{"title":"Don Cherry","description":null,"products":[{"product_id":"albert-ayler-don-cherry-vibrations","title":"\u003ctranscy\u003eAlbert Ayler \u0026 Don Cherry - Vibrations\u003c\/transcy\u003e","description":"\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e\u003cbr\u003e\u003cbr\u003eTenor Saxophone – Albert Ayler \u003cspan style=\"color: #ff8000;\"\u003e\u003ca title=\"vinyl featuring Albert Ayler\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/albert-ayler\" style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/albert-ayler\"\u003e[click here to see more vinyl featuring Albert Ayler]\u003c\/a\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eBass – Gary Peacock\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eCornet – Don Cherry\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eDrums – Sunny Murray\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eComposed by Albert Ayler\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLive\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press :  Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel :  ORG Music\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Debut Records\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded at Jazzhus Montmartre, Copenhagen on \u003cspan data-mce-fragment=\"1\"\u003eSeptember 14th, 1964 by \u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003eOle Vestergaard Jensen\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Andrew Rossiter\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by David Gardner at Infrasonic Sound\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1965\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2017\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :                                \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eGhosts\u003c\/li\u003e\n\u003cli\u003eChildren\u003c\/li\u003e\n\u003cli\u003eHoly Spirit\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eGhosts\u003c\/li\u003e\n\u003cli\u003eVibrations\u003c\/li\u003e\n\u003cli\u003eMothers\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eVibrations is the second album released by American free jazz saxophonist Albert Ayler’s quartet featuring Don Cherry, Gary Peacock and Sonny Murray. The album was recorded in Copenhagen in September of 1964. Originally issued by the Freedom label, it also been released under an alternate title, Ghosts. Previously out of print for decades, the recordings were remastered for an audiophile-grade pressing on 180gram vinyl at Pallas in Germany.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eDiscogs 4.41\/5 \u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":40917992603799,"sku":"DCAAVBRTBL-LP00","price":39.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/albert-ayler-and-don-cherry-vibrations-audiosoundmusic-1.jpg?v=1719853430"},{"product_id":"albert-mangelsdorff-and-his-friends","title":"Albert Mangelsdorff and his friends","description":"\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eTrombone - Albert Mangelsdorff\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTrumpet - Don Cherry (A1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDrums - Elvin Jones (A2)\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/elvin-jones\" title=\"vinyl featuring Elvin Jones\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/elvin-jones\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Elvin Jones]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePiano - Karl Berger (A3), Wolfgang Dauner (B3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGuitar - Attila Zoller (B1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSaxophone - Lee Konitz (B2) \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/lee-konitz\" title=\"vinyl featuring Lee Konitz\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/lee-konitz\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Lee Konitz]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, gatefold jacket\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Optimal Media GmbH\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel :  MPS\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : MPS\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded in Baden-Baden on Dec. 18, 1967 (A1) \u0026amp; Dec. 12, 1968 (A3), Berlin on Nov. 12, 1968 (A2), Frankfurt May 6, 1969 (B1), B2: Rec. Villingen March 14, 1968 (B2), Rec. Stuttgart Jan. 16, 1969 (B3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Joachim E. Berendt\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1969\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2017\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eI Dig It – You Dig It\u003c\/li\u003e\n\u003cli\u003eMy Kind Of Time\u003c\/li\u003e\n\u003cli\u003eWay Beyond Cave\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B :\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eOutox\u003c\/li\u003e\n\u003cli\u003eAl – Lee\u003c\/li\u003e\n\u003cli\u003eMy Kind Of Beauty\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003e« The afterlife for Hans Georg Brunner-Schwer's storied MPS Records has been tough to track. After