Features Geri Allen on piano, Charnett Moffett on bass, and Denardo Coleman on drums – and Ornette plays alto, trumpet, and violin! CD

A landmark in modern jazz – from the stark stares of the band on the cover, to the starkly haunting music in the grooves! The record makes a bold statement right from the outset – and more than lives up to its promise in the sound within – an amazing approach to modern jazz that's still quite powerful, even all these many years later! The group features Ornette Coleman on alto, Don Cherry on pocket trumpet, Charlie Haden on bass, and Ed Blackwell on drums – moving at a fast, highly rhythmic pace that still leaves us breathless – filled with angles, but wrapped up in soul. The group make severe statements about the future of modern music in tracks like "Humpty Dumpty", "Beauty Is a Rare Thing", and "Kaleidoscope" – bouncing the efforts of the whole group off the beat, in a way that's both challenging and groove-heavy at the same time, a key summation of the genius of Ornette's early vision! LP, Vinyl record album

Tomorrow may be the question, but the record screams "today!" – and even this many years after its recording, this early set by Ornette Coleman has an energy and presence that cannot be denied! The sound here is kind of a rougher take on the mode that would gel more strongly on Ornette's Atlantic albums – but even so, it's still incredibly fresh, and well worth seeking out – especially as an example of the sharper edges that were bursting forth from the once-cool west coast scene! Coleman's on alto sax and Don Cherry is on trumpet – but they're not joined by their more familiar associates, and are instead working with a more conventional rhythm team that includes either Percy Heath or Red Mitchell on bass, and Shelly Manne on drums – all clearly trying to make a bit of sense of Ornette's approach here, but in a way that also creates a great sense of tension on the record! Tracks are shortish, with great solos by Ornette and Cherry – and titles include "Tomorrow Is The Question", "Endless", "Rejoicing", "Lorraine", "Turnaround", "Tears Inside", and "Giggin". LP, Vinyl record album

A really unique chapter in the career of Ornette Coleman – an album that he produced by himself in 1962, away from any other label – as an effort to showcase the newly freer sounds of his music! The recording's the first in a really groundbreaking stretch for the 60s – and it was fortunately finally issued by ESP Records a few years after the recording – providing a nice link between Coleman's earlier experiments and the sound of the younger generation usually showcased by the label. The group's a trio, with a sound that's quite different than the more rhythmic modes of Coleman on Atlantic Records – a freer, less structured lineup that features percussion from Charles Moffett and bass from David Izenzon. One track also adds in a string quartet – making the record one of Coleman's first experiments with this format – and titles include a 23 minute recording of "The Ark", plus "Doughnut", "Sadness", and "Dedication To Poets and Writers". CD

Duets featuring Ornette Coleman on alto saxophone, trumpet, and violin – and Joachim Kuhn on piano! CD

With Bradley Jones on electric bass, Al McDowell on electric bass, Chris Rosenberg and Ken Wessel on guitar, Dave Bryant on keyboards, Denardo Coleman on drums, and Badal Roy on tabla. CD

Brilliant later work from Ornette Coleman – quite adventurous stuff, too! By the late 80s, the shock of the new of Ornette's harmolodic sound had worn off enough that majors like CBS/Portrait were more than willing to invest in it – but for every catchy modern groove here, there's a left turn into more subtly daring territory! A few tracks feature Jerry Garcia – "3 Wishes", "Singing In The Shower", and "Desert Player" – and his jazz-folk-psych improv guitar style is a pretty wild match for Ornette and Prime Time. We didn't give those cuts nearly enough credit to over the years! The Garcia-less tracks show Ornette's awareness of hip hop and funky fusion, but he doesn't cop to trends. It's more that he's showing his continuing relevance in the 80s landscape. The group features Denard Coleman on percussion and keys, Calvin Weston on drums, Al MacDowell and Chris Walker on bass, Bern Nix and Charlee Ellerbe on guitars, and Ornette on alto, trumpet and violin. Other tunes include "Happy Hour", "Bourgeois Boogie", and "Spelling The Alphabet". CD

One of Ornette's best LPs from the 70's! Recorded in 1976, this is a perfect demonstration of the harmelodic style, with the whole group jaunting along in tight choppy bits. James Blood Ulmer's on guitar, and the sound is very dark and deep. Tracks include "Voice Poetry", "Macho Woman", and "Home Grown". CD

A complete issue of a groundbreaking late 50s performance by Ornette Coleman – some of which has been released on the French album Fabulous Paul Bley Quintet, and other parts on albums under Ornette's name! The quality of the performance is amazing – some of the freshest jazz recorded in LA at the time, but still somewhat more inside than Coleman's work of the decade to come – a key transitional moment from Ornette, played by a group that features Don Cherry on trumpet, Charlie Haden on bass, and Billy Higgins on drums – plus a young Paul Bley on piano, who makes for a very different rhythmic conception than some of the Coleman quartet albums of a year or two later! Given Bley's approach to the piano, even at this point, the sound is still quite different than most of what had come before – almost in the territory of some of Eric Dolphy's early albums for New Jazz. Titles include "Free", "The Blessing", "When Will The Blues Leave", "Ramblin", "Crossroads", "How Deep Is The Ocean", "Klactoveesedstene", and "I Remember Harlem". CD

