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At The Golden Circle Stockholm Vol. 1 [LP]
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Audio CD, Extra tracks, Original recording reissued, January 8, 2002
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Furthermore, there is nothing pretentious about this music. Ornette seems to have a theme for each song, and the trio takes it from there. "European Echoes" is my favorite because of its simplicity and humor. I think all musicians should listen to Coleman's music as a means for understanding how to make good music through being real and spontaneous, for those qualities seem to be at the heart of the creative process.
Ornette's first LP, "The Shape of Jazz to Come", caught me in my first year of college still listening mostly to West Coast melancholia. Ornette was playing a plastic alto sax that had all the tonal beauty of a hamster on a rusty exercise wheel, but that woke my ears to a kind of music made from raw energy. As it turned out, Ornette's sound wasn't "the shape of jazz" for long, not even for Coleman himself. It was too ornately crude, too obviously effortful, and by 1965 Ornette was ready to "fess up" that he really could play the saxophone with grace, that he had not only energy but also fresh harmonic and rhythmic ideas. That was also the decade of Albert Ayler, Cecil Taylor, and other outrageously bold innovators, but Ornette Coleman has remained for many jazz fans the outer limit of comprehensibility. 'Farther out' than Ornette, there are only the European "Free Jazz" musical terrorists.
If you've never heard Ornette Coleman, I can't guarantee that you'll love him on first or second listening. His music may seem deliberately crude and/or chaotic. On this CD at least, on the three tracks I named, it's certainly not chaotic, and the more I listen, the more of Charlie Parker's ghost I hear. Coleman has shaped jazz over the last 40 years, not exactly in his acoustic image but with nervous attention to his fierce independence from any pop crossover commercial impulses. Coleman is more than free; he's pure.
Most Recent Customer Reviews
Set at a fairly high volume level, the cymbals sounded muddy, not crisp, the bass player could have been slightly higher in the mix and the spoken introduction was all but... Read morePublished 8 months ago by Keith Bickerstaffe
COLEMAN, Ornette. OC at the Golden Circle, vols. 1-2. Blue Note. Remastered, 2001; orig. 1965.
OC, alto sx, viol, tpt; David Izenson, b; Charles Moffett, dr. Read more
When Ornette blasted on the scene with his quartet's Atlantic recordings in the late 1950s (now gathered on the spectacular Beauty is a Rare Thing box set), a lot of people were... Read morePublished on February 13, 2009 by Matthew Watters
To get the full effect, I bought this recording together with At The Golden Circle Vol. 2. Throughout both, the crowd is somewhat reserved, despite the fact that Coleman is... Read morePublished on December 23, 2008 by Eric Sedensky
For those of you who are unfamiliar with altoist/multi-instrumentalist composer Ornette Coleman, he is that rare musical breed, a "maverick" of rare originality as composer Virgil... Read morePublished on October 8, 2008 by Dennis W. Wong
Ornette Coleman only brought a trio to Stockholm, but since he was playing at such a high level, it was all that was needed. Read morePublished on June 30, 2007 by Anthony Cooper