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Congeniality - Ornette Coleman - Free (CD)

9 thoughts on “ Congeniality - Ornette Coleman - Free (CD)

  1. Buy The Shape Of Jazz To Come (CD) by Ornette Coleman (CD $). Amoeba Music. Ships Free in the U.S.
  2. Presented here are three seminal albums by the great Artist (): The Shape of Jazz to Come, featuring the debut of the splendid piano-less quartet with Don Cherry, Charlie Haden and Billy Higgins; Change of the Century, with the same personnel, and Something Else!!!!, which marked the debut recording by the Artist Quintet, also showcasing Cherry and Higgins.
  3. personnel: Ornette Coleman – alto saxophone Don Cherry – cornet Charlie Haden – bass Billy Higgins – drums Ornette Coleman's Atlantic debut, The Shape of Jazz to Come, was a watershed event in the genesis of avant-garde jazz, profoundly steering its future course and throwing down a gauntlet that some still haven't come to grips with.
  4. Randolph Denard Ornette Coleman (March 9 or 19, – June 11, ) was an American jazz saxophonist, violinist, trumpeter, and composer. In the s, he was one of the founders of free jazz, a term he invented for his album Free Jazz: A Collective gegibetviterwoe.neubrihufropamonarbechevselybir.infoinfo "Broadway Blues" and "Lonely Woman" have become standards and are cited as important early works in free jazz.
  5. One of the most important (and controversial) innovators of the jazz avant-garde, Ornette Coleman gained both loyal followers and lifelong detractors when he seemed to .
  6. Congeniality is a ``typical'' representative of Coleman's work, and one that encompasses many of the musical concepts utilized in my own original composition. Basic tonal center (Bb major concert): The piece is grounded to a basic tonality of Bb major. Most of the ``chords'' that have been transcribed in the solo section are triads from this key.
  7. Press reviews "The most astonishing thing about hearing Ornette Coleman's Atlantic recordings today is how accessible they seem. Back in the early '60s, when they were first released with immodest titles like "Change of the Century" and "The Shape of Jazz to Come," all we could hear was the way the alto saxophonist and his quartet felt free to disregard the usual bounds of keys and measures in.

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