One of the most striking Ornette Coleman albums of the 60s – a set that came together because of an odd regulation, but which also resulted in some really wonderful music as well! The record documents a 1965 London concert by Ornette – but, in order to get a visa to visit the UK, Coleman had to come across as a "serious musician" – so he works here with a very cool wind quartet that features added flute, oboe, clarinet, and bassoon! This group joins Ornette on a reading of his fantastic Sounds & Forms – then steps back to allow more familiar jamming by Coleman's wonderful trio that featured Charles Mofett on percussion and David Izenzon on double bass. Ornette also plays some amazing violin, in addition to his usual alto, and a bit of trumpet – and titles include "Forms and Sounds For Wind Quintet", plus shorter tracks like "Dough Nuts", "Happy Fool", "Clergyman's Dream", "Silence", and "Falling Stars". CD

A pair of overlooked albums from Ornette Coleman – back to back on a single CD for the first time ever! Crisis is a record that bursts out with a sound that definitely lives up to its striking title – as Ornette Coleman explores the new frontiers of experimental jazz with one of his great groups from the end of the 60s! The album's got the intensity of the best ESP sessions of the period, but also shows the richer sonic elements that Coleman can bring to the proceedings – that way of mixing sharp edges with surprising currents – delivered by an all-star group that features Ornette on alto and violin, Don Cherry on trumpet and flute, Dewey Redman on tenor and clarinet, Charlie Haden on bass, and the young Ornette D Coleman on drums. It's especially amazing to hear Haden and Cherry take on such different roles than in the Ornette material of the early 60s – and also realize a wider vision for the music, on tunes that include a great version of Haden's "Song For Che", plus "Broken Shadows", "Trouble In The East", and "Space Jungle". CD

Reissue of this hard to get album, originally issued as two separate LPs, on the small French IRI imprint. Excellent work from Ornette – recorded in Paris in 1966 for the film Who's Crazy, featuring him on alto, violin, and trumpet – with a wonderfully playful feel thoroughout, plus some great solo work by Ornette. 10 numbers in all, including "January", "The Changes", "Better Get Yourself Another Self", "The Duel, Two Psychic Lovers & Eating Time", "Fuzz, Feast, Breakout", "The Poet", and "Wedding Day & Fuzz". CD

At the height of his success, Pat tries to prove to the world that he's still got cred – and hooks up with Ornette, Charlie Haden, and Denardo Coleman for a little bit of harmelodic jamming. Thing is, we actually liked the slick stuff better! Titles include "Mob Job", "Video Games", "Song X Duo", and "Long Time No See". LP, Vinyl record album

At the height of his success, Pat tries to prove to the world that he's still got cred – and hooks up with Ornette, Charlie Haden, and Denardo Coleman for a little bit of harmelodic jamming. Thing is, we actually liked the slick stuff better! Titles include "Mob Job", "Video Games", "Song X Duo", and "Long Time No See". CD

Great lost work from Ornette Coleman – material recorded in New York and LA during the years 1959 through 1961 – never issued at the time, but pulled together in this wonderful package at the start of the 70s! Although not recorded as an official album, the record stands easily with the best Ornette had to offer at Atlantic Records – and all tracks here have that sense of sharpness, rhythm, and timing that made the Coleman combo one of the most exciting of the time. Players include Ornette on alto throughout, plus Don Cherry on trumpet and pocket trumpet, Ed Blackwell and Billy Higgins on drums, and Charlie Haden (mostly), Scott LaFaro, and Jimmy Garrison on bass. All tracks are originals by Ornette – and titles include "Moon Inhabitants", "The Fifth of Beethoven", "Circle with a Hole In the Middle", and "The Alchemy of Scott La Faro", featuring the great late bassist, Scott La Faro! LP, Vinyl record album

One of Ornette Coleman's best recordings from the 70s – and like his other album for Columbia, quite a change from the freewheeling sounds he was blowing over at Blue Note! The style here is a bit more high concept, but in a good way – with all the edges that Coleman had developed from the late 50s onward, brought into tighter focus for the Columbia setting – given a bit more complexity, although still with plenty of room for freedom – and played both with a smaller combo, and a slightly larger group. The mix of players is as striking as the sounds on the record – and includes Coleman on alto, trumpet, and violin – plus Dewey Redman on tenor, Don Cherry on pocket trumpet, Bobby Bradford on trumpet, Jim Hall on guitar, Cedar Walton on piano, Charlie Haden on bass, and Billy Higgins and Ed Blackwell on drums. Asha Puthli sings a bit on the larger ensemble tracks – making a rare appearance here before her 70s soul career in Germany – and titles include "What Reason Could I Give", "Street Woman", "The Jungle Is A Skycraper", and "All My Life". 2CD set also features all the material from the Broken Shadows album as well – plus 3 previously unissued bonus tracks. Other titles include "Happy House", "Elizabeth", "Good Girl Blues", "Broken Shadows", "Rubber Gloves", and "Written Word". CD

