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Ornette on Tenor

7 customer reviews

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Audio CD, November 16, 1993
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$17.42 & FREE Shipping on orders over $35. Details Only 1 left in stock. Sold by Big_Box_Bargains and Fulfilled by Amazon. Gift-wrap available.

1. Cross Breeding
2. Mapa
3. Enfant
4. EOS
5. Ecars

Product Details

  • Audio CD (November 16, 1993)
  • Original Release Date: 1962
  • Number of Discs: 1
  • Label: Rhino / Wea
  • ASIN: B00000333H
  • Average Customer Review: 4.6 out of 5 stars  See all reviews (7 customer reviews)
  • Amazon Best Sellers Rank: #277,162 in Music (See Top 100 in Music)

Customer Reviews

5 star
86%
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3 star
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2 star
14%
1 star
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Most Helpful Customer Reviews

7 of 7 people found the following review helpful By Il Dottore on February 1, 2002
Format: Audio CD
First of all, we aren't going to listen to the advice of anyone who says "Lookit" (anyone who says lookit and gives one star to ornette probably has a mullet). This album is amazing. If you have the other atlantic albums, you'll want this (or just get the box set). Apparently Ornette started on Tenor; his tone is edgy and raspy (like a blues singer) but also beautiful. There is lots of new stuff here if you want to follow ornette's development. FOr instance, Mapa is a sublime 9 min. group improvisation. Interestingly, Ornette never had the quartet improvise together (only the double quartet), perhaps becouse of the close range of the trumpet and alto, but here, with the lower range of the tenor, it works wonderfully. This is great experimental jazz but at the end of the day it is just great music by any standards...that is, any open-minded standards.
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5 of 5 people found the following review helpful By kaysixone on July 3, 2003
Format: Audio CD
Ornette Coleman is undoubtedly one of the greatest and most influential musicians of the last century - but like many true originals he had to endure a great deal of hostility when he first appeared on the scene in the late 1950s from those who either resented, didn't understand or just didn't like the way he chose to ignore rules which they considered fundamental to jazz (and which many established musicians had devoted countless hours of practice to learning)....

Coleman's musical vision (which came to be known as harmolodics) defies easy categorisation and his own attempts to explain it have been frustratingly vague. Basically he wanted to free his playing from the restrictions of harmonic and rhythmic conventions prevalent in the jazz of the 1950s - and crucially, to create improvisations using the melodic line as a starting point which were not dependent on chord changes. Although his name will always be associated with "free jazz", Coleman's music is far from "free" and contains an abundance of logic, melody and rhythm, as well as being deeply rooted in the blues.

Despite causing so many waves among the jazz establishment (or maybe because of it) Coleman also managed to attract a hardcore of devotees and win the support of other young musicians looking for new ideas and fresh approaches to playing (Don Cherry, Charlie Haden, Scott La Faro, Billy Higgins, Ed Blackwell and others). The core of his most influential output was recorded during numerous sessions for the Atlantic label between 1959 and 1961, including groundbreaking albums like "The shape of jazz to come", "Change of the century", "This is our music", "Free jazz" etc....
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4 of 4 people found the following review helpful By Evan Chandlee on November 26, 2007
Format: Audio CD
Although Jimmy Garrison finally broke with Ornette, he was an remarkably appropriate bass player for this, the tenor session. On cuts such as Eos and Enfant, Garrison's mainly lower register work with frequent vamps and pedal points provides an elastic underpinning that drives every tune and solo. His profound & incredibly elastic groove, adventurous but always melodic and irresistibly "straight ahead", was just what Ornette needed to give the tenor 4tet a different sound. Blackwell also contributes to the depth of the 4tet sound by playing as much on the skins as on the cymbals, never far from the snare & toms, maintaining a swinging yet ever changing groove across the entire set. On Ecars the group is really singing. Ornette is as inspired, earthy and lyrical on cuts such as Cross Breeding and Enfant - check his leap out of the short tune on the latter- as he ever has been on alto. Thanks in great part to the Garrison-Blackwell empathy, the groove is innovative, daring even, as each 4 and 8 measure segment unfolds, yet is always precise, cohesive & exciting.
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2 of 2 people found the following review helpful By Matthew Watters on January 19, 2010
Format: Audio CD
This album is an oft-overlooked item in the Coleman canon because of Ornette's choice of axe, the assumption probably being that a tenor dilettante couldn't make a great tenor album. But Ornette had an early history playing the larger horn, and his approach on tenor is not all that different from his approach playing alto. The style of improvisation, the rhythmic pulse of his playing, the brilliant melodic bursts are all there, but with a chestier, grittier tone. On its own merits, this is a brilliant Ornette Coleman performance. But what really makes 'Ornette on Tenor' one of his greatest albums is how it also begins to rethink the quartet approach he had refined on earlier albums he had recorded for Atlantic Records, such as The Shape of Jazz to Come and This Is Our Music. Here, drummer Ed Blackwell deploys a sort of rolling, pulsing approach to drumming that would later be expanded upon by guys like Milford Graves and Denis Charles (and gals like Susie Ibarra). Coltrane bassist Jimmy Garrison eschews the melodic style of Charlie Haden for simply filling a sort of dark, throbbing space in the music. Above it, Coleman and comrade-in-arms Don Cherry engage in some interlaced improvisations (particulary on "Mapa") such as you never heard in the Coleman Quartet's earlier work. And Coleman himself is a marvel, laying a blueprint for an entire approach to avant-garde tenor playing that could be heard in everyone from Brotzmann onward. If I have a small quibble with this album, it's with Cherry, whose tone sounds a bit pinched in spots and whose forays can seem a bit tentative, an impression exacerbated by the running order one hears on the 'Beauty Is a Rare Thing' box set, which presents these cuts in the order they were recorded, rather than in album order.Read more ›
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