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Topic: Ornette Coleman

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In the News (Mon 18 Mar 19)

  Ornette Coleman - Wikipedia, the free encyclopedia
Coleman's timbre is perhaps one of the most easily recognized in jazz: his keening, crying sound draws heavily on blues music.
Coleman meant for Free Jazz simply to be the 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.
Coleman began to extend the sound-range of his music, introducing accompanying string players (though far from the territory of "Parker With Strings") and playing trumpet and violin himself; he initially had little conventional technique, and used the instruments to make large, unrestrained gestures.
en.wikipedia.org /wiki/Ornette_Coleman   (1494 words)

In 1975, Coleman formed his current band, Prime Time, and now the "free jazz/classical composer" was creating very danceable music that combined elements of jazz, funk, R & B, and rock with an unusual mix of instruments: two guitarists, two drummers, two bassists, and Coleman on sax, violin and trumpet.
Ornette Coleman has always had an unusual ability to resurface at times when musical establishments were in need of revitalization.
Coleman's music has always reflected the richness and range of musical expression and today he speaks as a mature artist at the peak of his power.
www.ejn.it /mus/coleman.htm   (1442 words)

 Ornette Coleman MP3 Downloads - Ornette Coleman Music Downloads - Ornette Coleman Music Videos
Ornette Coleman (on alto, trumpet and violin) is heard with his "double quartet" Prime Time, which at the time was comprised of guitarists Bern Nix and Charlie Ellerbee, electric bassists Al MacDowell and Chris Walker, and drummers Denardo Coleman (who also plays some keyboards) and Calvin Weston....
Ornette Coleman's innovative Prime Time band is heard at the peak of its powers on this LP from the small Caravan of Dream label.
Ornette Coleman's brief tenure at Blue Note was neither as seminal as his Atlantic output nor as brazenly ambitious as his early-'70s work for Columbia and later with Prime Time.
www.mp3.com /ornette-coleman/artists/50243/discography.html   (989 words)

 Greg Sandow -- Orette Coleman at the Lincoln Center Festival   (Site not responding. Last check: 2007-10-21)
Coleman has written, should create "a very clear earth and sky image," leaving the improvising soloists to, perhaps, convey the endless march of troubled history under our skies, leading someday toward goodness.
Coleman chose to mass these forces, writing most of the time as if the orchestra was one huge instrument, a great thick voice that sang a single song.
Coleman has enjoyed performing the music as a multimedia circus, with video, dancers and more or less anything else that crosses his mind.
www.gregsandow.com /ornette.htm   (957 words)

 Howard Mandel, Jazz Critic - Jazz Writing - Ornette Coleman   (Site not responding. Last check: 2007-10-21)
In speech, Coleman's voice is higher-pitched than one might expect, lilting and with the merest lisp; his face is sculpted of planes and ridges that seem somewhat askew, but cohere in deeply etched character.
Coleman is, after all, the living artist most devoted to questioning a priori concepts, challenging conventions of longstanding, and re-shaping at the very least, the hierarchies of sound.
Coleman's Skies was not very well received when first issued, nor was its vinyl edition given the red seal treatment: the initial pressing was mediocre, its overall sound compressed and thin.
www.howardmandel.com /OColeman.php3   (1975 words)

 NEA Jazz Masters OrnetteColeman
Coleman’s work has ranged from dissonance and atonality to liberal use of electronic accompaniment in his ensembles, to the engagement of various ethnic influences and elements from around the globe.
Meanwhile Ornette Coleman was developing an approach to his music that he was to dub harmelodics.
Coleman’s quartet, with the eventual change from Higgins to Ed Blackwell at the drums, went on to record seven controversial albums for Atlantic.
www.iaje.org /bio.asp?ArtistID=53   (697 words)

 Ornette Coleman   (Site not responding. Last check: 2007-10-21)
As is the case with the electric band, each member of the quartet can move at his or her own tempo, and the rhythmic center of the music disperses and converges as the players move in and out of synch.
Ornette has said that Prime Time is an outfit composed all of leaders; so are the members of this quartet.
Ornette plays variations on the theme, discards them for a seemingly unrelated set of themes and variations, shifts into long rapid sequences of squiggles and squeals, and ends with sotto voce mutterings that fade into the ensemble.
www.bostonphoenix.com /alt1/archive/music/reviews/08-22-96/ORNETTE_COLEMAN.html   (752 words)

 VH1.com : Ornette Coleman : Biography
Coleman's tone (which purposely wavered in pitch) rattled some listeners, and his solos were emotional and followed their own logic.
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.
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.
www.vh1.com /artists/az/coleman_ornette/bio.jhtml   (823 words)