A record that bursts out with a sound that definitely lives up to its striking title – as Ornette Coleman explores the new frontiers of experimental jazz with one of his great groups from the end of the 60s! The album's got the intensity of the best ESP sessions of the period, but also shows the richer sonic elements that Coleman can bring to the proceedings – that way of mixing sharp edges with surprising currents – delivered by an all-star group that features Ornette on alto and violin, Don Cherry on trumpet and flute, Dewey Redman on tenor and clarinet, Charlie Haden on bass, and the young Ornette D Coleman on drums. It's especially amazing to hear Haden and Cherry take on such different roles than in the Ornette material of the early 60s – and also realize a wider vision for the music, on tunes that include a great version of Haden's "Song For Che", plus "Broken Shadows", "Trouble In The East", and "Space Jungle". LP, Vinyl record album

One of the few standout 70s sessions by Ornette Coleman – a wonderfully rhythmic record that shows Ornette's expanding musical vision at the time! Most of the record is dominated by the guitar-heavy "Theme From A Symphony" – a very harmelodic number that takes up all of side one and most of side two – and which features the twin guitars of Bern Nix and Charlie Ellerbee dancing alongside drums of Ronald Shannon Jackson while Ornette blows an elliptically grooving lead line on alto sax. Side two then closes with the far different "Midnight Sunrise" – an earthy improvisation that features Ornette's alto alongside the Master Musicians Of Joujouka, who use an array of percussion and reed instruments to create a dark tapestry of sound! CD

One of our favorite Ornette Coleman albums of the post-Atlantic 60s years – a set that still hangs onto some of the bold rhythmic conception of his previous records, but also points the way towards his freer jazz modes to come! The group's a trio – with really tremendous work from Charlie Haden on bass, able to match Coleman's energy with effortless ease, and really getting a lot of room to leave his mark on the music – plus the very young (10!) Denardo Coleman, who plays drums here with this stark, simple style that's not only completely unique, but which also leaves a lot of open room left for Haden and Ornette to really stretch out. Ornette plays his usual alto, plus trumpet and violin – and titles include "Good Old Days", "The Empty Foxhole", "Zig Zag", and "Freeway Express". CD

Set of material from the mid 80's – one featuring Ornette reunited with his classic quartet of Don Cherry, Charlie Haden, and Billy Higgins; the other with his Prime Time group that included Bern Nix, Jamaaladeen Tacuma, and Denardo Coleman. The whole set's a "30 Years Of Harmelodic Music" tribute, and includes the tracks "Space Church", "In All Languages", "Latin Genetics", "Peace Warriors", "Music News", and "Feet Music". Some tracks are done by both bands, and are a good illustration of how Ornette's style had grown in the 30 year period. CD

2 LP set of material from the mid 80's – one featuring Ornette reunited with his classic quartet of Don Cherry, Charlie Haden, and Billy Higgins; the other with his Prime Time group that included Bern Nix, Jamaaladeen Tacuma, and Denardo Coleman. The whole set's a "30 Years Of Harmelodic Music" tribute, and includes the tracks "Space Church", "In All Languages", "Latin Genetics", "Peace Warriors", "Music News", and "Feet Music". Some tracks are done by both bands, and are a good illustration of how Ornette's style had grown in the 30 year period. LP, Vinyl record album

A really incredible performance from Ornette Coleman – recorded in Italy in 1968, and featuring a unique lineup that includes Ed Blackwell on drums, plus the dual basses of Charlie Haden and David Izenzon! The two-bass lineup gives the set an amazingly tight edge – with one player bowing the instrument, and the other playing rhythm – in a way that bounces magically over the drums of Ed Blackwell, making for a rhythmic spirit that's missing from a lot of Ornette's other work from the time! There's still a sense of sound texture and exploration here that matches some of the Blue Note late 60s recordings – but the overall feel is a bit more focused, and (dare we say it?) more rhythmically swinging! Titles include long takes on "Lonely Woman", "Monsieur Le Prince", "Forgotten Children", "Tutti", "Three Wisemen & The Saint", "New York", and "Buddah Blues". CD

Early Prime Time stuff by Ornette, with the harmelodic sound electric sound of the group that included Jamaaladeen Tacuma, Bern Nix, and Charlie Ellerbee. Lots of popping guitar strings, jumping basslines, and rambling solos by Ornette. Tracks include "Jump Street", "Sleep Talk", "Air Ship", "What Is The Name Of That Song?", and "Job Mob". Very early eighties, very downtown scene. CD

