin, trumpet
Years active1958–2015
Labels Atlantic, Blue Note, Verve
Associated acts Don Cherry, Charlie Haden, Scott LaFaro, Billy Higgins, Ed Blackwell, Dewey Redman, Denardo Coleman, Ronald Shannon Jackson, Jamaaladeen Tacuma

Randolph Denard Ornette Coleman (March 9 or 19, 1930[ dubious ] – June 11, 2015) [1] was an American jazz saxophonist, violinist, trumpeter, and composer. In the 1960s, he was one of the founders of free jazz, a term he invented for his album Free Jazz: A Collective Improvisation . His "Broadway Blues" has become a standard and has been cited as an important work in free jazz. [2] His album Sound Grammar received the 2007 Pulitzer Prize for music.

Jazz is a music genre that originated in the African-American communities of New Orleans, United States, in the late 19th and early 20th centuries, and developed from roots in blues and ragtime. Jazz is seen by many as "America's classical music". Since the 1920s Jazz Age, jazz has become recognized as a major form of musical expression. It then emerged in the form of independent traditional and popular musical styles, all linked by the common bonds of African-American and European-American musical parentage with a performance orientation. Jazz is characterized by swing and blue notes, call and response vocals, polyrhythms and improvisation. Jazz has roots in West African cultural and musical expression, and in African-American music traditions including blues and ragtime, as well as European military band music. Intellectuals around the world have hailed jazz as "one of America's original art forms".

Free jazz is an approach to jazz that developed in the 1960s when musicians attempted to change or break down jazz conventions, such as regular tempos, tones, and chord changes. Musicians during this period believed that the bebop, hard bop, and modal jazz that had been played before them was too limiting. They became preoccupied with creating something new. Free jazz has often been combined with or substituted for the term "avant-garde jazz". Europeans tend to favor the term "free improvisation". Others have used "modern jazz", "creative music", and "art music".

<i>Free Jazz: A Collective Improvisation</i> album

Free Jazz: A Collective Improvisation is the sixth album by jazz saxophonist and composer Ornette Coleman, released on Atlantic Records in 1961, his fourth for the label. Its title established the name of the then-nascent free jazz movement. The recording session took place on December 21, 1960, at A&R Studios in New York City. The sole outtake from the album session, "First Take," was later released on the 1971 compilation Twins.

Contents

Biography

Early life

Coleman was born in 1930 in Fort Worth, Texas [3] where he was raised. [4] [5] [6]

Fort Worth, Texas City in Texas, United States

Fort Worth is the 15th-largest city in the United States and the fifth-largest city in the state of Texas. It is the county seat of Tarrant County, covering nearly 350 square miles (910 km2) into four other counties: Denton, Johnson, Parker and Wise. According to the 2017 census estimates, Fort Worth's population is 874,168. The city is the second-largest in the Dallas–Fort Worth–Arlington metropolitan area, which is the 4th most populous metropolitan area in the United States.

He attended I.M. Terrell High School, where he participated in band until he was dismissed for improvising during "The Washington Post" march. He began performing R&B and bebop on tenor saxophone and started The Jam Jivers with Prince Lasha and Charles Moffett. [6]

I.M. Terrell High School Texas High School

I.M Terrell High School was a secondary school located in Fort Worth, Texas. The school opened in 1882 as the city's first black school, during the era of formal racial segregation in the United States. Though the high school closed in 1973, the building reopened as an elementary school in 1998. After undergoing extensive remodeling and expansion, it is now the home of the I.M. Terrell Academy for STEM and VPA.

The Washington Post (march) John Philip Sousa composition (1889)

"The Washington Post" is a march composed by John Philip Sousa in 1889. Since then, it has remained as one of his most popular marches throughout the United States and many other countries.

Rhythm and blues, commonly abbreviated as R&B, is a genre of popular music that originated in African American communities in the 1940s. The term was originally used by record companies to describe recordings marketed predominantly to urban African Americans, at a time when "urbane, rocking, jazz based music with a heavy, insistent beat" was becoming more popular. In the commercial rhythm and blues music typical of the 1950s through the 1970s, the bands usually consisted of piano, one or two guitars, bass, drums, one or more saxophones, and sometimes background vocalists. R&B lyrical themes often encapsulate the African-American experience of pain and the quest for freedom and joy, as well as triumphs and failures in terms of relationships, economics, and aspirations.