Brunner-Schwer sold the rights to Philips in the early '80s, the label changed hands several times—Polydor picked it up and passed it through a subsidiary, Universal Music Group acquired its holdings, Speakers Corner Records took over on the vinyl side of the equation, and then Edel AG finally acquired it in 2014. Now, in an effort to make the most out of this German imprint's back catalog, MPS' current owners are digging into the vaults to bring us some special projects that deserve to be dusted off. Don Ellis' Soaring (MPS Records, 1973), built with his signature fusion aesthetic and containing Hank Levy's now-(in)famous \"Whiplash,\" is one of them; the Kenny Clarke-Francy Boland Big Band's All Smiles (MPS Records, 1968), presenting a swinging intercontinental ensemble with the likes of Benny Bailey, Johnny Griffin, and Jimmy Woode in the mix, is another; and this compelling gem from trombone maverick Albert Mangelsdorff is the third item to round out the early summer reissues list for 2017.\u003c\/p\u003e\n\u003cp\u003eMangelsdorff, one of the most adventuresome individuals to ever wield a slide, recorded quite a bit for MPS, appearing as leader, sideman, and equal collective partner on a variety of dates. This particular album, a one-of-kind entry that presents the trombonist in duo performances with six of his fellow jazz nonconformists, came into being while the label was in its infancy. These six tracks were recorded between the close of 1967 and the middle of 1969, bringing Mangelsdorff into contact with his playmates in different places and times. The lead-off track—\"I Dig It -You Dig It,\" captured while Mangelsdorff was at The Baden-Baden Free Jazz Meeting in December of 1967—pairs the trombonist with cornetist Don Cherry. Passionate blowing, puckish and puckered wit, vocalization, and minimalist tidings, courtesy of a Terry Riley motif, carry the day. \"My Kind Of Time\" follows, bringing Elvin Jones to the plate for an appropriately swinging soiree. This particular track, shining an obvious light on rhythmic dialogue and Jones' percussive undertow, was captured after the close of the Berlin Jazz Days in May of 1968.\u003c\/p\u003e\n\u003cp\u003eThe four tracks that follow are just as fresh as those opening offerings. There's \"Way Beyond Cave,\" a quizzical, searching encounter with Karl Berger's vibraphone; a sly \"Outox,\" giving pause to admire the interplay and melodic simpatico that connected guitarist Attila Zoller to the man of the hour; a creatively cool-blooded \"Al-Lee,\" bringing the trombonist into contact with one of his musical models—saxophone icon Lee Konitz; and a shimmering send-off in the form of \"My Kind Of Beauty,\" a romantic seven minutes of music that highlights pianist Wolfgang Dauner's talents without leaving Mangelsdorff in the cold. The whole album is compact—less than forty minutes in length, fitting the era and the original format—and nothing more is needed. These six tracks say it all, and mastering engineer Christoph Stickel did a fine job sprucing up the sound without actually altering the sonics endemic to the original. There's only one thing left to say about MPS reissues to the good people at Edel: more please! » AllAboutJazz Review by Dan Bilawsky, August 16, 2017\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eDiscogs : 4,12 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":42137777373434,"sku":"AMPS 211960","price":35.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/albert-mangelsdorff-and-his-friends-audiosoundmusic-1.jpg?v=1719856509"},{"product_id":"ornette-coleman-free-jazz","title":"\u003ctranscy\u003eOrnette Coleman - Free Jazz (2LP, 45 tours)\u003c\/transcy\u003e","description":"\u003cp\u003e\u003cstrong\u003e\u003cbr\u003eOrnette Coleman, alto saxophone \u003cspan style=\"color: #ff8000;\"\u003e\u003ca title=\"Vinyl featuring Ornette Coleman\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/ornette-coleman\" style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/ornette-coleman\"\u003e[click here to see more vinyl featuring Ornette Coleman]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFreddie Hubbard, trumpet \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/freddie-hubbard\" title=\"Vinyl featuring Freddie Hubbard\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/freddie-hubbard\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Freddie Hubbard]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDon Cherry, pocket trumpet\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eScott LaFaro, bass\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBilly Higgins, drums\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEric Dolphy, bass clarinet \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/eric-dolphy\" title=\"vinyl featuring Eric Dolphy\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Eric Dolphy]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCharlie Haden, bass\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEd Blackwell, drums\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2 LP, Gatefold Jacket\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 45 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : ORG Music\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Atlantic\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded December 21, 1960 at at A\u0026amp;R Studios in New York City, \u003c\/strong\u003e\u003cstrong\u003ein one uninterrupted \"take\" of 36 minutes 23 seconds and transfered to record without any overdubs made, so it sounds exactly as heard in the studio during the performance of the Ornette Coleman Double Quartet.