A collection of Ornette Coleman albums from the end of the 60s – work from two key albums, plus some interesting bonus material too! First up is the album Ornette At 12 – a set that features two generations of Ornette Coleman – making incredible music here together! The album's a freewheeling late 60s outing from the senior Ornette – who plays alto, violin, and trumpet here – working with his young son Ornette D Coleman on drums, just 12 years old at the time – but a surprisingly strong free jazz player overall! Heavyweight help comes from Dewey Redman on tenor – really tremendous here, with energy that's up there with Albert Ayler or Archie Shepp at their 60s best – plus Charlie Haden on bass, really coming strongly back into the music at this point in his career. The album's quite free overall – similar to some of Coleman's Blue Note work of the period – and titles include "COD", "Rainbows", "New York", and "Bells and Chimes". Next is Crisis – a record that bursts out with a sound that definitely lives up to its striking title – as Ornette Coleman explores the new frontiers of experimental jazz with one of his great groups from the end of the 60s! The album's got the intensity of the best ESP sessions of the period, but also shows the richer sonic elements that Coleman can bring to the proceedings – that way of mixing sharp edges with surprising currents – delivered by an all-star group that features Ornette on alto and violin, Don Cherry on trumpet and flute, Dewey Redman on tenor and clarinet, Charlie Haden on bass, and the young Ornette D Coleman on drums. It's especially amazing to hear Haden and Cherry take on such different roles than in the Ornette material of the early 60s – and also realize a wider vision for the music, on tunes that include a great version of Haden's "Song For Che", plus "Broken Shadows", "Trouble In The East", and "Space Jungle". The last two tracks are maybe the most unusual – originally issued only as a promo 7" single by Impulse Records, with the tunes "Man On The Moon" and "Growing Up" – recorded with a group that features Cherry on trumpet, Redman on tenor, Haden on bass, and Ed Blackwell on drums – plus electronics from Emmanuel Ghent on one track! CD

Comprised selected tracks from the first five albums of his era, Something Else!!! and Tomorrow Is the Question, recorded for the Contemporary label during 1958 and 1959, and The Shape of Jazz to Come, Change of the Century and This Is Our Music, recorded for Atlantic during 1959 and 1960. It concludes with complete the 37-minute ensemble improvisation which comprises the entire content of the 1961 album Free Jazz. CD

An album that certainly lives up to the promise of its title – as it's filled with amazing instrumentation, groundbreaking compositions, and a sound in jazz that few ears could imagine at the time! The groove here is extremely modal – all instruments rolling along on the same rhythmic pulse, with drums, bass, trumpet, and alto sax incredibly intertwined! Ornette's really got an edge on his instrument – cutting even more deeply here than the clipped, punctuated cornet work of Don Cherry – and the rhythm team of Charlie Haden and Billy Higgins are simply amazing – not just keeping up with the energy of Ornette, but also really helping facilitate it as well! Titles include the haunting "Lonely Woman", plus "Peace", "Chronology", and "Focus on Sanity". CD features the bonus tracks "Just For You" and "The Monk & The Nun". CD

... CD

Great lost work from Ornette Coleman – material recorded in New York and LA during the years 1959 through 1961 – never issued at the time, but pulled together in this wonderful package at the start of the 70s! Although not recorded as an official album, the record stands easily with the best Ornette had to offer at Atlantic Records – and all tracks here have that sense of sharpness, rhythm, and timing that made the Coleman combo one of the most exciting of the time. Players include Ornette on alto throughout, plus Don Cherry on trumpet and pocket trumpet, Ed Blackwell and Billy Higgins on drums, and Charlie Haden (mostly), Scott LaFaro, and Jimmy Garrison on bass. All tracks are originals by Ornette – and titles include "Moon Inhabitants", "The Fifth of Beethoven", "Circle with a Hole In the Middle", and "The Alchemy of Scott La Faro", featuring the great late bassist, Scott La Faro! The CD includes the bonus tracks "Music Always" and "Brings Goodness". CD

It's hard to even begin to hint at Ornette's greatness on Atlantic – but this set does a pretty darn nice job! Tracks are all from the years 1959 to 1961, and perfectly rhythmic, in that modal mode of the classic years. Titles include "Una Muy Bonita", "Lonely Woman", "Ramblin", "C&D", and "Blues Connotation". LP, Vinyl record album

One of our favorite albums of all time from the legendary saxophonist Ornette Coleman – an essential showcase for his early harmelodic concepts, but with a vibe that's maybe more pulsatingly rhythmic than on other albums from the time! Ornette plays his incredible plastic alto sax, which has a bracing sound that really gives the record a sense of urgency – and the rest of the quartet features Don Cherry on pocket trumpet, Charlie Haden on bass, and Billy Higgins on drums – working here with a lively dancing sound on the kit, one that works perfectly for Ornette's jaunty compositions. The chopped-up modal groove is in full effect here – making the record a treasure trove of angular, highly rhythmic numbers that are easily some of Coleman's best-remembered tunes! Titles include the surprisingly modal classics "Ramblin" and "Una Muy Bonita" – performed in original early versions – plus "Free", "The Face Of The Bass", "Bird Food", and "Change Of The Century". CD

