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  • At The Golden Circle Stockholm Vol. 1 [LP]
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At The Golden Circle Stockholm Vol. 1 [LP]

11 customer reviews

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Vinyl, April 22, 2014
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$21.80 & FREE Shipping on orders over $35. Details Temporarily out of stock. Order now and we'll deliver when available. We'll e-mail you with an estimated delivery date as soon as we have more information. Your account will only be charged when we ship the item. Ships from and sold by Amazon.com in easy-to-open packaging. Gift-wrap available.

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Editorial Reviews

The Ornette Coleman Trio's AT THE GOLDEN CIRCLE STOCKHOLM VOL. 1 marks the beginning of Coleman's contract with Blue Note. Recorded on December 3, 1965, this album features Ornette Coleman on alto sax, along with violin and trumpet, David Izenzon on bass and Charles Moffett on drums. Mastered by Alan Yoshida, AT THE GOLDEN CIRCLE has been reissued on vinyl as part of an overall Blue Note 75th anniversary vinyl reissue campaign spearheaded by current Blue Note Records President, Don Was.


1. Announcement
2. Faces and Places
3. European Echoes
4. Dee Dee
5. Dawn

Product Details

  • Vinyl (April 22, 2014)
  • Number of Discs: 1
  • Label: Blue Note
  • ASIN: B00IJBYU94
  • Average Customer Review: 4.7 out of 5 stars  See all reviews (11 customer reviews)
  • Amazon Best Sellers Rank: #173,860 in Music (See Top 100 in Music)

Customer Reviews

Most Helpful Customer Reviews

32 of 32 people found the following review helpful By A Customer on March 22, 2002
Format: Audio CD
A true definition of Ornette Coleman 's idiosyncratic theory of harmolodics eluded this listener in the spring of -66 when I bought this record. The leader's R&B Texas wail, the bassist David Izenson plays as if every note was his last. It's all here: the nascent bag of bends, trills, and double stops that mark Coleman's later work, the weaving of others' solos into the evolving quilt of composition, the ardent commitment to unchained melody on all levels, and a deep, soulful tone that embraces gospel and the Deep South. Couldn't get it. Then in the winter of -67 I was stationed up north in Finland, was in the army and there was a jazz... as a sergeant and he, of all people in the universe, played this music in his room. Amazin stuff, it hit me, and out went the Beatles, Stones, Animals, at least for a while and I realized that I'd finally found the music that speaks directly to your gut. Music that comes from soewhere deep inside Coleman, and not only him, but from some form a collective subconscious of wishes and dreams that he can connect with. I salute the sergeant and still remember with fondness our colemanesque moments in a not so jazz-friendly environment. True, great music is like that. It touches you deep inside and you come out of it a different person.
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11 of 11 people found the following review helpful By G. Schramke on January 23, 2002
Format: Audio CD
Blue Note did a great job with the reissue of this music. Actually it seems to have been one of the really rare occasions, when Ornette Coleman accepted to perform at a Jazz Club, since it is a known fact, that he feels about his music as being more suitable for concert halls. Playing a club date, Ornette obviously felt about sounding a little more "in the groove" than usually. That's just the way, how things start off with "Faces and Places". Nevertheless, he remains faithful to his style, namely to his harmolodic explorations while improvising. This group was really a great one, both David Izenzon on bass with his immaculate arco playing and Charles Moffett with some very powerful drumming are fascinating. Sometimes their telepatic understanding (abrupt changes of key and tempo) can be compared to the legendary teamwork of Mingus and Richmond. "Down" is one of those really haunting ballad compositions, just beautiful. Listening to "Dee Dee" with it's latin-based theme, one can imagine hearing this kind of music being interpretated by one of Coleman's later "Prime Time"-groups, it's really suitable for both acoustic and electric surroundings. As usual for the wonderful RVG-Reissues, we have the opportunity to listen to lengthy bonus tracks, among them a really long version of "European Echoes".
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14 of 15 people found the following review helpful By Todd Ebert on February 22, 2002
Format: Audio CD
The gigs the Ornette Coleman Trio played at the Golden Cirkeln must have been very memorable for those in attendance. I enjoy most the way Ornette, bass-player Izenzon, and drummer Moffett take on the task of remaining in synch in this free-jazz type setting. Both Moffett and Inzenzon seem to always know how to recover during Ornette's many spontaneous excursions.
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.
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4 of 4 people found the following review helpful By Reviewer on May 11, 2009
Format: Audio CD
This live performance, recorded at a club in Stockholm in 1965, has three tracks on it that I think are the best Ornette Coleman ever played. Two are definitely "bebop on high ethyl" - 'Dee Dee' & 'Doughnut' - while the third, 'Dawn', is Coleman's most convincing demonstration that he could play lyrically when he so chose. The trio that Ornette took to Europe included Charles Moffet on drums, for the octane drive, and David Izenson on bass, for the suave conceptual lyricism. They were a remarkable mesh of contrasts.

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.
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