Out Front Outback

OFOB for 7/21/15


This week’s show begins with sensitive trumpet/piano duet material, and finishes with some thrash fusion, so it covers a pretty wide range of music. If you relax and follow the threads and patterns of the weave, I’m hoping you also find the compelling beauty within all the music.

Cheers + keep those ears growing!

Larry Blood – Host of Out Front, Outback
Presenting jazz and extensions as a living art form, with tradition a byword for music moving into the future. A KUSP-FM featured program serving California’s Central Coast since 1983, airing Tuesdays from 9:30pm to midnight PST.
contact = larryb@cruzio.com
Listen to the most recent show via the box at the upper right
OFOB for 7/21/15:
Kirk Knuffke and Jesse Stacken- Very Early- Five- SteepleChase (Kirk + Jesse’s fifth collaboration, here presenting trumpet/piano duet covers of Bill Evans and Carla Bley compositions. You should recognize Bill Evans’ compositional style on this number.)
• 9:03 *Kirk Knuffke- Wingy- Chorale- SteepleChase (2012 w/Kirk on trumpet, Russ Loessing- piano, Mike Formanek- bass and Billy Hart- drums)
• 17:21 Jacob Anderskov trio- March Charm- Kinetics (The Path)- Ilk music (If you don’t already know him, it’s time to find out about this Danish piano player. A solid and subtle release.)
• 21:10 *Joe Morris Quartet- Underthru- Underthru- OmniTone (also a bass player, Joe plays guitar on this date and is joined by Matt Maneri on violin, Chris Lightcap on bass and Gerald Cleaver on drums}
• 41:25 *Jack Walrath- Bobby Timmons- Unsafe at Any Speed- SteepleChase (A fine trumpet player, Jack also wields an exemplary compositional pen, often with a lot of humor. A straightforward tribute to the writing style of Bobby Timmons. This standard quintet format includes Abraham Burton on tenor sax.)
• 48:27 Clifford Jordan- Vienna- In the World- Strata East (1969 – an unusual combination of great musicians, Clifford on tenor sax is joined by Don Cherry- trumpet, Julian Priester- trombone, Wynton Kelly- piano, Wilbur Ware on bass and Al Tootie Heath on drums.)
• 68:37 *Sonny Simmons- Rumasuma- Rumasuma- Contemporary (I finally tracked down this hard to find Sonny Simmons date from 1969. Considerably more down to earth than his other Contemporary recording, “Burning Spirits,” this has a latin tinge and features Sonny’s partner at that time, Barbara Donald on trumpet.)
• 79:26 Steve Lacy- Vio (alternate take)- Mal Waldron with the Steve Lacy Quintet- America/Emarcy (recorded in 1972 in Paris for the French “America” label. Double arco work from Irene Aebi- cello and Kent Carter- bass results in a moody backdrop for Mal and Steve)
• 94:50 (after false start) *Ken Filiano’s Quantum Entanglements- Dog Days- Dreams from a Clown Car- Clean Feed (Bassist Ken Filiano needs to do more leader dates! W/Michael Attias- alto + bari saxes, Tony Malaby- tenor + soprano saxes, Michael T.A. Thompson- drums)
• 106:17 (Gerald Cleaver’s) Black Host- Hover- Life in the Sugar Candle Mines- Northern Spy records (though there is wildness aplenty earlier in the show, this is where we shift into some more creative approaches to fusion. “Black Host, a New York quintet nominally led by in-demand drummer Gerald Cleaver, is an improvising ensemble prepared to do just that. Cleaver is joined here by pianist Cooper-Moore, alto saxophonist Darius Jones, bassist Pascal Niggenkemper and guitarist Brandon Seabrook on a program of eight original compositions that blend modern jazz, free music, psych, post-punk and electrified noise with painstaking detail and heady abandon.” -NSpy)
• (long cross-fade) 121:57 Universal Congress Of- Bermuda Blues- The Sad and Tragic Demise of Big Fine Salty Black Wind- Enemy (a punk cover of a Henry Threadgill pice originally out on You Know the Number)
• 131:22 *Phalanx- Spanish Endeavors- In Touch- DIW (1988 – This cooperative group is my fave vehicle for the ever enigmatic and indivdualistic guitarist James Blood Ulmer. A quartet of all-star modernists which ends up being at least as great as the sum of the parts. Tenor man George Adams wrote this number. Sirone- bass, Rashied Ali- drums
• 138:19 Jacob Garchik- The Elders of Ocean Pathway- Ye Olde- jacobgarchik.com (Jacob plays trombone but heads up a sextet with 3 guitars…. Lotsa punch!)
• 142:10 Zu vs. Mats Gustafsson- Eating the Landscape- How to Raise an Ox- Atavistic (Zu is an Italian power trio of baritone sax, electric bass and drums…. Add the hardcore bari work of Mats Gustafsson makes for a power house performance!)
• (starts under mic break) *146:32 New Ghost- Subterranean Phil Holy Feast of All- Live Upstairs at Nicks- ESP disk (more punk jazz including vocals… the revitalized ESP isn’t afraid to bring it under the jazz umbrella… big fun)

And now for some videos:

Give this concert from Black Host some time.  My sense is that there’s no P.A., so it’s hard to hear the readings they start with… too bad, but once they get going this is some extremely compelling music from a killer band!  A live version of “Hover” ensues , and being a live show, they BLOW an extended version which runs to 24 minutes.  Since I expect your big ears are going to dig this, I’m posting concerts from two consecutive days – get out your steak knife, this is some pretty meaty stuff!

And, a fusion group that should get out more, here are a couple shorties from Universal Congress Of:

OFOB playlist for 7/14/15

Friends of the large eared ilk,

Okay. For those of you who have missed the start times and notes, this should take care of your needs for this go round. The full-monty for another show which I can only hope you will enjoy as thoroughly as I did putting it together. Note some links to nice articles on Garrison Fewell and Archie Shepp who created the bookend music for this week’s program.

A reminder that if you want to listen via KUSP’s music show player, this show only stays up through next Wednesday morning when the next show gets loaded in.

Hope you are well + keep those ears growing!!

