CD Charts
Welcome to The CD Charts, here you will find all the latest and top selling Music cds available to buy online. You can search and locate the best selling Music cd's and have them delivered to the door. We have a large selection of Music all with reviews.
Back to Home Page > Go back a page
Music : Free Jazz (A Collective Improvisation)
1 2 3 4 5 6 7 8
Rating: 
- Ok, someone had to do it
This is considered a cornerstone of atonal free-form jazz. What that means is that there just is no diatonic framework for the song. "Free" is just another word for that. Call it "accidental" or "absence of a key", in this strict sense it is neither really atonal nor free. Coleman never called his music "Free Jazz" either, except this album.
Given the fact, that his was recorded 1960, it's hard to call it revolutionary. Comparing the monotonous rhythm of this recording with the liberated drums of a Charles Mingus album from that time, it still is quite traditional for that matter. As an experiment it didn't fail, because you can tell it is just that, an experiment.
Rating:
- Is' hard for me to decide how to feel about this...
...so I'm jus' gon' throw down an' give it three stars 'cause I feel like bein' nice. Look, I'm not gonna pretend to know everything about Ornette Coleman or his place in jazz history, an' in fact I'll be honest with you an' tell you that I know NOTHING about him or his work. I bought this because it looked intriguing. I like the fact that this was groundbreaking an' that the improvised lines an' the overall self-assured nature of bein' able to go into the studio with no notes, no sketches, nothin', wit' your jazz quartet an' jus' play your @ss off, but this isn't sumpin' I would feel the urge to listen to on a regular basis. Is' not that I find it chaotic or that I find it atonal, so don' trip on me about that. I can hear the melodies, trust me, an' I understand why this is considered landmark jazz. Maybe I'm jus' more of a calmer, mellow jazz fan or maybe I'm jus' more into jazz that I can understand where the performer started an' ended it up in the piece. Moreover, maybe I'm jus' musical snob whose close-minded to things I'm not used to.
Don't get me wrong. I don't regret buying this one bit. An' I think any jazz-head would do well to hear this at least once. Is' jus' not an essential to me. It may'a kick-started sumpin', but to me there are others who did it much better. I'm no expert so I wouldn't be surprised if I was wrong, but thas' my general feeling about this. I'm tryin'ta be the peacekeeper on this one, 'cause I see the way the other reviewers have been gangin' up on each other. So if you're into more avant-garde style then knock yourself out; if all you're into traditional jazz, then don't bother with this, or do like me, an' know what your gettin' into an' have an open mind about it. Thas' all for now. Reach for peace, amazonians.
Rating: - hmm
(quoted from sleeve notes):"he plays a three-dimensional solo - rhythm and speed, then melodic speed, and the two together"
"the emotion he uses liberates the rhythms and metres"
"...the man who isn't bothered about "newness" or "difference" [says that] "he sounds like someone crying, talking, laughing" is having the soundest sort of response to Ornette Coleman's music."
It's music, but not as you know it. If you like free-jazz - give it a shot. If your favourite jazz track is "take 5" then don't go near it. I found this a very hard album to listen to - and I like Captain Beefheart!
Rating:
- It's All There Note For Note
I think the reviewer jdp missed all the points on this LP and what does structure or melody have to do with anything, especially in art...does anyone know that Ornette brought written out charts for his players (band) to use on most of his recordings and practice sessions...note for note improvizations played like any Ellington score...all art has substance like a hammer on a nail...if it hadn't been for Coleman, Ayler, Shepp, Kirk, Coltrane and Dolphy we would all be Republicans and sitting in a Civic Center Concert Hall listening to predictable melodic dead ends...in fact, all jazz we hear today that is exciting is anything other than a WM trumpet solo...the sources today come from the above Gang Of Six a 100 to 1...jazz would have been dead in the 1970's if Ornette hadn't recorded at least once...if you can't see the tones or harmonics in "Free Jazz" you must be deaf and what would Zorn, Shipp, Vandermark, Berne, Evan Parker, Derek Bailey, Peter Brotzmann, Mark Ribot, Nels Cline, Sonic Youth, Haino, Buckethead, Bill Laswell, Dave Holland, Tony Williams, Miles Davis (of course Williams and Davis are gone), Bill Frisell, David Byrne, Dave Douglas, Julius Hemphill, Anthony Braxton, Keith Jarrett, Enten Eller, David Ware, Billy Bang, etc be doing right now if someone with guts hadn't opened up the gates...hip or not, who cares...it really doesn't take all that much work to listen to Ornette's ride to the moon...I think "Free Jazz" is a must have along with Duke Ellington's "Newport 1956".
