[爵士和蓝调]
[TR24][OF] The Ornette Coleman Double Quartet (Eric Dolphy, Freddie Hubbard, Don Cherry, Charlie Haden, Scott LaFaro, Ed Blackwell, Billy Higgins) - Free Jazz: A Collective Improvi
The Ornette Coleman Double Quartet / Free Jazz: A Collective Improvisation
(Eric Dolphy, Freddie Hubbard, Don Cherry, Charlie Haden, Scott LaFaro, Ed Blackwell, Billy Higgins)
Формат записи/Источник записи: [TR24][OF]
Наличие водяных знаков: Нет
Год издания/переиздания диска: 1961/2019
Жанр: Free Jazz
Издатель (лейбл): Atlantic - 1364 / RevOla - CREVV 817
Продолжительность: 00:54:12
Наличие сканов в содержимом раздачи: Нет
Треклист:
1. Free Jazz (37:11)
2. First Take (17:02)
Контейнер: FLAC (*.flac)
Тип рипа: tracks
Разрядность: 24/44,1
Формат: PCM
Количество каналов: 2.0
Лог проверки качества
foobar2000 1.4.5 / Dynamic Range Meter 1.1.1
log date: 2019-06-19 09:28:32
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Analyzed: Ornette Coleman Double Quartet / Free Jazz
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DR Peak RMS Duration Track
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DR13 0.00 dB -17.21 dB 37:11 01-Free Jazz
DR13 -0.13 dB -17.39 dB 17:02 02-First Take
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Number of tracks: 2
Official DR value: DR13
Samplerate: 44100 Hz
Channels: 2
Bits per sample: 24
Bitrate: 1563 kbps
Codec: FLAC
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Liner notes, 1400px: 1997 CD by Gunther Schuller + Original LP by Martin Williams
Альбом Free Jazz (и альтернативный более короткий "первый дубль", впервые выпущенный на пластинке Twins 1971 года) был записан 60 лет назад — 21 декабря 1960 года
Источник (релизер): Qobuz, thanks Anakunda
Состав
Left channel
Ornette Coleman – alto saxophone
Don Cherry – pocket trumpet
Scott LaFaro – bass
Billy Higgins – drums
Right channel
Eric Dolphy – bass clarinet
Freddie Hubbard – trumpet
Charlie Haden – bass
Ed Blackwell – drums
Об исполнителе (группе)
Father of the free jazz movement, and a saxophonist and composer who became one of the prime innovators in jazz and modern music. https://www.allmusic.com/artist/ornette-coleman-mn0000484396/biography
Artist Biography by Scott Yanow
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 burst on the scene in 1959 fully formed. Although he, and Don Cherry in his original quartet, played opening and closing melodies together, their solos dispensed altogether with chordal improvisation and harmony, instead playing quite freely off of the mood of the theme. Coleman's tone (which purposely wavered in pitch) rattled some listeners, and his solos were emotional and followed their own logic. In time, his approach would be quite influential, and the quartet's early records still sound advanced many decades later.
Unfortunately, Coleman's early development was not documented. Originally inspired by Charlie Parker, he started playing alto at 14 and tenor two years later. His early experiences were in R&B bands in Texas, including those of Red Connors and Pee Wee Crayton, but his attempts to play in an original style were consistently met with hostility both by audiences and fellow musicians. Coleman moved to Los Angeles in the early '50s, where he worked as an elevator operator while studying music books. He met kindred spirits along the way in Don Cherry, Charlie Haden, Ed Blackwell, Bobby Bradford, Charles Moffett, and Billy Higgins, but it was not until 1958 (after many unsuccessful attempts to sit in with top L.A. musicians) that Coleman had a nucleus of musicians who could play his music. He appeared as part of Paul Bley's quintet for a short time at the Hillcrest Club (which is documented on live records), and recorded two very interesting albums for Contemporary. With the assistance of John Lewis, Coleman and Cherry attended the Lenox School of Jazz in 1959, and had an extended stay at the Five Spot in New York. This engagement alerted the jazz world toward the radical new music, and each night the audience was filled with curious musicians who alternately labeled Coleman a genius or a fraud.