Larry Blood – Host of Out Front, Outback
Presenting jazz and extensions as a living art form, with tradition a byword for music moving into the future. A KUSP-FM featured program serving California’s Central Coast since 1983, airing Tuesdays from 9:30pm to midnight PST.

contact = larryb@cruzio.com
Listen to the most recent show via the box at the upper right

OFOB for 7/14/15:

  • Garrison Fewell, John Tchicai, Tino Tracanna & Massimo Manzi- Queen of Ra- Big Chief Dreaming- Soul Note (A lovely international date listed as being co-led by all parties, though the dates inception resulted from Garrison and John’s friendship. Garrison Fewell- guitar, John Tchicai- tenor sax + bass clarinet, Tino Tricanna- soprano + tenor sax, Paolino Dalla Porta- bass and Massimo Manzi- drums. Berklee College of Music professor Fewell met Danish great John Tchicai in 2002 in Boston and this 2003 recording in Italy for the great Soul Note label was the first of six Fewell/Tchicai collaborations which would occur up to the year of Tchicai’s death in 2012. Garrison Fewell died on July 5th of this year, a fine guitar player, leader and educator. We open this week with two of their co-led dates, plus a piece from one of Garrison’s two exceptional Variable Density Sound Orchestra recordings. Like many creative musicians, a simple scratch of the surface reveals more depth and valuable contributions than his recognition by the general public might infer… for more insight, I suggest you read this obit/career review at http://www.wncu.org/music-news/guitarist-garrison-fewell-the-master-of-searching-for-something-more/)
  • 9:58 *John Tchicai w/Charlie Kohlhase, Garrison Fewell…- Tribal Ghost- Tribal Ghost- NoBusiness (live at Birdland 2007 w/Tchicai- tenor sax on left channel, Fewell- guitar, Kohlhase plays reedson the right channel, Cecil McBee- bass, Billy Hart- drums. The group originally was drummerless, but for the Birdland gig the club said “no drummer, no gig.” Billy Hart a great choice and fills out the group nicely.)
  • 18:04 Garrison Fewell’s Variable Density Sound Orchestra- Betty’s Bounce- Sound Particle 47- Creative Nation Music (Fewell- guitar, Roy Campbell, Jr.- trumpet, Steve Swell- trombone, Achille Succi- bass clarinet, Kelly Roberge- tenor sax, Eric Hofbauer- guitar, John Voigt + Dimitry Ishenko- bass, Miki Matsuki- drums. With VDSO Fewell’s “goal is to create balance, allowing for neither soloists, collective instant composing, or pre-composed material to last too long. The forces at play between individuals allows this to occur naturally. It’s like the effect of gravity among planetary bodies: each planet has an orbit that influences the movement of the other bodies, while its orbit is shaped in turn by the gravitational pull of its neighbors.” Right!)
  • (10 second crossfade) 26:58 Kirk Knuffke- Umbrella- Arms & Hands- Royal Potato Family (mostly a trio date from cornetist Kirk with Mark Helias on bass and Bill Goodwin on drums. I love Helias’ arco drone.)
  • 37:34 *Andrea Buffa, Stefano Battaglia, Fiorenzo Bodrato & Dario Mazzucco- Corale- PowBee- Leo records (tenor/alto sax player Andrea wrote this piece and bassist Fiorenzo Bodrato wrote most of the others. Also with Stefano Battaglia- piano and Dario Mazzucco- drums. Italy is a wellspring for creative music, and these are accomplished representatives of the many great Italian players. Rec. 2013)
  • 47:31 Firoenzo Bodrato- Tajin- Travelling Without Moving- CMC records (Bass led dates naturally have depth, and this one is a jewel. A 2014 recording which on this tune features 2 reeds in front – including Andrea Buffa – plus guitar and drums.)
  • 54:16 *John Hollenbeck- Constant Conversation (words by Rumi)- Songs We Like A Lot- Sunnyside (percussionist John Hollenbeck of the Claudia Quintet flexes his composition + arrangement skills for this followup to “Songs I Like a Lot.” This original features Theo Bleckmann and Kate McGarry are featured reading words by the Sufi mystic Rumi, and, oh yeah, there’s the Frankfurt Radio Big Band. Most of this recording is from 2014, but Constant Conversation must have been left over from the 2010 date.)
  • 61:47 Rent Romus’ Life’s Blood Ensemble- Syvalle Juureen- The Otherworld Cycle- Edgetone records (Rent’s Life’s Blood Ensemble is expanded out to a much larger group including vocalists for a date of original settings based on Finnish mythology and inspired by the poems of the Finnish National Epic known as the Kalavela. Brand new and big fun. The core group features Rent on reeds, Jason Hoopes and Bill Noertker- basses, and Timothy Orr on drums.)
  • 66:52 *Steve Lacy Five- Name- The Way- hat ART (my favorite recording of this piece from Lacy’s Tao Suite, recorded live in Switzerland in 1979. The “Five” = Steve Lacy- soprano sax, Steve Potts- soprano + alto sax, Irene Aebi- cello + violin + voice, Kent Carter- bass, Oliver Johnson- drums)
  • 79:52 Henry Threadgill Zooid- In for a Penny, In for a Pound (opening)- In for a Penny, In for a Pound- Pi Recordings (New output from Threadgill’s Zooid, his primary vehicle for exploring his singular system for integrating composition with group improvisation, extant since 2001. The date features Henry on alto sax and flutes, Jose Davila- trombone + tuba, Liberty Ellman- guitar, Christopher Hoffman- cello, and Elliot Kavee- drums.)
  • 87:47 *Erik Friedlander- Bohemia After Dark- Oscalypso [for Oscar Pettiford]- Skipstone records (A new release of cellist Eric Friedlander covers works of Pettiford, a bassist who also pioneered the use of cello in jazz in the ‘40s and ‘50s. Natch Erik is on cello, with Michael Blake- sax, Trevor Dunn- bass and Michael Sarin- drums.)
  • 93:48 *Julius Watkins Sextet- Linda Delia- Julius Watkins Sextet, vol. 1 & 2- Blue Note (1954 Julius was pretty much the first French horn player in jazz, and a damn fine player, composer and leader. Included in this sextet were Frank Foster- tenor sax, Oscar Pettiford- bass and Kenny Clarke- drums. Other recordings included Hank Mobley, George Coleman, Art Blakey, Duke Jordan, Sahib Shihab, Chano Pozo, and a longer stint in The Jazz Modes co-led with Charlie Rouse!)
  • 99:07 Ted Sirota’s Rebel Souls- For Martyrs/Axe- Breeding Resistance- Delmark (a 2003 Chicago date w/Ted on drums, Geof Bradfield- sax, Jeb Bishop- trombone, Jeff Parker- guitar and Clark Sommers- bass. “For Martyrs” is Jeff Parker’s sonic tribute to all who have been cut down in the struggle. Bradfields’s “Axé” references Yoruba roots in Brazilian Capoeria’s concepts of energy, fighting spirit, and attitude. Jeb’s trombone work in this group lead’s nicely into Steve Swell’s bone work on the next date.)
  • 108:27 The Ullmann/Swell 4- Planet Hopping on a Thursday Afternoon- News? No News!- jazzwerkstatt (“Planet…” = a composition of Steve Swell’s on this 2008 all hits date. which also features Gebhard Ullmann- tenor sax + bass clarinet, Hilliard Greene- bass and Barry Altschul- drums. Some mature creative musicians make timeless creative music.
  • 115:24 Archie Shepp Quartet- Things Have Got to Change (starting w/- Live at the Totem, Vol.- Marge (Speaking of timeless, this is Archie Shepp at his fiery best, recorded live in Paris in 1979. This 36 minute Cal Massey composition starts with Archie reciting his Poeme for Mama Rose and proceeds with full musculature flexed by all players including Archie- tenor sax, Siegfried Kessler- piano, Bob Cunningham- bass, Clifford Jarvis- drums and added in for this piece Cheikh Tidiane Fall on percussin and vocals. Archie Shepp is one of many creative black musicians of the ‘60s and ‘70s whose expressions in jazz were inextricably linked to his politics. Archie regularly included poetry in his performances and recordings. Fred Ho wrote in his “Wicked Theory, Naked Practice: A Fred Ho Reader” that “Shepp was exceptionally literate, a true “Timbuktu” man, equally at home in the literary arts and music as well as radical political theory. Poetry has been featured throughout his recording oeuvre. A tour-de-force poem by Shepp is “Mama Rose,” written in the early 1960s upon the death of his grandmother, but a sering indictment of colonialism. Performed and recorded frenquently, Shepp’s recitation evokes the Baptist preacher and the work hollers of the sharecropper, blues man and militant orator.”)