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered \u0026amp; mixed by Tom Dowd\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Nesuhi Ertegun\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMastered by Bernie Grundman\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1961\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2013\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eFree Jazz (Part 1)\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B:\u003c\/p\u003e\n\u003col start=\"2\"\u003e\n\u003cli\u003eFree Jazz (Part 2)\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide C:\u003c\/p\u003e\n\u003col start=\"3\"\u003e\n\u003cli\u003eFree Jazz (Part 2)\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide D:\u003c\/p\u003e\n\u003col start=\"4\"\u003e\n\u003cli\u003eFree Jazz (Part 2)\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAwards:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eThe album was identified by Chris Kelsey in his Allmusic essay \"Free Jazz: A Subjective History\" as one of the 20 Essential Free Jazz albums.\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e“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.” AllMusic Review by Steve Huey\u003c\/p\u003e\n\u003cp\u003e“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).\u003c\/p\u003e\n\u003cp\u003eIf 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.\u003c\/p\u003e\n\u003cp\u003eColeman 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.\u003c\/p\u003e\n\u003cp\u003eNo 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.\u003c\/p\u003e\n\u003cp\u003eStarting 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.\u003c\/p\u003e\n\u003cp\u003eOnce 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.\u003c\/p\u003e\n\u003cp\u003eThe 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.\u003c\/p\u003e\n\u003cp\u003eFree 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.” Michael Bailey, All About Jazz, September 30, 2011\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 5 \/ 5 , Discogs : 4,5 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":42230966780154,"sku":"ORGM-1083","price":79.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/ornette-coleman-free-jazz-2lp-45rpm-audiosoundmusic-1.jpg?v=1719857120"},{"product_id":"the-ornette-coleman-double-quartet-free-jazz","title":"The Ornette Coleman Double Quartet - Free Jazz","description":"\u003cp\u003e\u003cstrong\u003eOrnette Coleman - alto sax \u003cspan style=\"color: #ff8000;\"\u003e\u003ca title=\"Vinyl featuring Ornette Coleman\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/ornette-coleman\" style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/ornette-coleman\"\u003e[click here to see more vinyl featuring Ornette Coleman]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEric Dolphy- bass clarinet \u003ca title=\"vinyl featuring Eric Dolphy\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/eric-dolphy\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/eric-dolphy\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e[click here to see more vinyl featuring Eric Dolphy]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDon Cherry - trumpet\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFreddie Hubbard - trumpet \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/freddie-hubbard\" title=\"Vinyl featuring Freddie Hubbard\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/freddie-hubbard\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Freddie Hubbard]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCharlie Haden - bass\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eScott LaFaro - bass\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBilly Higgins - drums\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEd Blackwell – drums\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, gatefold sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Atlantic\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded December 21st, 1960 at A\u0026amp;R Studios, New York City\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered by Tom Dowd\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Nesuhi Ertegun\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Kevin Gray\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1961\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2021\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eFree Jazz\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eFree Jazz (alternative take)\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003e“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.” AllMusic Review by Steve Huey\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 5 \/ 5 , Discogs : 4,5 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":42246961168634,"sku":"SD 1364","price":38.