Ornette Coleman: Free Jazz

Having first heard this 35 years ago (on vinyl) in the earliest explorations of jazz (along with classical and world music, to broaden listening horizons) and only having the barest of understanding of what was involved with improvisation and its relationship to harmony and rhythm, especially in that world in 1960, Ornette Coleman's 37-minute Free Jazz, recorded in one take and no editing, was really a jarring experience, but a fascinating one.  The leader stated that the goal "was for us to play together, all at the same time, without getting in each other's way, and also to have enough room for each player to ad lib alone—and to follow this idea for the duration of the album."

One of the elements of the recording that immediately stood out was the placement of four musicians on each channel, with the leader, trumpeter Don Cherry, drummer Billy Higgins and bassist Scott LaFaro on the left and bass clarinetist Eric Dolphy, trumpeter Freddie Hubbard, bassist Charlie Haden and drummer Ed Blackwell on the right.  That way, especially with headphones, you can hear the differences between the two quartets, even as the processing of the octet as an ensemble is taking place.

Coleman called Free Jazz a collective improvisation because he only wrote out the parts played by the horns prior to each solo; otherwise, the musicians had that freedom to play whatever they wanted to complement or supplement what the soloists were playing.  That meant that the excellence of the individual musicians had to be sharpened as part of this collectivity and all eight of them were masters.  

As someone who tends to focus on the rhythm sections as the underpinning of the music, it is especially fascinating to hear the differences between but commonalities among the bassists and drummers.  LaFaro had the toughest assignment, as Haden, Blackwell and Higgins were experienced participants in the leader's unusual sound world.  The soloing of these duos is also fascinating, while it's the continual driving pulse the holds all of this together.

Regarding the horn players, the varying styles are clear, but so is the ability of them to be part of that ensemble as the other support the given soloist.  Having Dolphy, moreover, play clarinet adds a richness and depth, as well as variation, in the performance, while Hubbard, a more traditional player, seems to easily adapt to this freer environment, in which, of course, Cherry and Coleman were deeply absorbed.  Also very notable are the ways in which the other wind instruments engage with the soloist.

Those having the late 1990s CD version can also hear "First Take," which is less than half the length of the originally released recording and it is very interesting to listen to it and compare and contrast it to the fuller version.  Though Free Jazz was reviled, as well as hailed, by many when released in September 1961, it encouraged to future efforts like John Coltrane's Ascension (1965) and influenced a great many jazz musicians to open themselves in terms of what was viewed as necessary or required in the music.  

With music this untethered to traditional approaches, immersion seems the only way to appreciate what this incredible album offers.  As Coleman remarked in the liner notes: "We were expressing our minds and emotions as much as could be captured by electronics."   

Ornette Coleman/Charlie Haden: Soapsuds, Soapsuds

While Ornette Coleman was creating some fascinating music with his electric ensemble, Prime Time, he took a detour and engaged in a side project with Charlie Haden, his long-time bass playing colleague, and recorded Soapsuds, Soapsuds, a series of absorbing and revealing duets, in January 1977, released the next year on Coleman's Artist House label and later reissued on his Harmolodic label through Verve.  In his long, remarkable career, Coleman didn't record a lot of duet albums, but they can be among the most amazing of his projects, such as when he worked with pianist Joachim Kühn or with guitarist Pat Metheny, when the interplay between the two musicians reflects that they are truly listening to each other.  This was certainly the case with Coleman and Haden, who first played together two decades before, and who would continue working together occasionally after the bassist left Ornette's band about this time.  

There is an intimacy to many duet performances that draw the listener in as if you're hearing the performers in a private concert and this is one of those examples, all the more striking given the dense and usually exciting Prime Time performances of the era.  Haden was always a master of supporting the other musicians, never feeling the need to overplay or over-impress, and he was particularly brilliant here in giving Coleman the space to play some of the most beautiful tenor work (Ornette primarily being an alto player) he'd recorded.  In his rare, but typically cryptic notes, Ornette does say simply: "this music . . . has . . . a very simple message: these performers are playing for the sake of making music for people to enjoy their own concept of hearing."  Those last few words are particularly noteworthy.  As for Haden, he observed "most of what I have learned about the art of listening can be directly attributed to playing with Ornette. In order to contribute totally to his music, one must listen to every note he plays . . . and then come the endless possibilities."  This really is an immersive experience when focused concentration is directed to what these two masters brought to this stunning recording.

Ornette Coleman Quartet: This Is Our Music

After the controversial splash (or tidal wave, maybe) that the Ornette Coleman Quartet made when it played its legendary run at the Five Spot in New York in 1959, the group was signed to a major label deal with Atlantic Records.