Here are the words to Archie Shepp’s poem Mama Rose:

They all sayin’ that he’s dead (Malcolm X) and every flower is still
Well I just wanna tell you Mama Rose, we are the victims
You know what am I gonna say to my sons?
Well I’m gonna tell them that death clocks the Potomac in a scarlet show!
And that the pillow beneath you is not here…

Well, I want you to take this ex-cannibal’s kiss
and turn it into a Revolution!
Don’t you know that my stale flem is the sludge of factories spat into the sky?
And the flies that hover over your yellow and crusted eyes
Well baby, they’re the centurions of Hannibal wandering at you, lying there,
your simmering hopes and jelly corpse turned up to the sky, like a putrefying Congolese
after the Americans “have come to help”.

I say peace! Peace good woman!
That once brought me home
Banana, pudding in a jar

Could never conceive you except as the eternal progenitor of dreams
Your vagina split asymmetrically between the east and the west
I say hush… Hush!
Don’t stare… or baby your proud lips gonna expel peals of laughter into the midst of bandy legged black girls, wet from the harvest, Mama Rose!
Mama Rose, Mama rose…
Mama Rose: I announce the death of union men, yeah…
and the consummation of flowers, they’re gonna be destroyed by the stench of (Gilbert’s thoughts?) and the thorny dreams of men
They laid you to rest, and the hill of Piney Grove will never again…

For more information about Archie Shepp, I recommend you check out these two interviews:



Bill Shoemaker interview with Ornette

A friend asked me how I put the show together.  I’ve had my ears out scooping up as much as I can grok of this wonderful stuff since the early ’70, have been fortunate to put together a resource library which still has a lot of material which spins my head around when I give it a listen, plus get tips from musicians, labels, fellow DJs, blogs and sales sites about things that are happening.  This allows me to stay somewhat abreast with all the great new music which is constantly being created regionally and around the world.

A tip of the porkpie to Dave Barber, sometime impresario and host of Jazz Night on WYSO in my old hometown of Yellow Springs, Ohio for passing on this interview by Bill Shoemaker with the recently late, but still great, Ornette Coleman.  FYI: Bill produces a wonderful online magazine called Point of Departure [http://www.pointofdeparture.org/], one of those resources I mentioned in the previous paragraph.  Also note the great interview with Kirk Knuffke from POD listed in the 7/7/15 playlist.  Appropriate now to also tip the porkpie to Bill.


The Turnaround!

Previously Published Articles, Essays and Reviews
Bill Shoemaker

This article originally appeared in JazzTimes Volume 25/Number 10, published December 1995.

Dialing Up Ornette

Odds are that every media piece surrounding the release of Tone Dialing will include the grabber-factoid that this is Ornette Coleman’s first recording in seven years. This is something not to gloss over, as it is a marker, albeit an innocuous one, of several critically important cultural trends. Most glaringly, there’s the actuarial reality that artists can only survive so many seven-year silences. Coleman has endured more than his share, as the number of years that comprise the several lengthy gaps in his discography surpass the entirety of some jazz greats’ careers. Then, there’s the peculiar time warp that exists within jazz history. In other endeavors, persons with an age difference of ten years are seen as contemporaries. Yet, Clark Terry, whose diamond anniversary was celebrated on a recent JT cover, is generally thought to be of an older generation and a different era than the 65 year-old Coleman. The other, perhaps most limiting, tip to this time warp phenomenon is Coleman’s status as a late-’50s revolutionary. At a time when America’s most prevalent image of a revolutionary was Fidel Castro, Coleman was typecast as the plastic alto-wielding subversive, machete-ing jazz at the turnaround. Revolution, however, is a young man’s game. Now that Coleman is eligible for senior citizen discounts, the revolution in jazz is largely a revolution in marketing, and its target audience’s primary knowledge of Ornette Coleman is as a passing reference in a Jerry Garcia obit, or as the guy behind a weird Pat Metheny record.

Coleman’s recourse has been a logical one: institutionalize. In recent years, Coleman has handed the family business over to his son, Prime Time drummer Denardo Coleman, who earned his stripes producing three Coleman recordings before taking over the day-to-day operations. With the infrastructure in place, a five-year MacArthur Foundation Fellowship in hand, the new Harmolodic Recording Studios opened for business in Harlem, and the launching of the Harmolodic label in association with Verve/Polygram, Coleman is poised to shape jazz from a new and vital vantage. And, if there’s any doubt about the product Coleman plans to deliver, check out Tone Dialing. With a new edition of Prime Time that includes Dernardo, bassists Brad Jones and Al MacDowell, guitarists Chris Rosenberg and Dave Wessel, keyboardist Dave Bryant, and tabla master Badal Roy, Coleman incorporates everything from rap and Latin rhythms to a Bach prelude to convey his all-encompassing theory of harmolodics. Idiosyncratic to the marrow, even the promotional materials are pure Ornette…

Bill Shoemaker: I was intrigued by the puzzle that came with the promotional materials for the Tone Dialing. When you piece it together, it reads, “remove the caste system from sound.” Can you expand on the idea behind that statement?

Ornette Coleman: To be very honest, America is a very young country. 95% of all the art and the intelligence we experience is not founded in the culture of America. We have been brought up in America with information of so many viewpoints of class, viewpoints of poverty, ethnicity. Since music is one of the main ingredients of people’s happiness, it has always been defined by these viewpoints. Europe is a composer’s society, not the improvised society America is. Because of the word ‘jazz,’ America is more of an improvised society. When you think of classical, jazz, folk, or ethnic music, most people think in racial terms rather than in descriptions of what they like. You don’t describe things you like by race; you describe them with the words that show how you recognize what it is and who put it together. But in music, rock represents white, jazz represents black, classical music represents Europeans, and on down the line. But all the music that’s played in America is really played with the same exact notes that come from the European system. It’s five years from the year 2000 and I don’t think any ethnic group, regardless of how it relates to its and past and its roots, is getting their full freedom of expression in this system. For me, America represents a concept of achieving a civilization. That concept is built on the concept of how Europeans brought themselves from cave dwellers to scientists, and how Africans and other people raised their consciousness. Yet, for some reason America builds a caste system in the business concept. It’s a way to avoid relationships with other races and enjoying creativity from outside their identity. The puzzle covers more territory than just sound, but that’s its meaning in dealing with music.

ornette shoemaker interview - graphic

Bill: How does harmolodics take on this caste system in sound?

