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Ornette Coleman Double Quartet / Ornette Coleman - Free Jazz album mp3

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Ornette Coleman Double Quartet / Ornette Coleman - Free Jazz album mp3
Avant-Garde Jazz,Free Jazz,Jazz Instrument,Saxophone Jazz
  • Performer:
    Ornette Coleman Double Quartet / Ornette Coleman
  • Title:
    Free Jazz
  • Genre:
  • Style:
    Avant-Garde Jazz,Free Jazz,Jazz Instrument,Saxophone Jazz
  • Date of release:
    September, 1961
  • Recording date:
    December 21, 1960
  • Duration:
    54:09
  • Size FLAC version
    1166 megabytes
  • Size MP3 version
    1902 megabytes
  • Size WMA version
    1810 megabytes
  • Rating:
    4.7
  • Votes:
    719
  • Formats:
    DTS AA WMA AU APE DMF

Free Jazz: A Collective Improvisation is the sixth album by jazz saxophonist and composer Ornette Coleman, released on Atlantic Records in 1961, his fourth for the label. Its title established the name of the then-nascent free jazz movement. The recording session took place on December 21, 1960, at A&R Studios in New York City. The sole outtake from the album session, "First Take," was later released on the 1971 compilation Twins.

Both Free Jazz and First Take were recorded in single uninterrupted takes of 37 minutes, 3 seconds, and 17 minutes, respectively. Eric Dolphy appears by arrangement with Prestige Records. Freddie Hubbard appears by arrangement with Blue Note Records.

Artist: Ornette Coleman Double Quartet. Free Jazz: Best 1 songs. Ornette Coleman Double Quartet - Free Jazz (Part 2) 17:02. Artist: Ornette Coleman Double Quartet.

Ornette Coleman's music had already been tagged "free," but this album took the term to a whole new level.

Free Jazz Medley: Free Jazz Part 1, Free Jazz Part 2 - The Ornette Coleman Double Quartet. Free Jazz (Part 1 & 2) - The Ornette Coleman Double Quartet.

Credits

Ed Blackwell - Guest Artist
Don Cherry - Guest Artist
Ornette Coleman - Composer, Primary Artist
Ornette Coleman Double Quartet - Primary Artist
Eric Dolphy - Guest Artist
Tom Dowd - Engineer
Nesuhi Ertegun - Producer
Charlie Haden - Guest Artist
Billy Higgins - Guest Artist
Freddie Hubbard - Guest Artist
Scott LaFaro - Guest Artist

Track List

Title/Composer Performer Time
1 Free Jazz Ornette Coleman Ornette Coleman / Ornette Coleman Double Quartet 37:03
2 First Take Ornette Coleman Ornette Coleman / Ornette Coleman Double Quartet 17:06

Agarus
An interesting experiment that still generates considerable debate among musicians. As a non-musician, I found the album mostly a chore to get through. One has to admire the audacity of Coleman and crew, but that does not mean that the music is moving in any lasting way. Because I am a fan of jazz trumpet in particular, I most enjoyed the moments where Don Cherry and Freddie Hubbard were allowed to shine. Beyond that, I was mostly waiting for the record to be finished.
Huston
This album is of "historic" importance and hence received mention (and limited playing time) in my jazz appreciation courses. Eventually, even Coltrane heeded the hype being awarded by the "oh so cutting-edge" critical establishment, citing Coleman as an influence (Rollins would do the same) and playing with him on one occasion. As a saxophonist, Ornette was to, say, Sonny Stitt what Mal Waldron was to Art Tatum. In other words, there was hardly any comparison beyond the instrument. In terms of mastering the instrument along with the musical language of the Great American Songbook and its revision by the bebop pioneers (Bird, Diz, Powell, Monk), Sonny Stitt was a player rarely short of "perfection" on alto and tenor--in terms of speed, expression, execution and interpretation of thousands of "standards" (popular and jazz) with impeccable logic and expressive sensitivity.When asked why he didn't sound more advanced than Bird, Stitt would snarl back: "Look at Art Tatum. You can't play no better that that!" His point was two-fold: 1. he was not a Bird clone or a musical revolutionary but someone who had developed a voice of his own--on tenor as well as alto; 2. jazz is not simply a matter of "innovation"--especially if the importance attached to "newness" results in playing praised on the basis of its being not better, or even well played, but "different." Mastering the language of jazz is a formidable challenge in itself but nevertheless should be a requisite of any musician representing himself as a "complete artist" and as a valid representative of the jazz tradition--from gospel and work songs to the blues (which Louis played with breath-taking facility) to pop music and "Rhythm tunes" (Gershwin's prototypal chord changes on "I Got Rhythm," the 32-bar standard, a quintessentially American form underlying the vast majority of tunes in the Songbook). In other words, Ornette--while absolutely sincere, charismatic, and dedicated to his "harmelolic" theory--may not deserve a chapter in a jazz history text if "merely" outstanding players like Tatum and Stitt are excluded. As new, exciting and promising as "Free Jazz" was, it's not music that endures or invites "evolution." Ornette's correlative in pop music was Bob Dylan, who ignored the sophisticated standards sung by Ella and Sinatra and sang his own rudimentary tunes accompanied by his guitar. Dylan's music was wildly popular, and his simple, accessible lyrics--"The answer is blowin' in the wind" with political overtones ("the times they are a-changin'"-- was greeted everywhere by huge record sales and reverence for this "musical Carl Sandberg." In 2017 he was even awarded the Nobel Prize in Literature! Recently, Dylan himself has renounced his own music. Frank Sinatra's Songbook, he insists, is America's greatest contribution to musical form. Lorenz Hart and Cole Porter are the lyricists who deserve our greatest respect.