Like everyone who has a love of jazz music and its culture, I mourn the passing of Ornette Coleman. We will all likely miss the impassioned spirit of his musical creativity, and how his art not only changed the way musicians played music, but how listeners consumed it.
Few artists have lived to read words like those written of Coleman by the influential critic Martin Williams, who in 1959 wrote in Jazz Review, “I honestly believe . . . that what Ornette Coleman is doing on alto will affect the whole character of jazz music profoundly and pervasively.” It certainly affected what I played on my turntable over the years.
I found his music to be intensely and joyfully challenging and most times best suited for introspective listening, but very early on in my “Jazz 101″ phase I was struck by this artist whose every album title seemed to communicate passion and revolution – what Gary Giddins and Scott DeVeaux wrote in their 2009 textbook Jazz “seemed to incarnate the authority of the New Negro: The Shape of Jazz to Come, Change of the Century, This is Our Music, and Free Jazz.” These albums provided great curiosity, led […] Continue reading »
While hunting around the Internet for tributes of Ornette Coleman (a collection of which I will attempt to point readers toward tomorrow), I was reminded of the critic Francis Davis’s essay titled “Ornette’s Permanent Revolution.” Originally published in the September, 1985 edition of The Atlantic, Davis, now the jazz critic for the Village Voice, writes eloquently about the complexities of the great saxophonist’s “clean break from convention.” It is a worthy and timely read…
All hell broke loose when the alto saxophonist Ornette Coleman made his East Coast nightclub debut, at the Five Spot Cafe, in Greenwich Village on November 17, 1959—twenty-five years ago last fall.
The twenty-nine-year-old Coleman arrived in New York having already won the approval of some of the most influential jazz opinion makers of the period. “Ornette Coleman is doing the only really new thing in jazz since the innovations in the mid-forties of […] Continue reading »
“Making music is like a form of religion for me, because it soothes your heart and increases the pleasure of your brain. Most of all, it’s very enjoyable to express something that you can only hear and not see, which is not bad.”
- Ornette Coleman
1930 – 2015
[…] Continue reading »
In addition to co-founding the New York Jazz Quartet, in 1970 this pianist was given knighthood by the President of Liberia in recognition for a series of concerts held to benefit Liberian children. Who is he?
Go to the next page for the answer!
[…] Continue reading »
In what is described by New York Times classical music writer Corinna da Fonseca-Wollheim as the company’s “wider shift toward more new music,” on June 5, Opera Philadelphia will present the premier of composer Daniel Schnyder’s “Charlie Parker’s Yardbird,” which stars Lawrence Brownlee as the bebop legend.
According to Fonseca-Wollheim, Opera Philadelphia has “a general willingness to take risks on unorthodox subjects and genres. Philadelphia’s last season featured the American premiere of Ana Sokolovic’s ‘Svadba,’ a raucous Balkan wedding ritual; October will bring a ‘Popera’ about Andy Warhol, mixing elements of cabaret and opera.”
“The mix of musical styles is especially risky in ‘Yardbird,’” Fonseca-Wollheim writes, “since it offers […] Continue reading »