One of our favorite albums of all time from the legendary saxophonist Ornette Coleman – an essential showcase for his early harmelodic concepts, but with a vibe that's maybe more pulsatingly rhythmic than on other albums from the time! Ornette plays his incredible plastic alto sax, which has a bracing sound that really gives the record a sense of urgency – and the rest of the quartet features Don Cherry on pocket trumpet, Charlie Haden on bass, and Billy Higgins on drums – working here with a lively dancing sound on the kit, one that works perfectly for Ornette's jaunty compositions. The chopped-up modal groove is in full effect here – making the record a treasure trove of angular, highly rhythmic numbers that are easily some of Coleman's best-remembered tunes! Titles include the surprisingly modal classics "Ramblin" and "Una Muy Bonita" – performed in original early versions – plus "Free", "The Face Of The Bass", "Bird Food", and "Change Of The Century". LP, Vinyl record album

One of our favorite Ornette Coleman albums of the post-Atlantic 60s years – a set that still hangs onto some of the bold rhythmic conception of his previous records, but also points the way towards his freer jazz modes to come! The group's a trio – with really tremendous work from Charlie Haden on bass, able to match Coleman's energy with effortless ease, and really getting a lot of room to leave his mark on the music – plus the very young (10!) Denardo Coleman, who plays drums here with this stark, simple style that's not only completely unique, but which also leaves a lot of open room left for Haden and Ornette to really stretch out. Ornette plays his usual alto, plus trumpet and violin – and titles include "Good Old Days", "The Empty Foxhole", "Zig Zag", and "Freeway Express". CD

"New York is now" – a pretty bold statement from saxophonist Ornette Coleman, but one that definitely shows his shift in role – from a major force on the LA underground of the early 60s, to an artist who was helping pave the way for a huge wave of growth on the New York downtown scene in years to come! Ornette's at his most late 60s unbridled here – freer than before, and working with a lineup that includes Jimmy Garrison on bass and Elvin Jones on drums – still no piano at all – plus great work from Dewey Redman on tenor, who really burst into new prominence with this album. Ornette plays a bit of violin alongside alto sax – and tracks include "Toy Dance", "Round Trip", "Broad Way Blues", and "We Now Interrupt For A Commercial". CD

"New York is now" – a pretty bold statement from saxophonist Ornette Coleman, but one that definitely shows his shift in role – from a major force on the LA underground of the early 60s, to an artist who was helping pave the way for a huge wave of growth on the New York downtown scene in years to come! Ornette's at his most late 60s unbridled here – freer than before, and working with a lineup that includes Jimmy Garrison on bass and Elvin Jones on drums – still no piano at all – plus great work from Dewey Redman on tenor, who really burst into new prominence with this album. Ornette plays a bit of violin alongside alto sax – and tracks include "Toy Dance", "Round Trip", "Broad Way Blues", and "We Now Interrupt For A Commercial" – plus an alternate take of "Broad Way Blues"! CD

Early Prime Time stuff by Ornette, with the harmelodic sound electric sound of the group that included Jamaaladeen Tacuma, Bern Nix, and Charlie Ellerbee. Lots of popping guitar strings, jumping basslines, and rambling solos by Ornette. Tracks include "Jump Street", "Sleep Talk", "Air Ship", "What Is The Name Of That Song?", and "Job Mob". Very early eighties, very downtown scene. LP, Vinyl record album

A really incredible performance from Ornette Coleman – recorded in Italy in 1968, and featuring a unique lineup that includes Ed Blackwell on drums, plus the dual basses of Charlie Haden and David Izenzon! The two-bass lineup gives the set an amazingly tight edge – with one player bowing the instrument, and the other playing rhythm – in a way that bounces magically over the drums of Ed Blackwell, making for a rhythmic spirit that's missing from a lot of Ornette's other work from the time! There's still a sense of sound texture and exploration here that matches some of the Blue Note late 60s recordings – but the overall feel is a bit more focused, and (dare we say it?) more rhythmically swinging! Titles include long takes on "Lonely Woman", "Monsieur Le Prince", "Forgotten Children", and "Buddha Blues". LP, Vinyl record album

Important second chapter work from Ornette Coleman – a record that marked a real shift in his sound from the Atlantic Records years – issued by Blue Note at a level that gave the rest of the world a chance to see what Ornette had been cooking up on the underground scene! The album was recorded in Stockholm – in the tradition of European live performances that saw Coleman grow so strongly in the mid 60s – and the tracks are long, free, and full of improvised moments – with Ornette adding in trumpet and violin next to his familiar alto – in a trio with David Izenzon on bass and Charles Moffett on drums – both fantastic players who can be loose at the right moments, and bring things back at others. Tracks are long and unbridled – with less of the rhythmic changes that you'd hear in work by the classic quartet, and more of a full-on fierce soloing mode. Titles include "Faces & Places", "Dee Dee", and "Dawn" – plus two alternate takes and the cut "Doughnuts". CD