 PBS - JAZZ A Film By Ken Burns: Selected Artist Biography - Ornette Coleman
Ornette Coleman began playing alto saxophone at the age of 14, and developed a style predominantly influenced by Charlie Parker.
Coleman's first studio recording (for Contemporary in 1958) reveals that his style and sound were, in essence, fully formed at that time.
From the 1960s Coleman was often joined by his son, the drummer Denardo Coleman (1956-), in concerts and recordings.
www.pbs.org /jazz/biography/artist_id_coleman_ornette.htm   (726 words)

 Ornette Coleman Biographical Sketch
Ornette Coleman was born in Ft Worth, Texas, on March 19, 1930, his father (who died when he was 7) a cook and later mechanic, his mother a seamstress.
Coleman's occasional use of the non-tempered scale (notes sounded at natural rather than well-tempered pitch), his abandonment of chord changes and the conventions of the 32-bar AABA song form, and the improvised interplay amongst the members of the quartet, among other characteristics, produced strong reactions (both pro and con) from musicians, critics and listeners.
Coleman ended the year a poll winner in several categories, and early in 1967 he was the first recipient of a Guggenheim Fellowship for jazz composition only.
home.att.net /~dawild/oc_biography.htm   (1590 words)

 Ornette Coleman : Ornette on Tenor - Listen, Review and Buy at ARTISTdirect   (Site not responding. Last check: 2007-10-21)
Coleman hadn't played much tenor since a group of Louisiana thugs beat him and destroyed his instrument, but he hadn't lost his affection for the tenor's soulful, expressive honk and the ease with which people connected with it.
There are a few traces of Coleman's early Texas gutbucket R&B days, plus a few spots where he explores a breathier tone, but for the most part his spiraling solo lines are very similar to his other Atlantic albums, and his upper-register sound is often a dead ringer for his plaintive alto cries.
With Coleman ostensibly exploring new territory, it's hard not to be a little disappointed that Ornette on Tenor doesn't have the boundary-shattering impact of his previous work -- but then again, it's probably asking too much to expect a revolution every time out.
www.artistdirect.com /nad/store/artist/album/0,,67359,00.html   (363 words)

 Ornette Coleman (1930 - )   (Site not responding. Last check: 2007-10-21)
Ornette Coleman (born March 19, 1930) was one of the major innovators of the free jazz movement of the 1960s, and one of the more notable figures in jazz history.
Coleman was raised in Fort Worth, Texas, where he began performing R&B and bebop initially on tenor saxophone.
On classics such as "Lonely Woman," "Congeniality," and "Focus on Sanity," Coleman used the tunes' moods and melodic contours, rather than their chords, as a basis for his improvisations.
www.jahsonic.com /OrnetteColeman.html   (214 words)

 AllRefer.com - Ornette Coleman (Music: Popular And Jazz, Biography) - Encyclopedia
Ornette Coleman 1930–;, African-American saxophonist and composer, b.
He later developed an unorthodox and impassioned style of free jazz characterized by broken rhythms, atonal harmonies, and improvised melody, which made him an enduringly controversial figure in the jazz avant-garde.
Coleman made his first real impact in the commercial jazz world in 1959 and has since played in a number of small groups with various musicians.
reference.allrefer.com /encyclopedia/C/ColemanOr.html   (226 words)

 Variety.com - Reviews - Ornette Coleman   (Site not responding. Last check: 2007-10-21)
So, with Coleman's participation, the festival is laudably and lavishly trying to cover as many bases as possible in three concerts, the first two of which produced some startling revelations.
Coleman's own playing seems to have changed a lot more than the other two since they started recording in 1959; he sounds more rhythmic, more epigrammic, perhaps even mellower than before.
One reason may be Coleman's own unquenchable thirst for melody, which he pursued on this night with a lyrical bent that might even be described as ravishing.
www.variety.com /article/VE1117906374   (735 words)

 Jazz . Jazz Greats . Ornette Coleman | PBS KIDS GO!
Ornette Coleman (1930-….) is a saxophonist, composer and bandleader.
Ornette began learning alto saxophone during his early teens.
Ornette faced a lot of opposition in the early days of his career.
pbskids.org /jazz/nowthen/coleman.html   (464 words)

 Ornette Coleman
By the time Coleman was seven his father had died, leaving his mother to support the family working as a seamstress; despite their difficult circumstances, she put money aside to buy her son his first saxophone (an alto) when he was 14.
Coleman's musical interests during the rest of the 1960s broadened to include forms outside of the confines of the jazz field.
Coleman maintained his explorations of new musical territories throughout the 80s and 90s, collaborating with artists ranging from Pat Metheny to the Kronos Quartet to The Grateful Dead, as well as continuing his work with Prime Time and making further ventures into classical/chamber composition.
www.nndb.com /people/990/000029903   (828 words)

