AOTW, Nov 28 – Dec 4

[Alon Marcus]

I hope this disc can be the center of discussion on related topics like other recordings on Atlantic by the classic Coleman quartet.

Edited November 20, 2004 by ztrauq22

[Parkertown]

God, I love that cover. Charlie Haden looks like an escaped mental patient!

Great music, too! Big for the Sepia Tone remaster. Awesome sound!

[Alon Marcus]

Let's start the discussion with "Beauty is a rare thing". One of the best pieces by the quartet. Maybe because it is a slow ballad with a catchy melody the ideas shine bright.

At first it's just Ornette, Blackwell and Haden. The melody is presented and actually has an AABA form. Then suddenly Cherry announces his solo with a pedal point held by Haden (it happens when the digital clock shows about 2 minutes and 20 seconds). The sustained dominant creates a tension which resolves finally at 3:30. Somehow Haden leads Don to a new pattern in a different key and than the solo spot is delivered to Coleman (about 4:40). Haden and Ornette create a scary pattern which finally resolves to a restatement of the original theme by both Cherry and Coleman.

Not to forget Blackwell's wonderful job of orchestrating the solos of both Cherry and Coleman.

Edited November 28, 2004 by ztrauq22

[Д.Д.]

The compositions are excellent, but Ornette's solos seem to be absolutely the same to me here. Blackwell is on fire here. Good remaster.

[Alon Marcus]

If there is one track that I don't like it must be Kaleidoscope.

The melody is not catchy and I can't figure out what is going on in the improvisation.

One thing that's essential in free jazz (actually in every kind of music, with free jazz it's just stands out) is communicating with the listener and delivering a message. Sometimes there may be some beauty and logic in the song but only the musicians know about it. They communicate among themselves but not with the audience.

That's the case with Kaleidoscope I think.

[Nate Dorward]

Funny, that's the piece that Paul Plimley & Lisle Ellis landed on above all on their superb Ornette tribute album Kaleidoscopes (now o/p but SURELY Hatology will bring it back?).

Worth comparing Ornette's & Braxton's "Embraceable You". Haven't heard the latter for a bit (it's on the Sackville album) but I remember it as being just as extraordinary a revision as Ornette's.

[Nate Dorward]

One thing that's essential in free jazz (actually in every kind of music, with free jazz it's just stands out) is communicating with the listener and delivering a message.

Well, why not send a letter?

[Alon Marcus]

One thing that's essential in free jazz (actually in every kind of music, with free jazz it's just stands out) is communicating with the listener and delivering a message.

Well, why not send a letter?

I'll accept it as Canadian humor.

[Alon Marcus]

Funny, that's the piece that Paul Plimley & Lisle Ellis landed on above all on their superb Ornette tribute album Kaleidoscopes (now o/p but SURELY Hatology will bring it back?).

Worth comparing Ornette's & Braxton's "Embraceable You".  Haven't heard the latter for a bit (it's on the Sackville album) but I remember it as being just as extraordinary a revision as Ornette's.

"Embraceable you" is a traditional piece that shows Ornette capabilities as melodic and singing improviser. Once again Blackwell does a superb job. The form stretches a bit and Haden creates nice tension in the end of the first chorus. There is a long cadenza by Ornette in the end of the second chorus. The song opens and ends with an orchestrated phrase that was built from the original Gershwin's motifs. Altogether, of all the versions I have heard it's one of the best and probably the most original.

Sorry, didn't hear Braxton's "Embraceable you".

One of the things I really like in the album is the passage between Ornette's and Don's solos, especially on "Poise". Don picks Coleman's idea and develops it for some time, adding darker colors with Haden chromatic descending line.

Edited December 3, 2004 by ztrauq22

[Nate Dorward]

It's (Canadian?) humo(u)r, yes, but the point is serious. If the point of music were purely "to communicate" then it's a rather peculiarly inefficient choice of medium.

[Alon Marcus]

It's (Canadian?) humo(u)r, yes, but the point is serious.  If the point of music were purely "to communicate" then it's a rather peculiarly inefficient choice of medium.

This is a philosophical issue. Personally I think that music is a very efficient way of communicating and expression of feelings. You can imagine yourself that people from different countries that don't speak the same language can enjoy each other's music.

About Kaleidoscope; that's only my opinion. Probably I don't like it because I couldn't understand it. I'll try to listen to it more and maybe in other versions. Also, I'll be glad if someone could "show me the light" and explain this composition. It's the only piece that I don't dig on that album.

By the way, "This is our music" contains beautiful compositions (Humpty Dumpty, Blues connotation, Beauty is a rare thing etc.). Are there other versions for these songs from Ornette or anybody else?

Edited December 2, 2004 by ztrauq22

[JohnS]

I'm old enough to remember the fierce arguments that surrounded Ornette's early records and performances. I'll admit I was put off by all the comments and it was a while before I decided to take the plunge and find out what all the fuss was about. This was the album I bought. I can't say that I was too impressed at the time, maybe it was the odd frantic moment, Cherry's scrabbling trumpet or the dirge like slow piece. but as the avant garde got established I went back to Ornette. Since then I've grown to love his music.

If you asked me yesterday I'd probably have said that this was my least favourite Ornette album (those first impressions?) but now I'd say the opposite. It's a fine album with spendid playing, it's difficult to pick a favourite track but Poise, Humpty Dumpty and Blues Connotation all contain some lovely jaunty, happy playing. Great stuff all round.

I'll own up though and say that I still don't find Ornette that easy. Every time I play something from this period it takes me a track or two to tune in to what's going on.

[tonym]

This was my first purchase of those 'classic' quartet dates; still not sure of the chronological details though --- wasn't there some confusion regarding recording sequence. and I love this album. Good choice although I thought it would be on everyones 'loved' list.

Will listen to it tonight and try and post something soon afterwards, contructive, I hope.

[Alon Marcus]

This was my first purchase of those 'classic' quartet dates; still not sure of the chronological details though --- wasn't there some confusion regarding recording sequence.

In the midsummer of 1960 Higgins was replaced by Blackwell and the session of "This is our music" was recorded. Also most of "To whom who keeps a record" that was issued originally only in Japan was recorded then. I never heard it but maybe it was reissued as part of Ornette's Atlantic box. Is that what you meant with "chronological confusion"?

[tonym]

No. From what I've read (somewhere, can't remember), the sequence in which the albums first appeared on the shelves was slightly different from their recording order. Apparently, critics and punters were talking about the development from one album to the next but were confounded when the real chronology was revealed. Wish I knew more, maybe that Rhino box may help clarify things

BTW, still haven't had chance to listen again.

[mikeweil]

In the midsummer of 1960 Higgins was replaced by Blackwell and the session of "This is our music" was recorded. Also most of "To whom who keeps a record" that was issued originally only in Japan was recorded then. I never heard it but maybe it was reissued as part of Ornette's Atlantic box.

Not maybe - it was!