Eager to leave town, he accepted a job in 1949 with a Silas Green from New Orleans traveling show and then with touring rhythm and blues shows. After a show in Baton Rouge, Louisiana, he was assaulted and his saxophone was destroyed. [7]

Silas Green from New Orleans was an African American owned and run variety tent show, which in various forms toured the southern states between about 1904 and 1957.

He switched to alto saxophone, which remained his primary instrument, first playing it in New Orleans after the Baton Rouge incident. He then joined the band of Pee Wee Crayton and traveled with them to Los Angeles. He worked at various jobs, including as an elevator operator, while pursuing his music career.

Connie Curtis Crayton, known as Pee Wee Crayton, was an American R&B and blues guitarist and singer.

In California he found like-minded musicians such as Ed Blackwell, Bobby Bradford, Don Cherry, Charlie Haden, Billy Higgins, and Charles Moffett. [8] Yanow, Scott. "Ornette Coleman". AllMusic. Retrieved 16 December 2018.</ref> [9] He recorded his debut album, Something Else!!!! (1958) with Cherry, Higgins, Walter Norris, and Don Payne. [10] During the same year he belonged briefly to a quintet led by Paul Bley that performed at a club in New York City. [8] By the time Tomorrow Is the Question! was recorded soon after with Cherry, Higgins, and Haden, the jazz world had been shaken up by Coleman's alien music. Some jazz musicians called him a fraud, while conductor Leonard Bernstein praised him. [9]

Ed Blackwell American musician

Edward Joseph Blackwell was an American jazz drummer born in New Orleans, Louisiana, known for his extensive, influential work with Ornette Coleman.

Bobby Bradford American musician

Bobby Lee Bradford is an American jazz trumpeter, cornetist, bandleader, and composer. He is noted for his work with Ornette Coleman. In October 2009, Bradford became the second recipient of the Festival of New Trumpet Music's Award of Recognition.

Don Cherry (trumpeter) American jazz trumpeter

Donald Eugene Cherry was an American jazz trumpeter. Noted for his long association with saxophonist Ornette Coleman, which began in the late 1950s, Cherry was a pioneer in world fusion music in the 1960s.

1959: The Shape of Jazz to Come

In 1959 Atlantic released The Shape of Jazz to Come According to music critic Steve Huey, the album "was a watershed event in the genesis of avant-garde jazz, profoundly steering its future course and throwing down a gauntlet that some still haven't come to grips with." [11] Jazzwise listed it No. 3 on their list of the 100 best jazz albums of all time. [12]

Coleman's quartet received a long – and sometimes controversial – engagement at Five Spot jazz club in New York City. Leonard Bernstein, Lionel Hampton, and Modern Jazz Quartet were impressed and offered encouragement. Hampton asked to perform with the quartet; Bernstein helped Haden obtain a composition grant from the John Simon Guggenheim Memorial Foundation. But trumpeter Miles Davis said Coleman was "all screwed up inside" [13] although he recanted this comment and became a proponent of Coleman's innovations. [14]

Coleman's early sound was due in part to his use of a plastic saxophone. He bought a plastic horn in Los Angeles in 1954 because he was unable to afford a metal saxophone, though he didn't like the sound of the plastic instrument at first. [6]

On the Atlantic recordings, Coleman's sidemen in the quartet are Cherry on cornet or pocket trumpet; Charlie Haden, Scott LaFaro, and then Jimmy Garrison on bass; and Higgins or his replacement Ed Blackwell on drums. The complete recordings for the label were collected on the box set Beauty Is a Rare Thing . [8]