What resulted was an amazing run of phenomenal recordings that raised a ruckus among those who thought Coleman was a fraud, in his playing and compositional and conceptual methods, but also was inspiring to a new generation of creative artists and adventurous listeners drawn to his freer ideas of performance.

The third Atlantic release, and Coleman's fifth album overall, This Is Our Music, was recorded in summer 1960 and released early the following year.  It included pocket trumpeter Don Cherry and bassist Charlie Haden from his previous work, but also featured drummer Ed Blackwell, replacing Billy Higgins.  The latter was an important part of the success of The Shape of Jazz to Come and Change of the Century, but Blackwell proved to be more than a worthy successor, with his particular way of accompanying the soloists and, as Coleman wrote in the liners, his ability to "play rhythm so close to the tempered notes that one seems to hear them take each other's places."

This Is Our Music starts off with the hard-hitting and propulsive "Blues Connotation," which easily has one of the most memorable melodies in all of Coleman's work.  This high-energy masterpiece is followed by one of the most haunting and off-kilter ballads in the composer's palette, the stunning "Beauty is a Rare Thing" (which became the title of the 1990s box set of Coleman's complete recordings for Atlantic.)

All the tunes on this album are excellent and showcase not only the fine solo work, including some of the more interesting playing by the leader in his long career, but also the staggering interplay among the four musicians as an integrated ensemble--a core component of Coleman's hard-to-articulate concept of "harmolodics."  Notably, for a composer who almost never performed covers, there is a pretty straight-ahead version of the Gershwin brothers' chestnut "Embraceable You" that stands out amid the originals.  Part of the immense appeal (or the big turnoff) of Coleman's work in those early years was his unpredictability and willingness to explore wherever the music took the players and the listeners.

Ornette Coleman: Change of the Century

There is a generation of jazz musicians that we are rapidly losing and yesterday another giant passed on.  Bassist Charlie Haden, whose work with Ornette Coleman, Keith Jarrett and his own Liberation Music Orchestra and Quartet West projects among many others put him at the forefront of so-called "avant garde" or "new jazz" playing, died at age 76 in Los Angeles after a long illness.

Haden, who came to Los Angeles to study music and met Coleman in the mid-1950s, first came to attention in the legendary Coleman quartet that made a splash at the Five Spot Café in New York in 1959 and in subsequent classic recordings for Atlantic Records.  The first, The Shape of Jazz to Come, has been featured here and is one of the great jazz records of all time.

The second album, recorded in Los Angeles in October 1959, is Change of the Century and its assertive, provocative title, as with its predecessor, is more than apt and delivers fully on its promise.  Coleman was hitting on all cylinders with his unusual composition and arranging method, as well as his emotive and innovative playing and his telepathic harmonizing with Don Cherry, on pocket trumpet, continues to astound.  Billy Higgins, an always-versatile drummer who could play as easily with the freest of players as well as the most traditional, is relentlessly swinging even as he adapts his playing to match the unusual structures established by the leader.

Then there's Haden, whose supple, flexible, creative and spot-on tone works in tandem with Higgins to keep those free rhythms with enough organization to allow the soloists to work without hindrance and provide the listener endless enjoyment—provided that the listener appreciates the yeoman work that a bassist provides.

This album is filled with great pieces, from the opening "Ramblin'" to the self-evidently titled "Free," the Higgins-showcase "Forerunner," which also has an excellent blistering Coleman solo and the sublime "Una Muy Bonita," which starts with Haden's low, simple but powerful underpinning riff and Coleman and Cherry's great melodic harmonizing to start a great piece of music.  "Bird Food" has a melody that is, of course, highly evocative of Charlie Parker, showing the importance of tradition expressed in new ways.  Cherry also gets an extended solo here.  Finally, "Change of the Century" features a head arrangement of great complexity and speed with that Coleman/Cherry interplay that may well have peaked on this album and its title track.  Coleman's solo work is also something to behold here.

 

Again, Haden's consistency, inventiveness and dependability in holding down the bottom is nothing short of remarkable on each of these tunes.  He does get to put his playing more in the forefront on "The Face of the Bass" but it is not one he uses to show off, but instead displays his technique in more subtle ways which make his understated playing all the more remarkable.  Sadly, as was too often the case in the jazz world, a heroin addiction led to Haden's departure from the Coleman quartet in August 1960.

 

But, as noted above, Haden went on to other impressive work, but his years with Coleman are likely the most memorable and it's hard to top the fabulous Change of the Century, which had the unusual distinction of being a sophomore release (well, in this case, a major-label followup--two albums on the Los Angeles-based Contemporary label predate the Atlantic albums) that was every bit as good as its forerunner.