Ornette: Harmolodics is a base of expanding the melody, the harmonic structure, the rhythm, and above all the free improvised structure of a composition beyond what they would be if they were just played as a regular 2-5-1 structure, or if they were played with the concept of a melody having a certain arrangement to know when to start and stop. In other words, harmolodic music is equivalent to “the” being “die” in German, or “bread” being “pain” in French. It’s like saying, “Give ma some pain” when you’re hungry. So, harmolodics is a way to describe and use information that has identical meaning but sounds like two different words at the same time. When you hear the guitar, the bass, and everyone else play what is called their tone dialing sounds, they are not so much playing different notes as they are playing their own tones, a form of the notes they have been given in the clef that they read. Basically, what you are doing in harmolodics is relying on the basic information that goes into composing, playing, and improvising on forms. You are relying on everything you have experienced as shapes and forms and sounds. Everything in the room that you’re in is made from the earth, but it’s not just soil. If a word means something else in another language, and it’s spelled and sounds the same, that’s very harmolodic. So, when you’re able to play like that, it expresses what sounds could be if they weren’t programmed to represent a certain territory. It has to do with what you base a concept of unity on. Unity in Europe comes from shared territories, not like America where unity is created out of shared conditions.

Bill: Harmolodics has a flexibility that the European stereotypes don’t have.

Ornette: At one point, Europeans had a moveable C. France had its own C. Every country had its own C. It changed according to territory.

Bill: But the European forms become standardized, if not static, whereas harmolodics’ translation and referencing of information allows musicians to change the form of a composition each time is it performed.

Ornette: Take the Bach piece. When I was putting together a new Prime Time band, I went to the Manhattan School of Music and they told me about Chris Rosenberg the classical guitar player. So, I met with him and asked him what was his favorite classical piece, and he said the Bach Prelude. I asked him to play it and then I asked him to play it again, and I improvised on my horn, harmolodically. So, you can hear the true essence of harmolodics in the Bach piece. Chris plays the identical notes, the same thing, twice, back to back. But, when the whole band comes in, its sounds like he’s playing some kind of harmony or changes. Yet he’s playing the same melody. The melody hasn’t changed; it’s been heightened so that you can compare how new information makes the use of a form more clear. What we call melody, harmony, and changes are titles that were applied to a certain growth in music at a certain point in time. I don’t have new words for what those words mean, but I have found how not to let those terms affect something that I found that enhances what those terms can mean. Harmolodics doesn’t changes something from its original state. It expresses the information a melody has within its structure without taking it apart to find out why its sounds that way.

Bill: So, hearing harmolodics is analogous to, say, having a brilliant orange canvas on a wall by itself, and experiencing the pure color. Then, you place an intense green canvas next to it. The orange hasn’t changed, just our experience of it, vibrating against the green.

Ornette: That’s getting close. When you play the piano you’re playing in the G clef, that’s the treble clef, but the soprano, alto, tenor, and the bass clefs are independent of the treble clef. If you take the soprano C, which is on the E line, you take the bass C, which is on the second space, the alto C, which is on the third line, and the tenor C, which is on the fourth line, you’ll have A, B, D, and E. Now, the B natural that’s on the treble clef is totally independent from those four notes, therefore most people transposing those voices to the treble clef are not transposing the natural notes of the unison. That’s why you have harmony, changes, and improvising, because the treble clef doesn’t transpose, it’s only for range. If you have A, B, D, and E in the bass clef, you would be reading C, D, F, and G. In the treble clef, when you play A, B, D, and E, that A is C, the B is a C for alto, the a C for the tenor, and the E is the C for the soprano. So, it’s not really four different notes, it’s the same four notes. So, therefore it’s deceiving to believe that the piano is the transposed clef for all voices. What it really does is uses those four words to make harmonies, keys, and chords. The treble clef does not have a pure voice. If I asked you to play the soprano G natural on the piano, that’s C natural for the treble clef. C natural for the soprano would be E. You can’t hear those as voices, so you call them chords and keys. In harmolodics, those four voices are transposed into one voice. For instance, the A, B, D, and E would be B, C, E, and F on the alto clef, and G, A, C, and D on the tenor clef. The same notes. So, you have a different unison for the same notes. When the piano was invented it destroyed the natural concert C for every country and made the treble clef the range for those Cs to be transposed into keys and chords. What I’m trying to express is that everyone has used those keys and chords and everyone that plays a melody that uses a 2-5-1, even if it’s a new melody, it doesn’t sound like it has gone anywhere. It just sounds like a sequence. When I’m speaking to you about the caste system, it’s not just a racial point or a musical point, I’m really talking about a civilization concept. Let’s face it. There’s only been five men on the planet that weren’t looking for a job — Buddha, Christ, Confucius, Mohammed, and Moses. They weren’t looking for a job because they were looking for a higher consciousness. If music and art has a consciousness, it shouldn’t be from a caste point of view.

Bill: It shouldn’t be about paying the man.

Ornette: That’s what I’m saying. Think of the word “minority,” not in terms of race, but in relating to information. There are more minorities than there are people who control information. That’s why I’ve written a theory book about harmolodics. I’ve finished it about ten times and it’s time now to close it down and get it out. Someone may tell you that B and F are a flatted fifth apart, but they’re also the major seventh of C and F#. But, they don’t sound like that when you play them back to back. Your information may be limited, but the way you use the information doesn’t have to be limited. Your tone will cause you to change any note to the way you hear it. Your relationship to your tone is based on your emotions. If it wasn’t, everybody would sound the same. When you play something and you hear you own tone, that’s tone dialing. That’s you. If you create music just from the concept of your own tone, you will be doing something no one else has discovered. It’s not impossible.

OFOB playlist for 7/7/2015

Here’s the playlist for this week’s show. I’ve added in some notes to help you wrap your head and ears around the show. Feel free to let me know what kinds of additional information you find particularly useful (e.g. recording dates, personnel, comments, start times for web listening). Also, a reminder that if you listen live on the air or via the web as the show is happening, the right hand side of the OFOB blog page will generally populate w/a playlist as the show progresses… a nice way to track what’s going on while listening live. This function seems to currently be in transition and I will apprise you of “what’s up” when I find out.

As usual, I had a lot of fun putting the show together last night. FYI – I generally will do a bunch of listening on Tuesday afternoons but the actual program coalesces on Tuesday night.
Anyway, hope you are well + keep those ears growing!!

