Check Out Our Turntable Store
Need a new record player? Check out our turntable store for a great selection of turntables, needles, accessories, and more.
At The Golden Circle Stockholm Vol. 1 [LP]
Vinyl | LP (12" album, 33 rpm)
|Listen Now with Amazon Music|
At The Golden Circle Vol. 1 (Rudy Van Gelder Edition)
|Amazon Music Unlimited|
|New from||Used from|
Frequently bought together
Customers who viewed this item also viewed
Special offers and product promotions
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.
If you are a seller for this product, would you like to suggest updates through seller support?
Top customer reviews
OC, alto sx, viol, tpt; David Izenson, b; Charles Moffett, dr.
COLEMAN, Ornette. Croydon Concert. Free Factory. Recorded, 1965; re-released 2008.
Cut 1: Virtuoso Ensemble (John Burden, fr hn; Edward Walker, flt; Derek Wickens, oboe; Sidney Fell, clari; Cecil James, bassoon) Cuts 2-8: OC, alto sx, viol, tpt; David Izenson, b; Charles Moffett, dr.
By 1965, the edge of strangeness had worn off of Ornette Coleman's music. His compositions had appealed from the very start but his playing -the odd tonality as much as the odd jumps and side slips in his solo lines--had many fewer advocates at the tail end of the fifties. His compositions were obviously brilliant but it wasn't all that clear whether he could play his instrument well. Of course he could! He just played differently, and once people adjusted to his quirky, distinctive tonality, all that changed. In 1965, Ornette emerged from a period of retreat from the music scene with perhaps his most powerful and innovative group, a trio with modernists David Izenson on bowed as well as plucked string bass and long time friend Charles Moffett playing drums. These three albums show how great that group was and how glorious a music they made together.
I bought Golden Circle, volume 2, when it came out. It was brilliant. But I had left it with the feeling that I was listening to two virtuosos-Ornette on alto, Izenson on string bass- assisted ably but not brilliantly by a good drummer -modern but no standout. When I listened to these three albums with fresh ears, I discovered I was wrong. Moffett is brilliant too. His accompanying and soloing lie somewhere between the playing of the best of the beat-conscious drummers --like, say, Max Roach or Roy Haynes-- and the free drumming of a Sunny Murray, Philip Wilson or Beaver Harris. How sensitive an accompanist he could be is clear on the intriguingly structured "Silence," recorded at Croydon. It is piece with long silences built into it; no one plays a note for seconds, then Coleman, and then Coleman, Izenson and Moffett reenter, and they're off again, and then dead silence reigns again, over and over until Ornette finally emerges into solo. It's a brilliant performance of a difficult piece: the three artists negotiate the tune's twisted path with ease and brio. The other piece that blows my mind is "Faces and Places" -there are two versions of it-- from Golden Circle, vol. 1. On the first version, which is eleven and a half minutes long, Ornette solos with great fire for about eight minutes. A killer drum solo by Moffett follows and then Ornette rides in for the final minute and a half.
Over all, the music on the Croydon set is slower paced, a little though not a lot less fiery than the material recorded in Stockholm. Furthermore, twenty-five minutes of the Croydon Concert are expended on a playing of Ornette's "Forms and Sounds for Wind Quintet," which may or may not be interesting but isn't why I picked up the album.
I bought it because Coleman is simply one of the great geniuses of jazz and his compositions and playing are miracles of creation, as he proves again on these three exciting albums.
my expectations. All three musicians were in fine form. The cool thing about this kind of music is that it REQUIRES repeated listenings because of its unorthodox nature. Fine with me!!! With my reservations, this is highly recommended.