Rating: - It's All There Note For Note
I think the reviewer jdp missed all the points on this LP and what does structure or melody have to do with anything, especially in art...does anyone know that Ornette brought written out charts for his players (band) to use on most of his recordings and practice sessions...note for note improvizations played like any Ellington score...all art has substance like a hammer on a nail...if it hadn't been for Coleman, Ayler, Shepp, Kirk, Coltrane and Dolphy we would all be Republicans and sitting in a Civic Center Concert Hall listening to predictable melodic dead ends...in fact, all jazz we hear today that is exciting is anything other than a WM trumpet solo...the sources today come from the above Gang Of Six a 100 to 1...jazz would have been dead in the 1970's if Ornette hadn't recorded at least once...if you can't see the tones or harmonics in "Free Jazz" you must be deaf and what would Zorn, Shipp, Vandermark, Berne, Evan Parker, Derek Bailey, Peter Brotzmann, Mark Ribot, Nels Cline, Sonic Youth, Haino, Buckethead, Bill Laswell, Dave Holland, Tony Williams, Miles Davis (of course Williams and Davis are gone), Bill Frisell, David Byrne, Dave Douglas, Julius Hemphill, Anthony Braxton, Keith Jarrett, Enten Eller, David Ware, Billy Bang, etc be doing right now if someone with guts hadn't opened up the gates...hip or not, who cares...it really doesn't take all that much work to listen to Ornette's ride to the moon...I think "Free Jazz" is a must have along with Duke Ellington's "Newport 1956".
- Ok, someone had to do itThis is considered a cornerstone of atonal free-form jazz. What that means is that there just is no diatonic framework for the song. "Free" is just another word for that. Call it "accidental" or "absence of a key", in this strict sense it is neither really atonal nor free. Coleman never called his music "Free Jazz" either, except this album.
Given the fact, that his was recorded 1960, it's hard to call it revolutionary. Comparing the monotonous rhythm of this recording with the liberated drums of a Charles Mingus album from that time, it still is quite traditional for that matter. As an experiment it didn't fail, because you can tell it is just that, an experiment.
Rating:
- Is' hard for me to decide how to feel about this......so I'm jus' gon' throw down an' give it three stars 'cause I feel like bein' nice. Look, I'm not gonna pretend to know everything about Ornette Coleman or his place in jazz history, an' in fact I'll be honest with you an' tell you that I know NOTHING about him or his work. I bought this because it looked intriguing. I like the fact that this was groundbreaking an' that the improvised lines an' the overall self-assured nature of bein' able to go into the studio with no notes, no sketches, nothin', wit' your jazz quartet an' jus' play your @ss off, but this isn't sumpin' I would feel the urge to listen to on a regular basis. Is' not that I find it chaotic or that I find it atonal, so don' trip on me about that. I can hear the melodies, trust me, an' I understand why this is considered landmark jazz. Maybe I'm jus' more of a calmer, mellow jazz fan or maybe I'm jus' more into jazz that I can understand where the performer started an' ended it up in the piece. Moreover, maybe I'm jus' musical snob whose close-minded to things I'm not used to.