Important second chapter work from Ornette Coleman – a record that marked a real shift in his sound from the Atlantic Records years – issued by Blue Note at a level that gave the rest of the world a chance to see what Ornette had been cooking up on the underground scene! The album was recorded in Stockholm – in the tradition of European live performances that saw Coleman grow so strongly in the mid 60s – and the tracks are long, free, and full of improvised moments – with Ornette adding in trumpet and violin next to his familiar alto – in a trio with David Izenzon on bass and Charles Moffett on drums – both fantastic players who can be loose at the right moments, and bring things back at others. Tracks are long and unbridled – with less of the rhythmic changes that you'd hear in work by the classic quartet, and more of a full-on fierce soloing mode. Titles include "Snowflakes & Sunshine", "Morning Song", "The Riddle", and "Antiques". CD

One of Ornette's great albums for the obscure Artists House label, and different from the one that he recorded with James Blood Ulmer, which was more of a straight-on Harmelodic work. This one's got him playing a set of tender sensitive duets with bassist and longtime accompanyist Charlie Haden. The set's far from mellow, though, and the two of them work through a great set of material that includes "Sex Spy", "Soap Suds", and the theme to "Mary Hartman, Mary Hartman"! LP, Vinyl record album

Pre-Atlantic work from Ornette Coleman – one of his first recorded statements in jazz – and one of his boldest! At some level, the complete Coleman sound isn't entirely in place here – as there's a bit of a trace of hardbop in the mix – not entirely, but just a bit. But at another level, the record's still way darn bolder than just about anything coming out of LA at the time – proof that amidst all the cool jazz ruminations of the 50s, there was a second wave of modernism about to explode! The group here features Don Cherry on trumpet, Walter Norris on piano, Don Payne on bass, and Billy Higgins on drums – and while the core harmelodic rhythmic approach isn't always in place, it's more than made up for by some surprisingly free energy. Titles include "Invisible", "The Blessing", "Alpha", and "The Sphinx". CD

Ornette Coleman on saxophone, violin, and trumpet, Gregory Cohen and Tony Falanga on bass, and Denardo Coleman on drums and percussion. CD

A really rare slice of work from Ornette Coleman – an early 60s album that features a small rhythm trio, but who aren't listed here at all! The vibe here is pretty wide open, even for Ornette, where the group seems to be taking off on fully improvised material, without the themes and structures in some of Ornette's other work – much more end of 60s than some of his other early 60s material. The setting seems to vary from multiple horns to just Ornette and drums, and though each side is banded into 5 tracks, the songs are just listed as "Ornette's Suite" parts I & II. LP, Vinyl record album

One of a handful of documents from the late 50s of an early incarnation of Ornette's group, that still featured piano, before he decided to pursue the more limitless possibilities of a keyless harmelodic group. Paul Bley joins Ornette, Don Cherry, Charlie Haden and Billy Higgins in this seminal recording, which offers an altogether different perspective on Coleman's formative years developing the free concept. 4 numbers in all: "Klactoveesedstene", "I Remember Harlem", "The Blessing" and "Free". LP, Vinyl record album

One of the few standout 70s sessions by Ornette Coleman – a wonderfully rhythmic record that shows Ornette's expanding musical vision at the time! Most of the record is dominated by the guitar-heavy "Theme From A Symphony" – a very harmelodic number that takes up all of side one and most of side two – and which features the twin guitars of Bern Nix and Charlie Ellerbee dancing alongside drums of Ronald Shannon Jackson while Ornette blows an elliptically grooving lead line on alto sax. Side two then closes with the far different "Midnight Sunrise" – an earthy improvisation that features Ornette's alto alongside the Master Musicians Of Joujouka, who use an array of percussion and reed instruments to create a dark tapestry of sound! CD also contains a previously unissued alternate take of "Midnight Sunrise". CD

The title gets it right – as the album's easily the closest thing to free jazz that Ornette Coleman ever recorded – an album-length improvisation played by a "double quartet" that's overflowing with classic players! The style here is a fair bit like John Coltrane's Ascension album for Impulse – and like that one, the session features Ornette and his contemporaries really stretching out – blowing like never heard before on record, and working in a highly unstructured setting! Other players include Eric Dolphy on bass clarinet, Freddie Hubbard on trumpet, and Scott LaFaro on bass – alongside regular group members Don Cherry on pocket trumpet, Charlie Haden on bass, and both Ed Blackwell and Billy Higgins on drums. One long track – just titled "Free Jazz"! LP, Vinyl record album

Important mid 60s work from Ornette – and one of the few recordings of this format to see larger release at the time! The set captures Ornette in a much freer style than heard on his Atlantic recordings from a few years before – paying alto, violin, and trumpet, in a trio with David Izenzon on bass and Charles Moffett on drums. Tracks are long and unbridled – with less of the rhythmic changes that you'd hear in work by the classic quartet, and more of a full-on fierce soloing mode. Titles include "Faces & Places", "Dee Dee", and "Dawn". CD