 

30 years later, as part of the Los Angeles Festival, a reunion of the Coleman Quartet was scheduled at the beautiful old Orpheum Theatre in downtown.  The September 1990 performance, however, became a late-hour trio when Don Cherry came down sick after a dental appointment.  This listener, just starting to become exposed to jazz in a big way, happened to have great orchestra-level seats near the center of the former movie palace and listened with enthusiastic amateur wonder as Coleman, Higgins and Haden performed two hours of magical music.

 

It was an unforgettable experience and, pondering the death of Charlie Haden, it is one that came immediately to mind when the news was read.  Long may his music be heard and appreciated!

Pat Metheny/Ornette Coleman: Song X

Pat Metheny has had great success with his Pat Metheny Group, but lesser known are his occasional forays into "outside" music and he has developed quite a portfolio of collaborations as part of his obvious interest in experimental music.  His "Electric Counterpoint" with minimalist composer Steve Reich and a recent album performing some of John Zorn's Book of Angels works are examples that will be covered here eventually.

One of his more notable collaborative efforts, however, is with alto saxophonist Ornette Coleman on the amazing Song X, Metheny's first album for the newly-launched Geffen label and which was released in 1986.  Back in the early 90s, this was among the first jazz albums purchased by this blogger and it made a big impact then (along with "Electric Counterpoint").  Listening to it nearly a quarter century later does not diminish that feeling. 

Song X was an opportunity for Metheny to "stretch out" and for Coleman to "rein in."  By that, the dense and complex electric funk of the sax giant's Prime Time ensembles was stripped back, allowing Coleman and Metheny to employ the kind of harmonic interplay that stretched back to Coleman's work with Don Cherry in the late 1950s and early 1960s.

Making the marriage even more harmonious was the fantastic support of bassist Charlie Haden and the dual drumming of Coleman's son Denardo, who has been an excellent ground for his father over the years, and the always-amazing Jack DeJohnette.

Metheny's decision to record the album live over three days in mid-December 1985 allowed the band to maintain a freshness, immediacy and intensity that could be lacking in something more polished and produced.  Moreover, some of Coleman's best writing is found, either on his own or with collaborative works. 

Among the more adventurous pieces are Coleman's title track and the phenomenal collaboration "Endangered Species."  "Video Games" has a cool theme, reminiscent of some of Coleman's earlier work, but with Metheny harmonizing instead of Cherry and the two go off into extended interplay that is striking.  "Trigonometry" has another one of these fine head arrangements, before Coleman launches into an excellent, exploratory solo, reaching high into the upper register of his alto.   It is also something to hear Haden roaming his bass during Coleman's solo.

Meantime, there are some very fine ballads, including Coleman's "Mob Job" and "Kathelin Gray," by him and Metheny--this latter being one of the prettiest pieces either men has likely done.  Actually, all the pieces are strong, providing for a cohesive and smoothly-flowing sequencing.

For those who want to further revel in the telepathic interplay of the two leaders, "Song X Duo" fits the bill--if anything, at just over three minutes, the piece may be a few minutes too short!  "Long Time No See" is a fine close to a remarkable record and is another piece replete with tight interplay between Metheny and Coleman.  The guitarist even manages some Latin melodic elements in his solo.  Here, as well, the dual drummers do a great job of laying down solid and complex rhythms with nice cymbal work to boot.

Metheny's obvious respect for Coleman is manifested by the fact that, though this was his album and the first for David Geffen's ambitious label, he treated the experience as a true collaboration, giving the saxophonist equal billing and equal time and space.  His guitar work is excellent and understated, not only allowing for Coleman to share plenty of the spotlight, but also for the tremendous support of Haden, Denardo Coleman and DeJohnette to be heard.

Ultimately, Song X is a generous and humble statement of respect by a younger modern musician for one of his musical heroes and it has been viewed as a classic since its release.  A 2004 remastering included six previously unreleased songs.

Pat Metheny/Ornette Coleman:  Song X (Geffen, 1986)

1.  Song X  5:36
2.  Mob Job  4:07
3.  Endangered Species  13:16
4.  Video Games  5:17
5.  Kathelin Gray  4:13
6.  Trigonometry  5:08
7.  Song X Duo  3:10
8.  Long Time No See 7:39

Keith Jarrett: The Survivors' Suite

This album was a favorite of this listener when it was purchased on cassette in the early 90s.  Featuring Jarrett's "American quartet" of Dewey Redman, Charlie Haden and Paul Motian, this April 1976 recording employs the multi-instrumental bent that the pianist employed often in the period.

The "Beginning" section, stretching over 27 minutes, begins with the quartet utilizing various types of African-like percussion, wind instruments (Jarrett on bass recorder) and stringed instruments (notably Haden's plucking, apparently, of his double bass), establishing a melancholy and contemplative that builds into a stronger rhythmic "ethnic" and tribal groove. 

This is probably why it was so enjoyed at the time and is now, given this blogger's bent for all types of "world music" and it's always good to see musicians established in certain genres (though this is not of their own making usually) employ other instrumentation and ideas to give a freshness, vitality and variety to their work. 