Larry Blood – Host of Out Front, Outback
Presenting jazz and extensions as a living art form, with tradition a byword for music moving into the future. A KUSP-FM featured program serving California’s Central Coast since 1983, airing Tuesdays from 9:30pm to midnight PST.
contact = larryb@cruzio.com
Listen to the most recent show via the box at the upper right
OFOB for 7/7/15:
• Jacob Anderskov- Sleeveless- Kinetics (The Path)- Ilk music (a lovely new acoustic trio date by Danish pianist whose earlier Anderskov Accident dates were less standard + featured wurlitzer + other keys)
• *Satoko Fujii’s Tobira- Wind Dance- Yamiyo Ni Karasu- Libra records (pianist’s new quartet including partner/trumpeter Natsuki Tamura. Satoko always delivers!)
• Karl Berger & Kirk Knuffke- Terrace and Trees- Moon- NoBusiness (piano/vibes + trumpet duets.  For a great interview with Kirk Knuffke in the online mag Point of Departure, see: http://www.pointofdeparture.org/PoD51/PoD51Knuffke.html)
• Jesse Stacken & Kirk Knuffke with Kenny Wolleson- Saturn- Like a Tree- SteepleChase
• Old Dog (Louie Belogenis, Karl Berger, Michael Bisio, Warren Smith)- By Any Other Name (quartet)- By Any Other Name- Porter records (proving older dogs in jazz can disprove the old adage, a fresh and intimately intuitive date. Tenor sax, vibes/piano, bass, drums respectively)
• *Old Dog- Living Large- By Any Other Name- Porter records
• (Mark Weaver’s) Brassum- In Place Of- Brassum Live- pfMentum (Mark Weaver plays tuba + joined on this cut by Michael Vlatkovich- trombone and Harris Eisenstadt, drums)
• Rich Halley 4- View Through the Ellipse- Creating Structure- Pine Eagle (new release by Portland tenor sax player includes Michael Vlatkovich)
• John Coltrane- Welcome- The Classic Quartet Compete Studio Recordings- Impulse (Lush – w/McCoy on piano, Jimmy Garrison- bass, Elvin Jones- drums. 1965)
• *John Coltrane- Stellar Regions- Stellar Regions- Impulse (late Trane w/Alice Coltrane- piano, Jimmy Garrison- bass, Rashied Ali- drums. ‘67)
• Paul Dunmall & Tony Bianco- Ascension- Homage to Coltrane- Slam records (Paul on tenor + Tony on drums do a smoking cover of this modern classic)
• Sonny Simmons- Things and Beings- Burning Spirits- Contemporary (from 1970, recorded in Berkeley w/Sonny on the double reeded English horn, Michael White on violin, Lonnie Liston Smith- piano, Richard Davis + Cecil McBee on basses, and Clifford Jarvis on drums. This was a sleeper when it came out but resonates with power.)
• *Ornette Coleman & Charlie Haden- Some Day- Soapsuds, Soapsuds- Artist House (a wonderful date from 1976 on a smaller label did not get out as much as it should have. Brilliant duets with Charlie on bass and Ornette on tenor sax or for this tune on trumpet. Yes, I shall continue to miss Ornette, but be sure to listen closely for the impact has had and will undoubtedly continue to have on the music.)
• Ted Sirota Rebel Souls- Polo Mze, part 2- Sieze the Time- Naim Jazz (w/Rebel Souls drummer Ted Sirota gathers fellow Chicagoans to present music of struggle in an instrumental jazz context. This is a Miriam Makeba compostion and for the 5th Rebel Souls date which came out in 2008 the band includes Greg Ward on alto sax [he also plays to great effect w/drummer Mike Reed] and Geof Bradfield on tenor sax + bass clarinet. They won’t change the world, but their music is consistently solid and compelling.)
• Ornette Coleman Quartet- Magic- Reunion 1990- Domino (a live concert in Italy w/original 1959 quartet members who’s Atlantic recordings changed the Shape of Jazz to Come. We hear them work out on a newer Ornette composition w/Ornette on alto, Don Cherry- cornet, Charlie Haden- bass and Billy Higgins- drums. To my knowledge, this is the last documentation of this group getting together.)
• *Jim Hobbs & the Fully Celebrated Orchestra- Billylillylillybilly- Lapis Exilis- Skycap records (Boston altoist Jim Hobbs and company are clearly influenced by Ornette’s music. The “orchestra” is actually a quartet, but they fill up so much space w/their instruments that they sound like more. Also w/Taylor Ho Bynum- trumpet, Timo Shanko- bass and Django Carranza- drums. @2005)
• Ornette Coleman- Feet Music- In All Languages- Caravan of Dreams (This 1987 double album on Ornette’s own label features one disc with the same Reunion Quartet which recorded 3 years later + one disc with his electric Prime Time band. Interesting to hear the classic quartet on Feet Music which is a funky melody more in the vein of later Ornette compostions.)
• Tchicai/Jorgens/Nielsen- Phedoo and Wibke- On the Top of Your Head- Ninth World Music (Danish reedman John Tchicai first hit the scene @’64 in New York and collaborated w/The New York Contemorary Five which also included Archie Shepp + Don Cherry. John went back to Europe but kept his adventurous approach throughout his career. “Initially influenced by the unfettered bluesy cry of Ornette Coleman and the sparing, soft-toned and enigmatic sound of Lee Konitz, Tchicai’s sound grew tougher during the 1980s, when he increasingly played the tenor saxophone as well as the bass clarinet.” John’s father was Congolese, and you can also hear the African roots he often brought into his music. John left us in 2012 and recorded many wonderful dates w/European musicians, but also floated easily back and forth, spending some time in the’90s in the SF bay area and visiting Chicago for what was to be his last recording session as a guest with Dave Rempis’ Engines. Rec. 2001)
• *The All Ear Trio- (John Tchicai, Peter Ole Jorgens, Thomas Agergaard with Sirone)- Backyard Trouble- Ninth World Music (more great Tchicai, this group also features reedman Agergaard who worked w/John for the great Danish OK NOK Kongo dates. Jorgens is on drums + we also get to hear from the masterful bassist Sirone [nee Norris Jones] who was featured on many great creative dates and was a founding member of the Revolutionary Ensemble w/Leroy Jenkins + Jerome Cooper. Rec. @2005)

And some music videos for you ensue:

and John Tchicai gives us a different idea of what can be done when a sax + drummer perform together:

See below 6/18/15 OFOB post for Ornette videos.

OFOB for 6/30/15


I came down with the dread summer cold, so let me shoot this out to you while I can. This time I’m giving you personnel listings + recording year. Please pardon the one false start + couple cough breaks…. Otherwise a fun-filled show!

Keep those ears growing!!