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/the-ornette-coleman-double-quartet-free-jazz-audiosoundmusic-1.jpg?v=1719857251"},{"product_id":"ornette-coleman-genesis-of-genius-the-contemporary-albums-2lp-box-set","title":"\u003ctc\u003eOrnette Coleman – Genesis Of Genius: The Contemporary Albums (2LP, Coffret)\u003c\/tc\u003e","description":"\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eCOMPILATON OF 2 PREVIOUSLY ISSUED RECORDS\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOrnette Coleman - alto sax\u003c\/strong\u003e\u003cstrong\u003e \u003cspan style=\"color: #ff8000;\"\u003e\u003ca style=\"color: #ff8000;\" title=\"Vinyl featuring Ornette Coleman\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/ornette-coleman\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/ornette-coleman\"\u003e[click here to see more vinyl featuring Ornette Coleman]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDon Cherry – trumpet\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWalter Norris – piano (A1-B5)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDon Payne – bass (A1-B5)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePercy Heath - bass (C1-6)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRed Mitchell - bass (D1-3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBilly Higgins – drums (A1-B5)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eShelly Manne – drums (C1 – D3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAll tracks composed by Ornette Coleman\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2 LPs, \u003c\/strong\u003e\u003cstrong\u003ebox set, \u003cspan data-mce-fragment=\"1\"\u003e32-page booklet \u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : Black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : RTI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Concord\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal label : Craft Recordings\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded \u003c\/strong\u003e\u003cstrong\u003eat Contemporary's Studio, Los Angeles, \u003c\/strong\u003e\u003cstrong\u003eby Roy DuNann \u003c\/strong\u003e\u003cstrong\u003eon February 10, 22 \u0026amp; March 24, 1958 (LP1) and January 16, February 23 and March 9–10, 1959 (LP2)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal recordings produced \u003c\/strong\u003e\u003cstrong\u003eby Lester Koenig\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCompilation produced by Nick Phillips\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Bernie Grundman\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCompilation originally released in 2019\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in June 2022\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eLP1 : Something Else!!!!: The Music Of Ornette Coleman\u003c\/p\u003e\n\u003cp\u003eSide A:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eInvisible\u003c\/li\u003e\n\u003cli\u003eThe Blessing\u003c\/li\u003e\n\u003cli\u003eJayne\u003c\/li\u003e\n\u003cli\u003eChippie\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eThe Disguise\u003c\/li\u003e\n\u003cli\u003eAngel Voice\u003c\/li\u003e\n\u003cli\u003eAlpha\u003c\/li\u003e\n\u003cli\u003eWhen Will The Blues Leave?\u003c\/li\u003e\n\u003cli\u003eThe Sphinx\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eLP2 : Tomorrow Is The Question!: The New Music Of Ornette Coleman\u003c\/p\u003e\n\u003cp\u003eSide C:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eTomorrow Is The Question!\u003c\/li\u003e\n\u003cli\u003eTears Inside\u003c\/li\u003e\n\u003cli\u003eMind And Time\u003c\/li\u003e\n\u003cli\u003eCompassion\u003c\/li\u003e\n\u003cli\u003eGiggin'\u003c\/li\u003e\n\u003cli\u003eRejoicing\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide D:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eLorraine\u003c\/li\u003e\n\u003cli\u003eTurnaround\u003c\/li\u003e\n\u003cli\u003eEndless\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003col\u003e\u003c\/ol\u003e\n\u003col\u003e\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003e“Listening to the first two albums saxophonist Ornette Coleman released under his own name today, it can be a little challenging to surmise exactly what about this then-young player made his peers in the late '50s lose their minds. But his approach to melody and structure upset the status quo so much that, as legend has it, Max Roach socked Coleman in the mouth after hearing him play. Jazz, and Ornette, have gone to far more challenging places since Contemporary Records released these records but their initial appearance sent a small shockwave through the musical community that modern players are still feeling the aftershocks of. This lovingly constructed set offers a chance to hear just how important these albums were and still are. Bernie Grundman used the original analog tapes for these sharp new pressings of both Something Else!!!! and Tomorrow Is The Question, and Craft Recordings packaged them in a handsome blue box with a booklet, featuring masterful liner notes from Ashley Kahn, tucked inside.” Robert Ham, Paste Magazine\u003c\/p\u003e\n\u003cp\u003e“This 1958 debut recording by the Ornette Coleman Quintet, which featured Coleman on his trademark white plastic alto, Don Cherry on trumpet, Billy Higgins on drums, Walter Norris on piano, and Don Payne on bass, shook up the jazz world -- particularly those musicians and critics who had entered the hard bop era with such verve and were busy using the blues as a way of creating vast solo spaces inside tight and short melody lines. Something Else!!!! is anathema to that entire idea, and must have sounded like it came from outer space at the time. First, Coleman's interest was in pitch, not \"being in tune.