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Album of the Week: Oct 10 - 17


Gary

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The royal poster kindly tapped my shoulder to choose the next AOTW.

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I've chosen Ascension in the hope that there will be a lot a different opinions of it & that it may be a CD owned by people that wouldn't normally purchase this type of music.

If you have any sort of opinion please post it.

I'll be posting mine soon.

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Good choice, Gary!

But a mediocre album, as far as I remember.

Blasphemy!!!!!!

Actually, I have never enjoyed listening to Ascension all that much (nor Free Jazz, for that matter) but have a lot of respect for both of them as historically essential documents. I'll take this opportunity to relisten to Ascension and see if my opnion of it as music has changed.

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I loved this album from the first listen all the way through. It's got a simple structure & the solos can go anywhere around, inside, outside or any direction. It's just so damn FULL! I think I like it better than Ornette's Free Jazz because it's fuller sounding. And I like both versions equally.

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I've had version one since it's first release. It was a tough listen then and after listening to both versions it's still tough. The big problem for me is the free for all ensembles, some structure would have improved things and might have set the solos off to better effect. As for the solos, Hubbard doesn't fit too well and I find myself liking John Tchicai's and Marion Brown's more thoughtful efforts the most. Elvin is great throughout.

Perhaps because of familiarity I prefer version 1.

A valiant failure?

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I love this CD, it did take a lot of listening to get my ears used to it, I find the ensemble playing more enjoyable with each listen & each notch up on the volume.

The outstanding solos for me are Trane’s /John Tchicai ‘s & Pharoah Saunder’s (sounding a bit like Ayler).

Hubbard does sound a bit out of place on Take 1 (edition II), but more at home on take 2 (edition I) . Archie Shepp’s solo on take 2 is superb.

I agree with John that Elvin plays like a true master throughout maybe Rashid Ali wasn’t needed anyway.

What was the reaction of Trane fans when this was first released?

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I used to listen at Ascension and Free Jazz (and Ayler, AEOC, etc.) when I was preparing my examination at the end of Art School. Because it was pure avantgarde, we were pure avantgarde at Art School, and my parents hated that music B-) .

At that time I snobbed "mainstream" music, that in my judgement included Ellington, Pink Floyd, Dylan and Art Blakey, (the only admitted rock group were the Clash).

Now I am older, bought a little Ellington, more Dylan and Floyd, a lot of Blakey, but I still love Ascension :rolleyes:

PS, I have an old italian Lp, wich version do you think I knew?

Edited by porcy62
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Till now it was unlistenable for me too. Though I like Ornette Coleman's small groups (especially the Atlantic years) and Coltrane's "Meditations" I couldn't survive till the end of neither "Free Jazz" nor "Ascension". It's just too intense and too long. I prefer more "organized" groups like Wayne Shorter's "The all seeing eye" and I like combinations of free improvisations with structured compositions (like on Dave Liebman's "Conversations").

I'll give Ascension a few more tries; it's been more than two years since I've heard it.

Another record, for that matter, with a similar concept is Alan Silva's "Alan Silva & the celestial communication orchestra – Seasons". Is there anybody familiar with that one? A few of the participators in that musical orgy are: Silva, Steve Lacy, Lester Bowie, Joseph Jarman, Roscoe Mitchell, Robin Kenyatta, Michel Portal, and Joachim Kuhn.

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A few observations after listening to the record once again:

1. It sounds much better to me now than two years before. The ideas are clearer. Still I think it was much more fun for the musicians to make the album than for me listening to it.

2. I like the diversity of the album, this time I survived with no special problems the two editions (both clock at about 40 minutes) mainly because of the interesting solos. Each player's personality shines through these solos.

3. My favorite solos are by Shepp and Tyner.

4. The piece has an obvious tonal center and the improvisations are being launched from there. In that sense it is not a totally free of harmony. It is also based on a melodic motif similar to "Love Supreme".

5. A quick research that anyone can do on the web shows that there are pre planned modes on the tutti parts: B flat natural minor, D Phrygian, G flat Lydian and F Phrygian (actually the three modes except for D Phrygian are the same series of notes just being started from a different tonic).

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I loved this album from the first listen all the way through. It's  got a simple structure & the solos can go anywhere around, inside, outside or any direction. It's just so damn FULL! I think I like it better than Ornette's Free Jazz because it's fuller sounding. And I like both versions equally.

geez dave, were we separated at birth? 

i felt the same way! loved it the first time i heard it! 

I absolutely agree with you, Dave & BM.

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Gary asked me to contribute to this thread, so....

I haven't been around for a while because I've got back/RSI problems which prevent me posting in an ongoing way. But I've got an article about late Coltrane which may be can be of interest:

Circling Om

This is a kind of wound-up (which doesn't help my back), intellectual article.

Hope that's OK.

Simon Weil

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