Larry Blood – Host of Out Front, Outback
Presenting jazz and extensions as a living art form, with tradition a byword for music moving into the future. A KUSP-FM featured program serving California’s Central Coast since 1983, airing Tuesdays from 9:30pm to midnight PST.
contact = larryb@cruzio.com
Listen to the most recent show via the box at the upper right
OFOB for 6/30/15

  • Mark Helias Open Loose- Largesse- The Signal Maker- Intakt [2014: Mark Helias- bass + compositions w/Tony Malaby- sax, Tom Rainey- drums]
  • *Tim Daisy’s Vox Arcana- Assembly- Caro’s Song- Relay records [2014: Tim Daisy- drums, marimba + compositions, James Falzone- clarinet, Fred Lonberg-Holm- cello]
  • Mark Helias Open Loose- Ça Vous Gene – The Signal Maker- Intakt
  • Marc Bernstein w/Marc Ducret- News from the Front- Marc Bernstein’s Out of the Blue- Multikulti Project [2014: Marc Bernstein- bass clarinet, Marc Ducret- guitar, Nils Davidsen- bass, Peter Bruun- drums]
  • Mark Helias Open Loose- Vocalise- The Signal Maker- Intakt
  • Tim Daisy/Waclaw Zimpel- Chorale- Four Walls- Multikulti Project [2008: Tim Daisy- drums, Waclaw Zimpel- bass clarinet + clarinet, Dave Rempis- alto sax, Mark Tokar- bass]
  • Østergaard Art Quartet- Ach du Lieber- Stories from the Village- Boogie Post recordings [2011: Michala Ostergaard-Nielsen- drums, Kasper Tranberg- trumpet + cornet + flugelhorn, Per Jorgenssen- trumpet + vocal, Marc Ducret- guitars]
  • Luiz Moretto Quintet- Espiral Do Tempo- Vampyroteuthis Infernalis- Slam (For more of Luiz’s music, visit http://luiz-moretto.squarespace.com/listen/) [2013/2014: Luiz- violin, Alipio C Neto- tenor + soprano sax, Freacesco Lo Cascio- vibes + percussion, Gianfranco Tedeschi- bass, Marco Ariano- drums.]
  • Billy Bang- Outline No. 12- Outline No. 12- Celluloid [1982: Billy Bang, Jason Hwang + Joseph Hailes- violins, Frank Lowe- soprano sax, Charles Tyler- Bflat clarinet, Henri Warner- alto clarinet, David Murray- bass clarinet, Khan Jamal- vibes, Wilber Morris- bass, Sunny Murray + John “Khuwana” Fuller- percussion]
  • *Satoko Fujii Orchestra Berlin- Ichigo Ichie 3- Ichigo Ichie- Libra records [2014: Matthias Schubert + Gebhard Ullmann- tenor saxes, Paulina Owczarek- baritone sax, Natsuki Tamura + Richard Koch + Nikolaus Neuser- trumpets, Matthias Muller- trombone- Kazuhisa Uchihashi- guitar, Satoko Fujii- piano, Jan Roder- bass, Michael Griener + Peter Orins- drums]
  • Jacob Anderskov- Tattarrattat- Kinetics (The path)- Ilk music [@2015: Jacob Anderskov- piano, Adam Pultz Melbye- bass, Anders Vestergaard- drums]
  • Szilard Mezei Wind Quartet- Hep 8- We Were Watching the Rain- Leo/Gyor Free [2008: Szilard Mezei- viola, Bogdan Rabkovic- bass clarinet + clarinet + alto sax, Branislav Aksin- trombone, Kornel Papista- tuba]
  • *Charles Mingus- Meditations on Integration- The Great Concert of Charles Mingus- Prestige [Paris, 1964: Charles Mingus- bass, Eric Dolphy- bass clarinet + alto sax + flute, Clifford Jordan- tenor sax, Jaki Byard- piano, Dannie Richmond- drums]
  • Sonny Simmons- E=mc2- Burning Spirits- Contemporary [1970: Sonny Simmons- tenor sax + alto sax + English horn, Barbara Donald- trumpet, Michael White- violin, Richard Davis- bass on left channel, Cecil McBee- bass on right channel, Clifford Jarvis- drums]
  • The Nova Ghost Sect*tet- Reaching for a Star- Life on Uranus- ARecords [1997 Berkeley: Ghasem Batamuntu- leader + compositions + woodwinds + misc. percussion, Eddie Gayle- trumpet, Calvin Keys- guitar, Sheherezade Stone- vocal, etc.]
  • *Andrea Buffa- Soft Memory- 30 Years Island- Leo records [2011: Andrea Buffa- alto + tenor saxes + bass clarinet, Carlo Actis Dato- tenor + baritone saxes + bass clarinet, Fiorenzo Bodrato- bass + cello, Dario Mazzucco- drums]

OFOB playlist for 6/23/15


Below is the playlist for this week’s show. Note the SF Bay area’s premiere saxophone quartet, Rova, keeps us on our toes with special projects on a regular basis, and at least once a year they have a special event featuring a larger grouping, collectively called Orchestrova. For this show, Larry Ochs talked with us about Monday’s upcoming show in San Francisco which is dedicated to Butch Morris. The interview runs a little long [13:20-31:22], but it gives some fascinating insight into the artistry of Larry Ochs and Rova. Also, Rova’s music is more than worthy, so we get a treat in hearing a little more of it than usual. I hope you have an opportunity to enjoy the show.

Keep those ears growing!!
Larry Blood – Host of Out Front, Outback
Presenting jazz and extensions as a living art form, with tradition a byword for music moving into the future. A KUSP-FM featured program serving California’s Central Coast since 1983, airing Tuesdays from 9:30pm to midnight PST.
contact = larryb@cruzio.com
Listen to the most recent show via the box at the upper right
OFOB for 6/23/15

  • Chicago Reed Quartet [w/Ken Vandermark, Dave Rempis, Mars Williams + Nick Mazzarella]- Remnant- Western Automatic- Aerophonic records
  • *Larry Ochs Orkestrova- Itself Now Corresponding to Sand/That Hunts- The Mirror World (for Stan Brakhage): Realization 1: Hand- Metalangue
    • Interview with Larry Ochs about Orkestestrova concert (homage to Butch Moris) at ODC Theater in San Francisco on 6/29
  • *Larry Ochs Orkestrova- Full House- The Mirror World (for Stan Brakhage): Realization 1: Hand- Metalangue
  • The Rova Saxophone Quartet & Nels Cline Singers- Trouble Ticket- The Celestial Septet- New World
  • *Rova Saxophone Quartet- Grace- Morphological Echo- Rastacan records
  • Julius Hemphill- Leora- Big Band- Elektra Musician
  • Rova::Orkestrova- Survival (In Five Acts)- An Alligator in Your Wallet- ewe
  • *Charles Papasoff- IBC- International Baritone Conspiracy- Victo
  • Engines & John Tchicai- Super Orgasmic Life- Other Violets- Not Two records
  • *Erdmann, Ullmann, Fink, Lillinger- Sterbende Nacht- E&U Mann- WISMart
  • Wilber Morris w/David Murray & Dennis Charles- Randy- Wilber Force- DIW
  • *Marc Bernstein’s Out of the Blue- Mlezker- Marc Bernstein’s Out of the Blue featuring Marc Ducret- Multikulti project

Plus a link for the Celestial Septet [Rova + Nels Cline Singers]:  https://vimeo.com/23356750

Larry Ochs to preview 6/29 concert – Rovate 2015: “No Favorites: An Homage to Lawrence Butch Morris”

Larry Ochs will call in to give us some details on the upcoming ROVA sax quartet + string quartet + power trio concert dedicated to conduction master Butch Morris on Out Front, Outback tonight [6/22]. Rova wil engage musicians from the vast pool of experienced Bay Area improvisers to perform works dedicated to, and inspired by, Butch Morris. The ensemble will employ Rova’s improvisational strategies and involved hand-cueing system to present extedned works by Rova members.