Important second chapter work from Ornette Coleman – a record that marked a real shift in his sound from the Atlantic Records years – issued by Blue Note at a level that gave the rest of the world a chance to see what Ornette had been cooking up on the underground scene! The album was recorded in Stockholm – in the tradition of European live performances that saw Coleman grow so strongly in the mid 60s – and the tracks are long, free, and full of improvised moments – with Ornette adding in trumpet and violin next to his familiar alto – in a trio with David Izenzon on bass and Charles Moffett on drums – both fantastic players who can be loose at the right moments, and bring things back at others. Tracks are long and unbridled – with less of the rhythmic changes that you'd hear in work by the classic quartet, and more of a full-on fierce soloing mode. Titles include "Faces & Places", "Dee Dee", and "Dawn". LP, Vinyl record album

Important second chapter work from Ornette Coleman – a record that marked a real shift in his sound from the Atlantic Records years – issued by Blue Note at a level that gave the rest of the world a chance to see what Ornette had been cooking up on the underground scene! The album was recorded in Stockholm – in the tradition of European live performances that saw Coleman grow so strongly in the mid 60s – and the tracks are long, free, and full of improvised moments – with Ornette adding in trumpet and violin next to his familiar alto – in a trio with David Izenzon on bass and Charles Moffett on drums – both fantastic players who can be loose at the right moments, and bring things back at others. Tracks are long and unbridled – with less of the rhythmic changes that you'd hear in work by the classic quartet, and more of a full-on fierce soloing mode. Titles include "Faces & Places", "Dee Dee", and "Dawn". CD

An album that certainly lives up to the promise of its title – as it's filled with amazing instrumentation, groundbreaking compositions, and a sound in jazz that few ears could imagine at the time! The groove here is extremely modal – all instruments rolling along on the same rhythmic pulse, with drums, bass, trumpet, and alto sax incredibly intertwined! Ornette's really got an edge on his instrument – cutting even more deeply here than the clipped, punctuated cornet work of Don Cherry – and the rhythm team of Charlie Haden and Billy Higgins are simply amazing – not just keeping up with the energy of Ornette, but also really helping facilitate it as well! Titles include the haunting "Lonely Woman", plus "Peace", "Chronology", and "Focus on Sanity". LP, Vinyl record album

A brilliant large ensemble work from Ornette Coleman – ambitious material recorded with full orchestra, in a haunting sound that's light years from any of his smaller group recordings of the 60s and 70s! There's an incredible feel to the strings used here – played by the London Symphony Orchestra, conducted by David Measham – all tied up and dark, with swirling sounds that run up beautifully from the bottom, then take off to the skies promised in the title – opening the door for Ornette to come in and solo freely over the top – in a magical mix that easily makes the record a standout in his long and mighty career! Harmolodic theory is definitely a part of Coleman's conception here – but in very different ways than his quartet or quintet recordings. Tracks include "The Men Who Live In The White House", "Sunday In America", "Dreams", "Native Americans", "Silver Screen", and "The Artist In America". CD

Tomorrow may be the question, but the record screams "today!" – and even this many years after its recording, this early set by Ornette Coleman has an energy and presence that cannot be denied! The sound here is kind of a rougher take on the mode that would gel more strongly on Ornette's Atlantic albums – but even so, it's still incredibly fresh, and well worth seeking out – especially as an example of the sharper edges that were bursting forth from the once-cool west coast scene! Coleman's on alto sax and Don Cherry is on trumpet – but they're not joined by their more familiar associates, and are instead working with a more conventional rhythm team that includes either Percy Heath or Red Mitchell on bass, and Shelly Manne on drums – all clearly trying to make a bit of sense of Ornette's approach here, but in a way that also creates a great sense of tension on the record! Tracks are shortish, with great solos by Ornette and Cherry – and titles include "Tomorrow Is The Question", "Endless", "Rejoicing", "Lorraine", "Turnaround", "Tears Inside", and "Giggin". CD

At the height of his success, Pat tries to prove to the world that he's still got cred – and hooks up with Ornette, Charlie Haden, and Denardo Coleman for a little bit of harmelodic jamming. Thing is, we actually liked the slick stuff better! Titles include "Mob Job", "Video Games", "Song X Duo", and "Long Time No See". CD

Features altos John Zorn on the right channel and Tim Berne on the left channel – plus Mark Dresser on bass, and Joey Baron and Michael Vatcher on drums. CD

A great showcase for the endless talents of the San Francisco Jazz Collective – as the set features some stunning original material, balanced with classics from Ornette Coleman, Thelonious Monk, and Stevie Wonder – all served up here in a beautiful extended performance! As always, the group are really brilliant with color – with this special quality that really sets them apart from so many other all-star groups, and which always seems to give their performances such a strongly unified vibe. Players include David Sanchez on tenor, Miguel Zenon on alto, Warren Wolf on vibes, Robin Eubanks on trombone, Sean Jones on trumpet, Edward Simon on piano, Matt Penman on bass, and Obed Calvaire on drums – and titles include the originals "Off Kilter", "Perseverance", "Tune For June", "Tidal Flow", "Venezuela Unida", and "Give The Drummer Some" – plus versions of "Creepin", "When Will The Blues Leave", "School Work", "Una Muy Bonita", "Reflections", "Criss Cross", and "Sir Duke". Includes a bonus DVD – four songs from a Music Of Miles Davis performance! CD