1960: Free Jazz

In 1960, Coleman recorded Free Jazz: A Collective Improvisation , which featured a double quartet, including Don Cherry and Freddie Hubbard on trumpet, Eric Dolphy on bass clarinet, Haden and LaFaro on bass, and both Higgins and Blackwell on drums. The album was recorded in stereo with a reed/brass/bass/drums quartet isolated in each stereo channel. Free Jazz was, at nearly 40 minutes, the longest recorded continuous jazz performance to date and was one of Coleman's most controversial albums. The music features a regular but complex pulse, one drummer playing "straight" while the other played double-time; the thematic material is a series of brief, dissonant fanfares. A series of solo features for each member of the band, but the other soloists are free to chime in as they wish. In the January 18, 1962 issue of Down Beat magazine, in a review titled "Double View of a Double Quartet," Pete Welding gave the album five stars while John A. Tynan rated it zero stars. [15]

Coleman intended "free jazz" as simply an album title. But his growing reputation placed him at the forefront of jazz innovation, and free jazz was soon considered a new genre, though Coleman has expressed discomfort with the term. Among the reasons he may have disapproved of the term is that his music contains composition. His melodic material, although skeletal, recalls melodies that Charlie Parker wrote over standard harmonies. The music is closer to the bebop that came before it than is sometimes popularly imagined. [16]

1960s–70s: Avant-garde and harmolodic funk

Coleman in 1971 Ornette Coleman-140911-0002-96WP.jpg
Coleman in 1971

After the Atlantic period and into the early part of the 1970s, Coleman's music became more angular and engaged with the avant-garde jazz which had developed in part around his innovations. [8]

After his quartet disbanded, he formed a trio with David Izenzon on bass and Charles Moffett on drums. He extended the sound of his music, introducing string players and playing trumpet and violin, which he played left-handed. He had little conventional musical technique and used the instruments to make large, unrestrained gestures. His friendship with Albert Ayler influenced his development on trumpet and violin. Charlie Haden sometimes joined this trio to form a two-bass quartet.

Coleman signed with Blue Note and recorded At the Golden Circle Stockholm . [17] In 1966, he recorded The Empty Foxhole with his son, Denardo Coleman, who was ten years old. Freddie Hubbard and Shelly Manne regarded this as an ill-advised piece of publicity on Coleman's part. [18] [19] Despite his youth, Denardo Coleman had studied drumming for several years. His technique was unrefined but enthusiastic, owing more to pulse-oriented free jazz drummers like Sunny Murray than to bebop drummers. [17] He became his father's primary drummer in the late 1970s.

Coleman formed another quartet. Haden, Garrison, and Elvin Jones appeared, and Dewey Redman joined the group, usually on tenor saxophone. On February 29, 1968 in a group with Haden, Ed Blackwell, and David Izenzon Coleman performed live with Yoko Ono at Albert Hall. One song was included on the album Yoko Ono/Plastic Ono Band (1970) [20]

He continued to explore his interest in string textures – from Town Hall, 1962 , culminating with the Skies of America album in 1972. (Sometimes this had a practical value, as it facilitated his group's appearance in the UK in 1965, where jazz musicians were under a quota arrangement but classical performers were exempt.)

Coleman, like Miles Davis before him, took to playing with electrified instruments. The 1976 funk album Dancing in Your Head , Coleman's first recording with the group which later became known as Prime Time, prominently featured electric guitars. While this marked a stylistic departure for Coleman, the music maintained certain similarities to his earlier work. These performances had the same angular melodies and simultaneous group improvisations – what Joe Zawinul referred to as "nobody solos, everybody solos" and what Coleman called harmolodics – and although the nature of the pulse was altered, Coleman's rhythmic approach did not.

1980s–90s

Coleman performs in Toronto in 1982. Ornette at The Forum 1982.jpg
Coleman performs in Toronto in 1982.

In the 1980s, albums like Virgin Beauty and Of Human Feelings continued to use rock and funk rhythms, sometimes called free funk. [21] [22] Jerry Garcia played guitar on three tracks from Coleman's 1988 album Virgin Beauty: "Three Wishes", "Singing in the Shower", and "Desert Players". Coleman joined the Grateful Dead on stage in 1993 during "Space" and stayed for "The Other One", "Stella Blue", Bobby Bland's "Turn on Your Lovelight", and the encore "Brokedown Palace". [23] [24] Another collaboration was with guitarist Pat Metheny, with whom Coleman recorded Song X (1985); though released under Metheny's name, Coleman was essentially co-leader (contributing all the compositions).