Lawrence D. “Butch” Morris was an important figure in the development of conducted improvisation using hand cues to indicate processes, dynamics and sound. He called his performances “conducitons,” where, in his words, “the bounds of both composition and conducting become limitless and the balance between composer, conductor ,and improviser becomes equal.”

For more information, see http://rova.org/upcoming.aspx

As a teaser, go to the below link for a video of Rova with the Nels Cline Singers power trio.


fascinating blog reprint on Ornette, the avant-garde, and struggle

I wanted to share this solid article w/you!  Larry

Torrential, Gut-Bucket Jazz                 -by  Geoff Dyer

           Ornette Coleman wDon Cherry at 5 Spot Cafe NYC 111759

- Ornette Coleman with Don Cherry at the 5 Spot Cafe, New York City, November 17, 1959

It happened that on the day the great saxophonist and composer Ornette Coleman died I was watching a preview of a recently salvaged film by Sydney Pollack of the making of Aretha Franklin’s Amazing Grace. The album was recorded live at the New Temple Missionary Baptist Church in Los Angeles, the city where, in the late 1950s, Ornette and his collaborators, Charlie Haden (bass), Don Cherry (trumpet), and Ed Blackwell or Billy Higgins (drums) had formed the quartet that would soon declare the shape of jazz to come. The idea for Amazing Grace was that Aretha would record an album of the gospel music she’d grown up hearing and singing in her father’s church in Detroit. This was in 1972. John Coltrane had died in 1967, Albert Ayler—the tenor saxophonist who, along with Ornette, had played at Coltrane’s funeral—in 1970. Martin Luther King, Jr. had been dead for four years. The unifying grace of the civil rights era had given way to the fractured militancy of Black Power and revolutionary struggle.

The Southern California Community Choir march into the church with the quasi-military precision associated with the Panthers or the Nation of Islam. They’re dressed in the kind of silver, intergalactic costumes that locate the promised land in an Afro-futurist vision of outer space. But once the singing starts they reach far back into history, to the foundational elements of black American music: spirituals and gospel.

Tomorrow is the question, Ornette declared. But his answers contained big chunks of yesterday. His most famous composition, “Lonely Woman,” is a dirge so mournful it seems to lament its own existence—in a succession of increasingly exuberant proclamations. If there is melancholy in the titular question “When Will the Blues Leave?” the answer is a joyously hopeful “Never!” In Visions of Jazz Gary Giddins quotes drummer Shelly Manne saying in 1959 that Coleman’s sound was “like a person crying…or a person laughing.” That contradiction—the contradiction that is not a contradiction—lies at the heart of so much African-American music.

One of the things that the most extreme first-generation of free players such as Ayler and Pharoah Sanders shared with Ornette was the experience of playing R&B in their journeyman years. The open-throated, gutbucket sound came as readily to them as breathing. This was every bit as important—and as present in their playing—as the tradition-shattering qualities that provoked such fierce hostility or reverence. Their musical apprenticeship earthed them and explains why free jazz was able to take root. Which makes it extraordinary that Charles Mingus—to say nothing of Roy Eldridge and Miles Davis—refused to hear what seems now to be a defining aspect of Ornette’s sound. Surely Mingus, of all people, should have responded to the honk and holler, the cry and call. Miles’s hostility was probably due, in some measure, to his highly developed sense of rivalry or threat. Unblemished by any such feelings, Coltrane was an immediate convert and an eager pupil.

Another irony about the way R&B underpinned such radical experimentation is that R&B has since become the blandest musical pap on the planet. Listening to contemporary R&B is about as challenging as listening to the Eagles. Ornette’s early recordings for Atlantic (collected in the indispensable box set Beauty Is a Rare Thing), on the other hand, still sound far-out—and as drenched in blues and roots as a Mingus album.

Ah, but how old it’s become, this still new-sounding music! In March I went to see Oliver Lake (seventy-two), Andrew Cyrille (seventy-five), and Reggie Workman (seventy-seven) at the Village Vanguard in New York—a legendary venue that has not been at the vanguard of anything for at least thirty years. With the best will in the world you couldn’t say it was a great gig, though it’s wonderful, of course, that Workman (who played with Coltrane) is still a working man. But you can’t play their kind of music without taking the roof off the place. That’s what Ornette’s quartet did when they came east, to New York, in 1959. They didn’t just take the roof off the 5 Spot; they took the roof off the idea of the roof and, as a result, left jazz exposed to the elements. In the following decade jazz became torrential.

As with so many revolutionary happenings this one began with a small cabal of initiates bonding together while the soon-to-be-shaken world looked and listened elsewhere. I find it incredibly moving to think of Cherry, Haden, and Blackwell (or Higgins) gathering at Ornette’s place in Los Angeles to immerse themselves in his musical philosophy, playing a new kind of music in which the song’s form could be dictated by collectively improvised melodic lines, rather than harmonic progressions. They’re all dead now. Ornette outlived everyone in Old and New Dreams, the band of his alumni (including Dewey Redman on tenor) devoted to exploring his music, its legacy and potential.
It hardly needs emphasizing that the desire for freedom in jazz is bound up with the larger dreams of freedom itself. This, obviously, is a vast topic, one that cries out for treatment in a full-scale documentary film (especially since the relevant episode from Ken Burns’s otherwise magnificent series was so cursory). To simplify things let’s stick to a few obvious examples.

we-insist-max-roach  Album cover for Max Roach’s We Insist! Freedom Now Suite, 1960

Sonny Rollins’s Freedom Suite (1958) was a pre-Coleman declaration of musical and political liberation—but there was no explicit statement of this conflation on the album. And the music on offer was still sufficiently conservative for a cover version of a Noel Coward tune to sit happily alongside the ambitious title piece. Recorded two years later, We Insist! Freedom Now Suite by Max Roach (who played drums on the Rollins album) was explicitly interventionist, with its cover featuring a news photograph of a lunch counter sit-in. Even after the smaller-scale detonations of Coleman’s The Shape of Jazz to Come (1959) and Change of the Century (1960), his album Free Jazz (1961) was a musically incendiary event, but Ornette tended to play down the connection between his musical project and the larger social turbulence of which it might have seemed a product and expression. Hereafter, however, “free” playing became so ideologically freighted that the struggle to gain acceptance for this music—the purpose and attraction of which lay, to a considerable degree, in the way that it was audibly unacceptable to a significant portion of the population—became part of a larger struggle.