During 1959-1961, beginning with The Shape of Jazz to Come, Coleman recorded a series of classic and startling quartet albums for Atlantic. With Don Cherry, Charlie Haden, Scott LaFaro, or Jimmy Garrison on bass, and Billy Higgins or Ed Blackwell on drums, Coleman created music that would greatly affect most of the other advanced improvisers of the 1960s, including John Coltrane, Eric Dolphy, and the free jazz players of the mid-'60s. One set, a nearly 40-minute jam called Free Jazz (which other than a few brief themes was basically a pulse-driven group free improvisation) had Coleman, Cherry, Haden, LaFaro, Higgins, Blackwell, Dolphy, and Freddie Hubbard forming a double quartet.
In 1962, Coleman, feeling that he was worth much more money than the clubs and his label were paying him, surprised the jazz world by retiring for a period. He took up trumpet and violin (playing the latter as if it were a drum), and in 1965 he recorded a few brilliant sets on all his instruments with a particularly strong trio featuring bassist David Izenzon and drummer Charles Moffett. Later in the decade, Coleman had a quartet with the very complementary tenor Dewey Redman, Haden, and either Blackwell or his young son Denardo Coleman on drums. In addition, Coleman wrote some atonal and wholly composed classical works for chamber groups, and had a few reunions with Don Cherry.
In the early '70s, Coleman entered the second half of his career. He formed a "double quartet" comprised of two guitars, two electric bassists, two drummers, and his own alto. The group, called Prime Time, featured dense, noisy, and often witty ensembles in which all of the musicians are supposed to have an equal role, but the leader's alto always ended up standing out. He now called his music harmolodics (symbolizing the equal importance of harmony, melody, and rhythm), although free funk (combining together loose funk rhythms and free improvising) probably fits better; among his sidemen in Prime Time were drummer Ronald Shannon Jackson and bassist Jamaaladeen Tacuma, in addition to his son Denardo. Prime Time was a major (if somewhat unacknowledged) influence on the M-Base music of Steve Coleman and Greg Osby. Pat Metheny (a lifelong Ornette admirer) collaborated with Coleman on the intense Song X, Jerry Garcia played third guitar on one recording, and Coleman had irregular reunions with his original quartet members in the 1980s.
Coleman was signed to Verve in the '90s and recorded sparingly as the 21st century began, appearing on Joe Henry's Scar in 2000 and on single tracks on Lou Reed's Raven and Eddy Grant's Hearts & Diamonds, both released in 2002. He also released the live album Sound Grammar on his own label of the same name in 2006; the album won a Pulitzer Prize for Music the following year. In 2007 he was also honored with a Grammy Lifetime Achievement Award. Coleman died of cardiac arrest in Manhattan on June 11, 2015 at the age of 85. He had remained true to his highly original vision throughout his career and, although often considered controversial, was an obvious giant of jazz.
Об альбоме (сборнике)
Ровно 60 лет назад, 21 декабря 1960 года был создан эпохальный альбом, благодаря которому утвердилось название целого музыкального направления — фри-джаз. Запись настолько исторического масштаба, что исторический контекст едва ли не затмевает собственно музыку: это первая полнометражная "тотальная" импровизация без привязки к какой-либо заранее заданной мелодии, последовательности аккордов, тональности, ритму.
Орнетт Коулмен собрал необычный "двойной квартет", разделив два квартета по стерео-каналам: один в левом, другой в правом, два веселых гуся. И вот этот ансамбль "угадай в каком ухе у меня жужжит" энергично шпарит полное не пойми что на протяжении почти 40 минут (спустя 30 лет после винила появился компакт-диск, куда включили бонусный "первый дубль" с той же структурой, но всего на 17 минут — видимо, изначально планировалось уместить пир духа на одну сторону пластинки, но ребята вошли в раж и решили гулять так гулять). Отправной точкой становится короткое и бурное совместное вступление, больше похожее на звуки настраивающегося оркестра где-то в Малом зале краевой филармонии Чистилища. Перебивки-фанфары сигнализируют "смену караула": первым солирует Эрик Долфи на бас-кларнете, после него — Фредди Хаббард на трубе, сам Орнетт Коулмен на альт-саксофоне, Дон Черри на "карманной трубе", затем контрабасисты Чарли Хейден и Скотт ЛаФаро и под занавес барабанщики Эд Блэквелл и Билли Хиггинс. У духовиков такие секции длятся минут по пять, у самого Коулмена все десять. Все это время "солист" играет то под перекрестным огнем дуплетной ритм-секции (двое контрабасистов и двое ударников), то под вплетающиеся "комментарии" остальных инструментов, что выливается в заявленную в заголовке коллективную импровизацию или же, для неподготовленного слушателя, какофоническую неразбериху.