Don't get me wrong. I don't regret buying this one bit. An' I think any jazz-head would do well to hear this at least once. Is' jus' not an essential to me. It may'a kick-started sumpin', but to me there are others who did it much better. I'm no expert so I wouldn't be surprised if I was wrong, but thas' my general feeling about this. I'm tryin'ta be the peacekeeper on this one, 'cause I see the way the other reviewers have been gangin' up on each other. So if you're into more avant-garde style then knock yourself out; if all you're into traditional jazz, then don't bother with this, or do like me, an' know what your gettin' into an' have an open mind about it. Thas' all for now. Reach for peace, amazonians.
Rating:
- hmm(quoted from sleeve notes):"he plays a three-dimensional solo - rhythm and speed, then melodic speed, and the two together"
"the emotion he uses liberates the rhythms and metres"
"...the man who isn't bothered about "newness" or "difference" [says that] "he sounds like someone crying, talking, laughing" is having the soundest sort of response to Ornette Coleman's music."
It's music, but not as you know it. If you like free-jazz - give it a shot. If your favourite jazz track is "take 5" then don't go near it. I found this a very hard album to listen to - and I like Captain Beefheart!
Rating:
- It's All There Note For NoteI think the reviewer jdp missed all the points on this LP and what does structure or melody have to do with anything, especially in art...does anyone know that Ornette brought written out charts for his players (band) to use on most of his recordings and practice sessions...note for note improvizations played like any Ellington score...all art has substance like a hammer on a nail...if it hadn't been for Coleman, Ayler, Shepp, Kirk, Coltrane and Dolphy we would all be Republicans and sitting in a Civic Center Concert Hall listening to predictable melodic dead ends...in fact, all jazz we hear today that is exciting is anything other than a WM trumpet solo...the sources today come from the above Gang Of Six a 100 to 1...jazz would have been dead in the 1970's if Ornette hadn't recorded at least once...if you can't see the tones or harmonics in "Free Jazz" you must be deaf and what would Zorn, Shipp, Vandermark, Berne, Evan Parker, Derek Bailey, Peter Brotzmann, Mark Ribot, Nels Cline, Sonic Youth, Haino, Buckethead, Bill Laswell, Dave Holland, Tony Williams, Miles Davis (of course Williams and Davis are gone), Bill Frisell, David Byrne, Dave Douglas, Julius Hemphill, Anthony Braxton, Keith Jarrett, Enten Eller, David Ware, Billy Bang, etc be doing right now if someone with guts hadn't opened up the gates...hip or not, who cares...it really doesn't take all that much work to listen to Ornette's ride to the moon...I think "Free Jazz" is a must have along with Duke Ellington's "Newport 1956".
Rating:
- It's All There Note For NoteI think the reviewer jdp missed all the points on this LP and what does structure or melody have to do with anything, especially in art...does anyone know that Ornette brought written out charts for his players (band) to use on most of his recordings and practice sessions...note for note improvizations played like any Ellington score...all art has substance like a hammer on a nail...if it hadn't been for Coleman, Ayler, Shepp, Kirk, Coltrane and Dolphy we would all be Republicans and sitting in a Civic Center Concert Hall listening to predictable melodic dead ends...in fact, all jazz we hear today that is exciting is anything other than a WM trumpet solo...the sources today come from the above Gang Of Six a 100 to 1...jazz would have been dead in the 1970's if Ornette hadn't recorded at least once...if you can't see the tones or harmonics in "Free Jazz" you must be deaf and what would Zorn, Shipp, Vandermark, Berne, Evan Parker, Derek Bailey, Peter Brotzmann, Mark Ribot, Nels Cline, Sonic Youth, Haino, Buckethead, Bill Laswell, Dave Holland, Tony Williams, Miles Davis (of course Williams and Davis are gone), Bill Frisell, David Byrne, Dave Douglas, Julius Hemphill, Anthony Braxton, Keith Jarrett, Enten Eller, David Ware, Billy Bang, etc be doing right now if someone with guts hadn't opened up the gates...hip or not, who cares...it really doesn't take all that much work to listen to Ornette's ride to the moon...I think "Free Jazz" is a must have along with Duke Ellington's "Newport 1956".