\" His use of pitch could take him all over -- and outside of -- a composition, as it does on \"Invisible,\" which begins in D flat. The intervals are standard, but the melodic component of the tune -- despite its hard bop tempo -- is, for the most part, free. But what is most compelling is evident in abundance here and on the next two tunes, \"The Blessing\" and \"Jayne\": a revitalization of the blues as it expressed itself in jazz. Coleman refurbished the blues framework, threaded it through his jazz without getting rid of its folk-like, simplistic milieu. In other words, the groove Coleman was getting here was a people's groove that only confounded intellectuals at the time. Coleman restored blues to their \"classic\" beginnings in African music and unhooked their harmonies. Whether the key was D flat, A, G, whatever, Coleman revisited the 17- and 25-bar blues. There are normal signatures, however, such as \"Chippie\" in F and in eight-bar form, and \"The Disguise\" is in D, but in a strange 13-bar form where the first and the last change places, altering the talking-like voice inherent in the melodic line. But the most important thing about Something Else! was that, in its angular, almost totally oppositional way, it swung and still does; like a finger-poppin' daddy on a Saturday night, this record swings from the rafters of the human heart with the most unusually gifted, emotional, and lyrical line since Bill Evans first hit the scene.” Something Else: The Music of Ornette Coleman AllMusic Review by Thom Jurek\u003c\/p\u003e\n\u003cp\u003e“On his second outing for the Contemporary label, Ornette dusted the piano from the bandstand and focused instead on a quartet. For some unexplained reason, Billy Higgins was replaced by Shelly Manne; the only constants remain Coleman and Don Cherry. The focus, then, is on the interplay between the altoist and trumpeter in executing Ornette's tunes, which were, more than on the preceding album (Something Else!, recorded a year earlier), knottier and tighter in their arrangement style. The odd-syncopation style of the front line on numbers such as \"Tears Inside,\" which comes out of the box wailing and then simmers down into a moody, swinging blues, was a rough transition for the rhythm section. And the more Ornette and Cherry try to open it up into something more free and less attached to the tune's form, the more Manne and especially bassist Percy Heath hang on. Still, there are great moments here: for example, the celebratory freedom of \"Giggin',\" with its wonderful trumpet solo, and \"Rejoicing,\" which has become one of Coleman's classics for its elongated melody line and simple obbligato phrasing, which become part of a wonderfully complex solo that keeps the blues firmly intact. The final track, \"Endless,\" is pure magic. After Manne carries it in 6\/8, Coleman uses a nursery rhyme to move to the solo terrain and, when he does, the solo itself becomes a part of that rhyme as even Don Cherry feels his way through it in his break. And, if anything, this is one of the things that came to define Ornette -- his willingness to let simplicity and its bright colors and textures confound not only other players and listeners, but also him too. In those days, Coleman's musical system -- although worked out in detail -- always left room for the unexpected and, in fact, was played as if his life depended on it. As a result, Tomorrow Is the Question! was a very literal title; who could have guessed the expansive, world-widening direction that Coleman's system would head into next?” Tomorrow Is the Question! AllMusic Review by Thom Jurek\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 4.5 \/ 5 (LP1) \u0026amp; 4 \/ 5 (LP2) ; Discogs : 4.92 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":42919541670138,"sku":"CR00320","price":99.