Обозреватель allaboutjazz прямым текстом заявляет, что альбом нельзя рассматривать "в постмодернистском вакууме", на манер печально известного сферического коня: вне контекста эта музыка просто unlistenable — слушать невозможно. Главный посыл, он же месседж, самый что ни на есть революционный: хватит это терпеть! Пора вырвать искусство настоящего из цепких лап прошлого — из плена устаревших неподатливых правил и форм. Чуть раньше Майлз Дэвис и другие новаторы стремились упразднить каруселеподобное нагромождение аккордов бибопа и вместо жесткой гармонической канвы выстраивали импровизации на основе ладов — так появился модальный джаз, где венцом творения стал альбом Kind of Blue. Аналогичным образом в изобразительном искусстве Казимир Малевич призывал избавиться уже к такой-то бабушке от привычки видеть в картинах Мадонн и бесстыдных Венер — лишь тогда, мол, узрим в алмазах небо и чисто живописное произведение. Будучи поклонником абстрактного экспрессионизма Джексона Поллока, который тоже отрицал и низвергал традиционные техники и сюжеты в живописи, Коулмен поместил под обложку пластинки его картину "Белый свет", где краски частично выдавлены на холст прямо из тюбика.
Такое творчество нередко вызывает типичную реакцию: да разве ж это искусство, малолетний ребенок не хуже сыграет/нарисует. А вот поди ж ты! Авторитетный джазовый журнал Downbeat опубликовал аж две рецензии (ну не могу же я разорваться!) после выхода альбома: 5 звезд из 5 — и круглый ноль! Пионерское знамя коулменовской коллективной импровизации подхватили и с гордостью понесли бойкие октябрята, такие как Джон Колтрейн (альбом Ascension) и Петер Брётцман (Machine Gun). Так что перед вами огромный скачок для человечества и для отдельно взятых личностей — как самих музыкантов, так и слушателей. Кто еще незнаком с этим опусом, может провести непредвзятый эксперимент: сколько минут вы осилите, прежде чем уши свернутся в трубочку, а рука непроизвольно потянется выключить это безобразие? Однако дорогу осилит идущий и да воздастся страждущим за старания и страдания. Как минимум у вас в загашнике будет идеальная иллюстрация, чтобы пояснить друзьям суть расхожего анекдота: "Чо, пацаны, не получается, да?!" https://www.allmusic.com/album/free-jazz-mw0000256161
AllMusic Review by Steve Huey
As jazz's first extended, continuous free improvisation LP, Free Jazz practically defies superlatives in its historical importance. Ornette Coleman's music had already been tagged "free," but this album took the term to a whole new level. Aside from a predetermined order of featured soloists and several brief transition signals cued by Coleman, the entire piece was created spontaneously, right on the spot. The lineup was expanded to a double-quartet format, split into one quartet for each stereo channel: Ornette, trumpeter Don Cherry, bassist Scott LaFaro, and drummer Billy Higgins on the left; trumpeter Freddie Hubbard, bass clarinetist Eric Dolphy, bassist Charlie Haden, and drummer Ed Blackwell on the right. The rhythm sections all play at once, anchoring the whole improvisation with a steady, driving pulse. The six spotlight sections feature each horn in turn, plus a bass duet and drum duet; the "soloists" are really leading dialogues, where the other instruments are free to support, push, or punctuate the featured player's lines. Since there was no road map for this kind of recording, each player simply brought his already established style to the table. That means there are still elements of convention and melody in the individual voices, which makes Free Jazz far more accessible than the efforts that followed once more of the jazz world caught up. Still, the album was enormously controversial in its bare-bones structure and lack of repeated themes. Despite resembling the abstract painting on the cover, it wasn't quite as radical as it seemed; the concept of collective improvisation actually had deep roots in jazz history, going all the way back to the freewheeling early Dixieland ensembles of New Orleans. Jazz had long prided itself on reflecting American freedom and democracy and, with Free Jazz, Coleman simply took those ideals to the next level. A staggering achievement. https://www.allaboutjazz.com/free-jazz-by-c-michael-bailey.php
Alto saxophonist Ornette Coleman's masterpiece, Free Jazz: A Collective Improvisation by the Ornette Coleman Double Quartet, is one of the hinges of jazz evolution. As a musical hinge, Free Jazz, heard from this side of its development, is a bit of an anticlimax compared with the two-label, five album prelude to this point: Something Else!!!! (Contemporary, 1958), Tomorrow is the Question! (Contemporary, 1959), The Shape of Jazz to Come (Atlantic, 1959), Change of the Century (Atlantic, 1959) and This is Our Music (Atlantic, 1959). Had Coleman done nothing else but release these first five recordings, his legacy as one of the pioneers of free jazz would still be assured. But on Free Jazz Coleman took that final step into the chaos of untethered group improvisation and in doing so took the "free" in free jazz as far as it would go. Tenor saxophonist John Coltrane, taking his own route, would do the same five years later with Ascension (Impulse!, 1966).