In 1990, the city of Reggio Emilia in Italy held a three-day "Portrait of the Artist" featuring a Coleman quartet with Cherry, Haden, and Higgins. The festival also presented performances of his chamber music and the symphonic Skies of America. In 1991, Coleman played on the soundtrack for David Cronenberg's Naked Lunch ; the orchestra was conducted by Howard Shore. It is notable among other things for including a rare sighting of Coleman playing a jazz standard: Thelonious Monk's "Misterioso". Two 1972 (pre-electric) Coleman recordings, "Happy House" and "Foreigner in a Free Land", were used in Gus Van Sant's 2000 Finding Forrester . He released four records in 1995 and 1996, and for the first time in many years worked regularly with piano players (either Geri Allen or Joachim Kühn).

2000s

Coleman at the Enjoy Jazz Festival, Heidelberg, October 2008 Ornette-Coleman-2008-Heidelberg-schindelbeck.jpg
Coleman at the Enjoy Jazz Festival, Heidelberg, October 2008

In September 2006 he released a live album titled Sound Grammar with his son, Denardo Coleman, and two bassists, Greg Cohen, and Tony Falanga. This was his first album of new material in ten years and was recorded in Germany in 2005. It won the 2007 Pulitzer Prize for music, Coleman being only the second jazz musician to win the prize. [25]

Jazz pianist Joanne Brackeen stated in an interview with Marian McPartland that Coleman mentored her and gave her music lessons. [26]

Personal life and death

Coleman married poet Jayne Cortez in 1954. The couple divorced in 1964. They had one son, Denardo, born in 1956. [27]

Coleman died of a cardiac arrest at the age of 85 in New York City on June 11, 2015. [1] His funeral was a three-hour event with performances and speeches by several of his collaborators and contemporaries. [28]