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/products\/ornette-coleman-genesis-of-genius-the-contemporary-albums-2lp-box-set-audiosoundmusic-1.jpg?v=1719859400"},{"product_id":"ornette-coleman-something-else","title":"Ornette Coleman - Something Else","description":"\u003cp\u003e \u003c\/p\u003e\n\u003ch2\u003e\u003cbr\u003e\u003c\/h2\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eAlto Saxophone - Ornette Coleman \u003cspan style=\"color: #ff8000;\" data-mce-style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e\u003ca style=\"color: #ff8000;\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/ornette-coleman\" title=\"Vinyl featuring Ornette Coleman\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/ornette-coleman\" data-mce-style=\"color: #ff8000;\" data-mce-fragment=\"1\"\u003e[click here to see more vinyl featuring Ornette Coleman]\u003c\/a\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eBass – Don Payne\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eDrums – Billy Higgins\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003ePiano – Walter Norris\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eTrumpet – Don Cherry\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eWritten by Ornette Coleman\u003c\/strong\u003e\u003c\/p\u003e\n\u003cbr\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1LP, Stoughton Printing old-style tip-on jackets\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Quality Record Pressings\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Craft Recordings Contemporary Records Acoustic Sounds Series\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Contemporary \u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eRecorded February 10, 22 \u0026amp; March 24, 1958 at Contemporary's Studio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eEngineered by Roy DuNann\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eProduced by Lester Koenig\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eMastered and lacquer cut by Bernie Grundman at Bernie Grundman Mastering\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eDesign by Guidi, Tri-Arts\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eLiner Notes by Nat Hentoff\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003ePhotography by Walter Zurlinden\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in September 1958\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in July 2023\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eSide A:\u003c\/p\u003e\n\u003col\u003e\n\u003cli data-mce-fragment=\"1\"\u003eInvisible\u003c\/li\u003e\n\u003cli data-mce-fragment=\"1\"\u003eThe Blessing\u003c\/li\u003e\n\u003cli data-mce-fragment=\"1\"\u003eJayne\u003c\/li\u003e\n\u003cli data-mce-fragment=\"1\"\u003eChippie\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp data-mce-fragment=\"1\"\u003eSide B:\u003c\/p\u003e\n\u003col\u003e\n\u003cli data-mce-fragment=\"1\"\u003eThe Disguise\u003c\/li\u003e\n\u003cli data-mce-fragment=\"1\"\u003eAngel Voice\u003c\/li\u003e\n\u003cli data-mce-fragment=\"1\"\u003eAlpha\u003c\/li\u003e\n\u003cli data-mce-fragment=\"1\"\u003eWhen Will the Blues Leave?\u003c\/li\u003e\n\u003cli data-mce-fragment=\"1\"\u003eThe Sphinx\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cbr\u003e\n\u003col\u003e\u003c\/ol\u003e\n\u003col\u003e\u003c\/ol\u003e\n\u003col\u003e\u003c\/ol\u003e\n\u003col\u003e\u003c\/ol\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e“This 1958 debut recording by the Ornette Coleman Quintet, which featured Coleman on his trademark white plastic alto, Don Cherry on trumpet, Billy Higgins on drums, Walter Norris on piano, and Don Payne on bass, shook up the jazz world -- particularly those musicians and critics who had entered the hard bop era with such verve and were busy using the blues as a way of creating vast solo spaces inside tight and short melody lines. Something Else!!!! is anathema to that entire idea, and must have sounded like it came from outer space at the time. First, Coleman's interest was in pitch, not \"being in tune.\" His use of pitch could take him all over -- and outside of -- a composition, as it does on \"Invisible,\" which begins in D flat. The intervals are standard, but the melodic component of the tune -- despite its hard bop tempo -- is, for the most part, free. But what is most compelling is evident in abundance here and on the next two tunes, \"The Blessing\" and \"Jayne\": a revitalization of the blues as it expressed itself in jazz. Coleman refurbished the blues framework, threaded it through his jazz without getting rid of its folk-like, simplistic milieu. In other words, the groove Coleman was getting here was a people's groove that only confounded intellectuals at the time. Coleman restored blues to their \"classic\" beginnings in African music and unhooked their harmonies. Whether the key was D flat, A, G, whatever, Coleman revisited the 17- and 25-bar blues. There are normal signatures, however, such as \"Chippie\" in F and in eight-bar form, and \"The Disguise\" is in D, but in a strange 13-bar form where the first and the last change places, altering the talking-like voice inherent in the melodic line. But the most important thing about Something Else! was that, in its angular, almost totally oppositional way, it swung and still does; like a finger-poppin' daddy on a Saturday night, this record swings from the rafters of the human heart with the most unusually gifted, emotional, and lyrical line since Bill Evans first hit the scene.” AllMusic Review by Thom Jurek\u003c\/p\u003e\n\u003cbr\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 4.5 \/ 5 ; Discogs : 4.83 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":47264395624783,"sku":"ACONC 595","price":45.