In Jarrett's case, in particular, given that he has become so identified with solo piano and the covering of standards, albeit fantastically done and also not reflective of the fact that he and his associates often do move into freer playing and other excursions, this move into a very different kind of sound was particularly welcomed.

At about six minutes, the band settles into using their traditional instruments, with some overdubbing of the flute, including harmonizing of Jarrett on soprano and Redman's tenor.  This is another interesting aspect of the leader's work at the time, in which he made more use of his playing of other instruments aside from the piano, which he has not done much of in recent years.  His soprano playing is quite good and this ability of his to play well on other instruments than piano is somewhat reminiscent of the late, great Sam Rivers.

The theme is majestic, compelling and memorable and is restated throughout several minutes with Haden's bass being particularly notable for its deep, rich and "spreading" (can't think of another way to say it) sound, especially as Redman begins a very fine tenor solo at about ten minutes.  Motian's drums are also recorded in a way that emphasizes the use of the hi-hat and his shifting patterns throughout his kit, but almost no cymbal work at all, which makes his playing stand out.  Meanwhile, Jarrett's accompaniment aids further in the rhythm section's foundation behind Redman's solo.

Just prior to thirteen minutes, Redman winds down and the mood changes to a light, dream-like one with Jarrett playing a beautiful solo with Haden's accompaniment.  Overdubbed celeste by Jarrett further highlights the airiness of the portion of the piece.  The solo is short, as by sixteen minutes, Redman comes in with a strong assertive expression of another theme along with Motian, who makes active use of his cymbals here, and the tenor player goes off into another excellent solo, well supported by his band mates.

At nineteen minutes, Haden takes an emotive solo, accompanied by the celeste, eschewing flashiness or a demonstration of technical ability, and this is what has made him such a unique and formidable bassist for so long.  Using the celeste and its delicate tones is a nice way to compliment Haden's excursion, as well.

Just past twenty-one minutes, the full band returns, continuing with the slower rhythm from the bass solo and Redman's playing again soars for a period before Jarrett performs another crystalline and gorgeous solo, this time with the remainder of the band along for the ride.  Towards the end of this opening section, Haden goes into another evocative solo with the celeste as the "Beginning" winds down.

The "Conclusion" has an abrupt change in tempo and intensity as the band tears immediately into a frenetic and powerful theme, propelled by Haden's often-chaotic bass work, Jarrett's freer acompaniment and Motian adept use of cymbals and shifting patterns, while Redman launches into another solo (in many ways, Redman gets the best opportunity to showcase his talents than the others in the quartet on this record.)  For a time, Redman blazes away, while Motian tears at his kit and Jarrett employs various percussion instruments for a very stark and powerful accompaniment before he returns to jabs and off-kilter runs on the piano.

From three minutes or so, Motian solos with Jarrett there for a bit before he drops off and leaves the drummer to explore his kit.  About a minute in, someone lets out a few whoops before Jarrett and Haden return and the tempo is slowed and a steady groove comes in for the pianist's next solo, with more tribal percussion for color employed.  The bass recorder also returns in overdubbed form to provide a ghostly background.

At about 7:15, another theme, bright and catchy comes in and Redman takes it up shortly after on his tenor to considerable lighten the mood and provide the all-important variation needed to keep long tracks from becoming redundant and meandering.  Jarrett has another fantastic solo for about four minutes, before Redman comes in and lays down another beautiful solo along with a bright and telepathic accompaniment from the others that makes for a highlight of a record filled with them.

Haden solos again at just over 13 minutes and this time ranges further over his instrument for a couple of minutes, before Jarrett returns with a plaintive statement on his soprano and Haden and Motian quietly playing behind him.  Then comes an overdubbed bass recorder and Haden's plucked bass, while Jarrett continues on soprano and the piece returns to that spiritual and tribal element that opened the record way back when and then a dramatic fanfare comes in at about 18 minutes with Redman back on tenor and Jarrett on piano as the band winds down to the conclusion of this masterful recording.

Often, these side-long performances in suite form wind up being alienating to some listeners, particular if the playing meanders, but the changes in instrumentation, tempo, theme and expression make The Survivors' Suite a beautifully-integrated and flowing recording that provides enough change in color, theme and instrumentation to grab and hold the listener's attention throughout.  It also helps having the superb band that made up the "American quintet," because Redman, Motian and Haden were such a great combination to work with Jarrett through some impressive 1970s recordings.

The Survivors' Suite is quite likely that group's peak performance and is certainly at the top of this listener's list of great Jarrett and jazz recordings.

Keith Jarrett:  The Survivors' Suite (ECM Records, 1977)

1.  Beginning  27:21
2.  Conclusion 21:19