 Austin360 | Music | Ornette Coleman, Free-form Pioneer - Nov. 12, 2004
Ornette Coleman, here performing at the 2000 Bell Atlantic Jazz Festival in New York, is one of the giants of avant-garde jazz.
But Ornette — and, unless it's to the man's face, fans just call him "Ornette," like "Miles" — is The Man as far as Coke's concerned.
"Ornette's tone is so unique," Cogburn says, "There's something just so joyful and free about it, it's just amazing listening to him in different contexts," referring to Ornette's movement from acoustic music in the 1960s to his electric, "harmolodic funk" band Prime Time in the 1980s.
www.austin360.com /music/content/music/statesman/2004/coleman_11-12-04.html   (907 words)

 Amazon.com: Something Else!:The Music of Ornette Coleman: Music   (Site not responding. Last check: 2007-10-21)
Ornette Coleman generated quite a stir when he appeared on the jazz scene, although listening to his debut record nearly fifty years later, it's actually quite difficult to understand.
Coleman has indicated in books that the songs on here were written several years beforehand-- if this is the case, it explains their relative unadvanced state.
Ornette Coleman's tunes on this early album are bouncy and melodic.
www.amazon.com /exec/obidos/tg/detail/-/B000000Y9C?v=glance   (1792 words)

 InternetEd Reviews: Ornette Coleman- Skies Of America   (Site not responding. Last check: 2007-10-21)
Coleman applied the same logic to classical music, giving it a new freedom on the Skies Of America record.
As usual with Coleman's work, he pioneered avant-garde musical paths by using harmolodic modulation, which allowed the instruments to be played simultaneously in different keys.
Ornette's unadulterated jazz makes its appearance in "The Artists In America," which is driven by the sax and drums and supported by symphonic discordance, and the poem "Foreigner In A Free Land" uses the voluminous saxophone to represent alienation from the classical, native elements such as the strings.
www.interneted.com /Reviewpages/colemanornetteskiesofamerica.htm   (447 words)

 BBC News | MUSIC | The last jazz revolutionary?
Ornette Coleman, who celebrated his 71st birthday on 19 March, is one who has.
In London to play two concerts at the Barbican centre, Coleman is one of the few figures who changed the course of jazz history.
His innovations, on a series of albums recorded in 1959 and 1960, were not universally welcomed by jazz critics nor, it has to be said, by jazz fans.
news.bbc.co.uk /hi/english/entertainment/music/newsid_1234000/1234492.stm   (513 words)

 :: SFJAZZ ::   (Site not responding. Last check: 2007-10-21)
Alto sax giant and avant-garde pioneer Ornette Coleman returns to the Festival at the helm of his daring quartet with two virtuoso bassists (Tony Falanga and Masada’s Greg Cohen) and a drummer (son Denardo Coleman).
Throughout his career, Coleman continued to expand this vision, playing the violin and trumpet, penning works for diverse ensembles, and fearlessly embracing diverse modes of expression, from chamber music (Forms and Sounds) to electronic music (Science Fiction), from a symphony (Skies of America) to jazz-funk (Prime Time).
Today, Coleman’s towering significance in the history of jazz —; as innovator, multi-instrumentalist, iconoclastic composer, musical theorist, mathematician, modern art collector, humanist and philosopher — is undeniable.
www.sfjazz.org /concerts/fall05/artists/ornette_coleman.html   (831 words)

 Ornette Coleman Quartet: Ornette!: Pitchfork Review   (Site not responding. Last check: 2007-10-21)
Coleman's reeling, rasping abrasion is already plaiting Cherry's whinnying lunges and half-drunk two-steps.
Coleman and Cherry dangle around a cracked, low tone, smoothly segueing from taut frowns to gaping smiles.
Throughout, Coleman is seductive and charming, sometimes venturing into brief moments that could pass as showtunes.
www.pitchforkmedia.com /record-reviews/c/coleman_ornette/ornette.shtml   (632 words)

 Ornette Coleman --  Britannica Concise Encyclopedia - The online encyclopedia you can trust!
in full Randolph Denard Ornette Coleman American jazz saxophonist, composer, and bandleader who was the principal initiator and leading exponent of “free jazz”; in the late 1950s.
Coleman began playing alto, then tenor saxophone as a teenager and soon became a working musician in dance bands and rhythm-and-blues groups.
Ornette Coleman (alto saxophone) with his Quartet, performing “Lonely Woman,” 1959.
www.britannica.com /ebc/article-9024728   (1002 words)

 Jazz At Lincoln Center Vs. Ornette Coleman : Features : One Final Note
Coleman is a tuneful, penetrating and always bluesy saxophonist, whose sound is full of human speech patterns, laughs and cries.
The neat and pretty organization of Coleman's tunes may have made them accessible, reassuring and safe to the people in the audience, but it robbed them of their composer's insistence of surprise.
Strangely enough, Wynton Marsalis never mentioned Ornette Coleman's name from the bandstand, though he spoke up to credit every one of his Orchestra members for their arrangements and their solos, and even thanked those who didn't play solos that night for their contributions to the ensemble.
www.onefinalnote.com /features/2004/mandel-jalc   (835 words)

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