The alliance of revolutionary politics and music reached a rhetorical extreme with Archie Shepp’s famous claim, in 1968, that his saxophone was “like a machine gun in the hands of the Viet Cong.” Theoretically it may have been possible for musicians to record an album fully pledged to the idiom of free jazz without committing to the politics of Black identity—but not in America. Only after a sabbatical in Europe—symbolically if belatedly represented by those Nice Guys from the Art Ensemble of Chicago, sitting outside a Paris café on the cover of the eponymous album—could free jazz become a kind of equal-opportunity employer in reverse, whereupon it was re-imported to the US, minus the ideological trappings that were also part of its foundation.

So when Pharoah Sanders cries out “You’ve Got To Have Freedom” on any number of recorded versions of that song he’s both celebrating what the music has liberated itself from and what African Americans have struggled—and continue to struggle—for. But he’s also declaring his freedom to keep working, to keep performing “You’ve Got To Have Freedom” wherever and whenever he can get a gig.

Enlarging the question about free playing: When did it begin, this longing for freedom of which Ornette’s music is the undying expression? You could say that it began with the founding fathers as long as you factor in that the American project of freedom and equality for all was in its original intent predicated on a percentage of the population being denied any freedom. Right from the start there was a cage in which the dream of freedom would begin its long incubation.

It’s strange how listening to early Ornette—as I’m listening to him now—is to surrender to the closing claim of that great chronicle of the so-called jazz age: to be borne back ceaselessly into the past. Specifically, I find myself being drawn back to 1843, to a lecture by James McCune Smith entitled “The Destiny of the People of Color,” part of which is quoted by David Brion Davis in The Problem of Slavery in the Age of Emancipation. As Davis puts it, McCune Smith’s lecture concludes “with a prophecy that the African Americans’ struggle for liberty would lead to a revolutionary contribution to American culture”:

We have already, even from the depths of slavery, furnished the only music which the country has yet produced. We are also destined to write the poetry of the nation; for as real poetry gushes forth from minds embued with a lofty perception of the truth, so our faculties, enlarged in the intellectual struggle for liberty, will necessarily become fired with glimpses at the glorious and the true, and will weave their inspiration into song.

[from the New York Review of Books, NYR blog - http://www.nybooks.com/blogs/nyrblog/2015/jun/20/torrential-ornette-coleman/] posted June 20, 2015, 10:09 a.m.

OFOB for 6/18/15: Tribute to Ornette Coleman March 9, 1930 – June 11, 2015

  • Ornette Coleman- Sadness- Town Hall, 1962- ESP disk
  • *Ornette Coleman- Lorraine- Tomorrow is the Question!- Contemporary records
  • Ornette Coleman- Lonely Woman- The Shape of Jazz to Come- Atlantic
  • Ornette Coleman- Beauty is a Rare Thing- This is Our Music- Atlantic
  • * Ornette Coleman- Peace- The Shape of Jazz to Come- Atlantic
  • Ornette Coleman- Una Muy Bonita- Change of the Century- Atlantic
  • Ornette Coleman- Ramblin’- Change of the Century- Atlantic
  • * Ornette Coleman- Eos- Ornette on Tenor- Atlantic
  • Ornette Coleman- Doughnuts- The Great London Concert- Arista/Freedom
  • * Ornette Coleman- Round Trip- New York is Now!- Blue Note
  • Ornette Coleman- Broken Shadows- Crisis!- Impulse
  • Ornette Coleman- Elizabeth- The Complete Science Fiction Sessions- Columbia
  • * Ornette Coleman- What Reason Could I Give- The Complete Science Fiction sessions- Columbia
  • Ornette Coleman-Rock the Clock- The Complete Science Fiction Sessions- Columbia
  • Ornette Coleman Prime Time- Dancing in Your Head- Jazzbuhne Berlin ’88- Repertoire records
  • * Ornette Coleman (Prime Time)- Him and Her- Of Human Feelings- Antilles
  • Ornette Coleman & Charlie Haden- Sex Spy- Soapsuds, Soapsuds- Artist House
  • * Ornette Coleman- Turnaround- Sound Grammar- Phrase Text/Sound Grammar
  • Ornette Coleman- What Reason- Sound Museum: Three Women- Harmolodic/Verve
  • Ornette Coleman- What Reason- Sound Museum: Hidden Man- Harmolodic/Verve
  • *Ornette Coleman- Sleep Talking- Sound Grammar- Phrase Text/Sound Grammar

Note: All the above Atlantic recordings can also be found on the box set Beauty is a Rare Thing: The Complete Atlantic Recordings- Rhino/Atlantic which also includes some previously unreleased pieces plus material which had only been released in Japan as To Whom Who Keeps a Record

Drop me a note via email if you would like me to send you an Ornette discography – larryb@cruzio.com

Good resources for career overviews are the NY Times obituary [nytimes.com/2015/06/12/arts/music/ornette-coleman-jazz-saxophonist-dies-at-85-obituary.html?ref=obituaries&_r=0] and Guardian obituary [theguardian.com/music/2015/jun/11/ornette-coleman]

Here are some selected videos of Ornette concerts + interviews:

Ornette solo in Berlin, also playing the piano!

part 3 also includes an interview with Ornette


OFOB for 6/9/15

  • Simon Toldam Trio- Luftkalligrafi- Kig Op 14- Ilk music
  • *Simon Toldam Trio- Den Evige Gren (the eternal branch)- Kig Op 14- Ilk music
  • Kris Davis Trio- Twice Escaped- Waiting for You to Grow- Clean Feed
  • Jim Baker- Post-industrial Societies and Their Precursors- More Questions than Answers- Delmark
  • *Steel Bridge Trio [Tim Daisy, Aram Shelton, Safa Shokrai]- Some See Hope- Different Clocks- Relay records
  • Bobby Few- From Different Lands- Lights and Shadows- Boxholder records
  • Steve Lacy & Vladimir Miller- The Wane- Five Facings (five pianists)- FMP/jazzwerkstatt
  • PA [Atle Nymo/Magnus Broo/Mattias Stahl/Ingebrigt Haker Flaten/Hakon Mjaset Johansen]- Boomerang- Bubble- Moserobie music productions
  • *Satoko Fujii’s Tobira- Wind Dance- Yamino Ni Karasu (the crow in the dark night)- Libra recordings
  • Kirk Knuffke & Jesse Stacken w/Kenny Wolleson- The Painter- Like a Tree- SteepleChase
  • Steve Lacy Quartet- Esteem- Revenue- Soul Note
  • *Bobby Bradford & John Carter Quintet- She- No U Turn: Live in Pasadena, 1975- Dark Tree records
  • Peter Brotzmann Chicago Tentet- Be Music, Night part 2- Be Music, Night: A Homage to Kenneth Patchen- jazzwerkstatt
  • Atomic [Frederik Ljungkvist, Havaard Wiik, Magnus Broo, Ingebrigt Haker Flaten…]- Start/Stop- Lucidity- Jazzland
  • Baloni [Joachim Badenhorst, Frantz Loriot & Pascal Niggenkemper]- Forgetting- Belleke- Clean Feed