Awards and honors

Discography

Notes

  1. 1 2 Ratliff, Ben (11 June 2015). "Ornette Coleman, Saxophonist Who Rewrote the Language of Jazz, Dies at 85". The New York Times. Retrieved 16 December 2018.
  2. Hellmer, Jeffrey; Lawn, Richard (3 May 2005). Jazz Theory and Practice: For Performers, Arrangers and Composers. Alfred Music. pp. 234–. ISBN   978-1-4574-1068-0 . Retrieved 15 December 2018.
  3. Fordham, John (11 June 2015). "Ornette Coleman obituary". The Guardian. Retrieved 16 December 2018.
  4. Palmer, Robert (December 1972). "Ornette Coleman and the Circle with a Hole in the Middle". The Atlantic Monthly. Ornette Coleman since March 19, 1930, when he was born in Forth Worth, Texas
  5. Wishart, David J. (ed.). "Coleman, Ornette (b. 1930)". Encyclopedia of the Great Plains. Archived from the original on July 7, 2012. Retrieved March 26, 2012. Ornette Coleman, born in Fort Worth, Texas, on March 19, 1930
  6. 1 2 3 Litweiler, John (1992). Ornette Coleman: the harmolodic life. London: Quartet. pp. 21–31. ISBN   0-7043-2516-0.
  7. Spellman, A.B. (1985). Four Lives in the Bebop Business (1st Limelight ed.). Limelight. pp. 98–101. ISBN   0-87910-042-7.
  8. 1 2 3 4 Yanow, Scott. "Ornette Coleman". AllMusic. Retrieved 14 August 2018.
  9. 1 2 "Ornette Coleman biography on Europe Jazz Network". Archived from the original on May 2, 2005.
  10. Jurek, Thom. "Something Else: The Music of Ornette Coleman". AllMusic. Retrieved 14 August 2018.
  11. Huey, Steve. "The Shape of Jazz to Come". AllMusic. Retrieved 14 August 2018.
  12. Flynn, Mike (18 July 2017). "The 100 Jazz Albums That Shook The World". www.jazzwisemagazine.com. Retrieved 16 December 2018.
  13. Roberts, Randall (11 January 2015). "Why was Ornette Coleman so important? Jazz masters both living and dead chime in". latimes.com. Retrieved 16 December 2018.
  14. Kahn, Ashley (13 November 2006). "Ornette Coleman: Decades of Jazz on the Edge". NPR.org. Retrieved 16 December 2018.
  15. Welding, Pete (January 18, 1962). "Double View of a Double Quartet". DownBeat. 29 (2).
  16. Howard Reich (30 September 2010). Let Freedom Swing: Collected Writings on Jazz, Blues, and Gospel. Northwestern University Press. pp. 333–. ISBN   978-0-8101-2705-0.
  17. 1 2 Freeman, Phil (18 December 2012). "Good Old Days: Ornette Coleman On Blue Note". Blue Note Records. Retrieved 14 August 2018.
  18. Gabel, J. C. "Making Knowledge Out of Sound" (PDF). stopsmilingonline.com. Retrieved 14 August 2018.
  19. Spencer, Robert (1 April 1997). "Ornette Coleman: The Empty Foxhole". All About Jazz. Retrieved 14 August 2018.
  20. Chrispell, James. "Yoko Ono/Plastic Ono Band". AllMusic. Retrieved 14 August 2018.
  21. Appiah, Anthony; Appiah, Kwame Anthony; Gates, Henry Louis (March 16, 2005). "Africana: The Encyclopedia of the African and African American Experience". Oxford University Press. Retrieved March 18, 2017.
  22. Berendt, Joachim-Ernst; Huesmann, Günther (August 1, 2009). "The Jazz Book: From Ragtime to the 21st Century". Chicago Review Press. Retrieved March 18, 2017.
  23. Scott, John W.; Dolgushkin, Mike; Nixon, Stu (1999). DeadBase XI: The Complete Guide to Grateful Dead Song Lists. Cornish, New Hampshire: DeadBase. ISBN   1-877657-22-0.
  24. "Grateful Dead Live at Oakland-Alameda County Coliseum on 1993-02-23". Internet Archive.
  25. 1 2 "Pulitzer Prize winning jazz visionary Ornette Coleman dies aged 85". HeraldScotland. Retrieved 16 December 2018.
  26. Lyon, David (14 March 2014). "Joanne Brackeen On Piano Jazz". NPR.org. Retrieved 16 December 2018.
  27. Fox, Margalit (3 January 2013). "Jayne Cortez, Jazz Poet, Dies at 78". The New York Times. Retrieved 16 December 2018.
  28. Remnick, David (27 June 2015). "Ornette Coleman and a Joyful Funeral". The New Yorker. Retrieved 16 December 2018.
  29. The Dorothy and Lillian Gish Prize Archived October 6, 2013, at the Wayback Machine , official website.
  30. "Archived copy". Archived from the original on April 19, 2017. Retrieved April 18, 2017.CS1 maint: Archived copy as title (link)
  31. Montreal Jazz Festival official page Archived May 16, 2010, at the Wayback Machine
  32. "Press Release: 2008 CUNY Graduate Center Commencement". www.gc.cuny.edu. Retrieved 16 December 2018.
  33. "CUNY 2008 Commencements". cuny.edu. Retrieved 16 December 2018.
  34. Mergner, Lee (3 June 2010). "Ornette Coleman Awarded Honorary Degree from University of Michigan". JazzTimes. Retrieved 16 December 2018.

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The Shape of Jazz to Come is the third album by jazz musician Ornette Coleman. Although Coleman initially wished for the album to be titled Focus on Sanity, after one of the songs on the album, it was ultimately titled The Shape of Jazz to Come at the urging of Atlantic producer Nesuhi Ertegun, who felt that the title would give consumers "an idea about the uniqueness of the LP." Released on Atlantic Records in 1959, it was his debut on the label and his first album featuring his working quartet including himself, trumpeter Don Cherry, bassist Charlie Haden, and drummer Billy Higgins. The recording session for the album took place on May 22, 1959, at Radio Recorders in Hollywood, California. Two outtakes from the session, "Monk and the Nun" and "Just for You", would later be released respectively on the 1970s compilations Twins and The Art of the Improvisers. In 2012, the Library of Congress added the album to the National Recording Registry.

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References