A deep look at the music and genius of Ornette Coleman – one that offers up so many different aspects of his career that go way past the records that we know and love – including lots of details of Coleman's early life, and his ties to other non-music communities as well! Author Maria Golia ran the Caravan Of Dreams venue with which Ornette was tied in the 80s – and really has a great sense of perspective on his work – not just locating him in Los Angeles and New York scenes that he helped shape – but also giving plenty of time to his Texas roots and overseas experiences. The book also includes some unpublished black and white photographs, and runs for 368 pages in this softcover edition. Book

The Newborn Touch is always a great one, but it sounds especially nice on this record – a set that seems to go even farther than any of Phineas' earlier trio sessions! There's an almost-ambitious sound to the record that we really like a lot – one that possibly comes from Newborn's choice of compositions for the set, a great bag of non-standard tunes from some of his west coast contemporaries – tracks penned by Ornette Coleman, Art Pepper, Hampton Hawes, Jimmy Woods, and others – some of which are decidedly more modern than the material that Newborn usually plays! There's a complexity here that's great – but one that still doesn't forget Newborn's down-home roots – and titles include "A Walkin Thing", "Be Deedle Dee Do", "The Blessing", "Diane", "Pazmuerte", "Hard To Find", and "Blue Daniel". CD

One of the greatest groups of the second generation of ECM – a post-Ornette Coleman quartet that features Don Cherry, Dewey Redman, Charlie Haden, and Ed Blackwell – all exploring space in a way that's quite different than their work with Ornette! The sound here is much freer, and atmospheric – in keeping with Cherry's work of the 70s, and the overall ECM sound of the time – and although unified, there's less of an emphasis on group dynamics than in the Coleman years, and more of a recognition of the role of the individual. Titles include unique reworkings of Ornette's "Lonely Woman" and "Open Or Close" – plus Blackwell's "Togo", Cherry's "Guinea", Redman's "Orbit Of La-Ba", and Charlie Haden's "Song For The Whales". LP, Vinyl record album

An early gem from singer Freda Payne – recorded back in the days when she was a jazz vocalist, years before her famous hits as a soul artist in the early 70s! The album's a darkly-tinged session with arrangements by Manny Albam – done in the late nite mode that you'd expect from the title, and featuring the kind of sad songs that you'd hear on an album from the time by Lorez Alexandria. The highlight of the album is a great vocal reading of Ornette Coleman's "Lonely Woman" – and other tracks include "Out Of This World", "Sweet September", "Blue Piano", and "After The Lights Go Down Low". LP, Vinyl record album

The first ever career-spanning look at the music of legendary vocalist Asha Puthli – a singer who's maybe best known for her 70s club work on the European scene, but who also has a much wider range of expression – which you'll discover here! There's definitely some of the soul-based work that's made Asha a favorite with the rare groove scene over the years – but the set also includes early work with rock bands, and even a few experimental jazz numbers that predate her recordings for the discos! The double-length set is a delight throughout – a package that's really opened our eyes to sides of Asha's music we never knew – and titles include performances with Ornette Coleman on "What Reason Could I Give" and "All My Life", work with Charlie Mariano on "Mirror", vocals with The Surfers on "Sound Of Silence" and "Sunny", and with The Savages on "Pain" – plus solo tracks that include "Lies", "Right Down Here", "We're Gonna Bury The Rock", "Mister Moonlight", "1001 Nights Of Love (reprise)", "Music Machine", "Peek A Boo Boogie", "Devil Is Loose", "Space Talk", "I'm Gonna Dance", and "One Night Affair". CD

The first ever career-spanning look at the music of legendary vocalist Asha Puthli – a singer who's maybe best known for her 70s club work on the European scene, but who also has a much wider range of expression – which you'll discover here! There's definitely some of the soul-based work that's made Asha a favorite with the rare groove scene over the years – but the set also includes early work with rock bands, and even a few experimental jazz numbers that predate her recordings for the discos! The double-length set is a delight throughout – a package that's really opened our eyes to sides of Asha's music we never knew – and titles include performances with Ornette Coleman on "What Reason Could I Give" and "All My Life", work with Charlie Mariano on "Mirror", vocals with The Surfers on "Sound Of Silence" and "Sunny", and with The Savages on "Pain" – plus solo tracks that include "Lies", "Right Down Here", "We're Gonna Bury The Rock", "Mister Moonlight", "1001 Nights Of Love (reprise)", "Music Machine", "Peek A Boo Boogie", "Devil Is Loose", "Space Talk", "I'm Gonna Dance", and "One Night Affair". LP, Vinyl record album