If following the cause-and-effect explanation for the development of free jazz, Coleman's music was an evolved response to the highly structured be bop of the late 1940s and early 1950s and swing-era big band jazz before that. Unlike Coltrane, free jazz's other high priest, Coleman did not have a slew of recordings before he began disassembling the genre. Coleman emerged anxious and impatient with the music when he started to record in 1958. Coleman's creative evolution in free jazz lasted a mere three years and was dense and rapid.
Coleman took a hard right emerging from This is Our Music, increasing the size of his standard ensemble to his "double quartet." In this, Coleman solved his problem of employing sympathetic drummers Billy Higgins and Ed Blackwell and bassist Charlie Haden and Scott LaFaro by simply using them all. Coleman retains trumpeter Don Cherry, adding trumpeter Freddie Hubbard as Cherry's cohort and taking on no less than multi-reedist Eric Dolphy as his own. The modus operandi of Free Jazz is even simplier than what trumpeter Miles Davis famously employed three years earlier, when he and his famous sextet recorded Kind of Blue (Columbia, 1959): Coleman sketched out a brief and dissonant fanfare to introduce and separate solo sections of his mass improvisation and then they entered the studio and blew. This might stand as a last vestige of the traditional jazz "head-solo-head" configuration. You have to start and end somewhere.
No matter how you cut it, Free Jazz cannot be heard in a post-modern vacuum. Without context, this "music" is effectively un-listenable. Apologists for free jazz dismiss this characteristic as part of the music's experimental nature. Needless to say, this "experimental nature" renders this music less appropriate for consideration over a glass of neat single malt and more at home with Fantasia on the television with the sound muted, under the influence of ergot's muse. That is not to imply that Free Jazz has no artistic merit, only that a bit of background more fully enhances the experience.
Starting with the premise that Free Jazz, after the briefest of direction, devolves into an eight-part improvisation with all parts equally independent, observations may be noted. While nature, when left to her own devices, typically migrates from a state of order to greater disorder, the musical synthesis on Free Jazz tends to go into the opposite direction: from a greater disorder to order. "Free Jazz" begins as a schizophrenic note salad, borne in chaos and given only a whiff of direction. The music may best be described as the best New Orleans Dixieland exposed and mutated by radiation exposure. It is the phenomenon where the music, at first blush, sounds completely untethered, at least until ideas begin to coalesce.
Once the piece is started in earnest, certain characteristics begin to manifest. Among these is Coleman's experiences playing blues. It saturates his playing and is present throughout the piece. Cherry's and by proxy, Hubbard's hard bop bona fides reveal themselves potently. From an ensemble point of view there is a migration through evolution, where the elements of swing can be heard in call-and-response phrasing and some natural Count Basie big band riffing emerges naturally among the horns. Also revealed is the innate sense of humor of the musicians, heard in the quotes of nursery rhymes and other jazz pieces. Again, this music is meaningless in a vacuum.
The musical environment improves as the 37-minute plus piece evolves. The end section contains provocative bass and drum interplay, occurring after the horns make their combined and separate statements. On that note, let there be no doubt that Eric Dolphy possessed the freedom vision, seemingly from the very beginning, and Freddie Hubbard's post bop experience prepared him well also. From a full-ensemble direction, it is instructive to listen to the 17-minute plus "First Take" to hear the dry run of what would become Free Jazz. It is readily evident that the longer version benefited from a run through showing that some ideas solidified between the two versions.
Free Jazz may exist as a piece of music to possess for historic reasons rather than aesthetic musical ones. If a lesson exists in this music it is that context is always important and a little knowledge about that music is not a dangerous thing, but a catalyst to further investigation and listening. In that, lies the values of Free Jazz.
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发表于 2021-8-9 15:54:06
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