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/files\/ornette-coleman-something-else-audiosoundmusic-1.jpg?v=1719862360"},{"product_id":"ornette-coleman-tomorrow-is-the-question","title":"Ornette Coleman - Tomorrow Is The Question!","description":"\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eOrnette Coleman, alto saxophone  \u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e\u003ca title=\"Vinyl featuring Ornette Coleman\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/ornette-coleman\" style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/ornette-coleman\"\u003e[click here to see more vinyl featuring Ornette Coleman]\u003c\/a\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eShelly Manne, drums \u003ca title=\"Vinyl featuring shelly manne\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/shelly-manne\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/shelly-manne\"\u003e\u003cspan style=\"color: #ff8000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Shelly Manne]\u003c\/span\u003e\u003c\/a\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eDon Cherry, trumpet\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003ePercy Heath, bass (A1-6)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eRed Mitchell, bass (B1-3)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eWritten by Ornette Coleman\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve old-style tip-on jackets by Stoughton Printing\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Quality Record Pressings\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Craft Recordings Acoustic Sounds Series\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Contemporary\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eRecorded January 16 (B1), February 23 (B2-3) and March 9–10, 1959 (A1-6) at Contemporary's Studio, Los Angeles\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eEngineered by Roy DuNann\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eProduced by Lester Koenig\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eLiner notes by Nat Hentoff\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePhotography by Roger Marshutz\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMastered by Bernie Grundman at Bernie Grundman Mastering\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissue supervised by Chad Kassem\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in November 1969\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in September 2023\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eSide A:\u003c\/p\u003e\n\u003col\u003e\n\u003cli data-mce-fragment=\"1\"\u003eTomorrow Is the Question!\u003c\/li\u003e\n\u003cli data-mce-fragment=\"1\"\u003eTears Inside\u003c\/li\u003e\n\u003cli data-mce-fragment=\"1\"\u003eMind and Time\u003c\/li\u003e\n\u003cli data-mce-fragment=\"1\"\u003eCompassion\u003c\/li\u003e\n\u003cli data-mce-fragment=\"1\"\u003eGiggin'\u003c\/li\u003e\n\u003cli data-mce-fragment=\"1\"\u003eRejoicing\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp data-mce-fragment=\"1\"\u003eSide B:\u003c\/p\u003e\n\u003col\u003e\n\u003cli data-mce-fragment=\"1\"\u003eLorraine\u003c\/li\u003e\n\u003cli data-mce-fragment=\"1\"\u003eTurnaround\u003c\/li\u003e\n\u003cli data-mce-fragment=\"1\"\u003eEndless\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003col\u003e\u003c\/ol\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003e\"Shaking out of the contractual obligation forcing him to employ a pianist on his debut, Something Else!!!! (Contemporary, 1958), alto saxophonist Ornette Coleman dispensed with the instrument altogether on 1959's Tomorrow is the Question!, causing a bit of consternation on the part of the mainstream jazz media. This was Coleman's committed step forward toward a harmonically less restrictive sound, en route to the joyful chaos of Free Jazz (Atlantic, 1961). Following, in form, Gerry Mulligan's famous piano-less quartet of the early 1950s, Coleman greatly liberated his solo and rhythm instruments, taking a quantum greater advantage of this freedom compared with Mulligan, had the baritone saxophonist been so inclined.\" All About Jazz\u003c\/p\u003e\n\u003cp\u003e“On his second outing for the Contemporary label, Ornette dusted the piano from the bandstand and focused instead on a quartet. For some unexplained reason, Billy Higgins was replaced by Shelly Manne; the only constants remain Coleman and Don Cherry. The focus, then, is on the interplay between the altoist and trumpeter in executing Ornette's tunes, which were, more than on the preceding album (Something Else!, recorded a year earlier), knottier and tighter in their arrangement style. The odd-syncopation style of the front line on numbers such as \"Tears Inside,\" which comes out of the box wailing and then simmers down into a moody, swinging blues, was a rough transition for the rhythm section. And the more Ornette and Cherry try to open it up into something more free and less attached to the tune's form, the more Manne and especially bassist Percy Heath hang on. Still, there are great moments here: for example, the celebratory freedom of \"Giggin',\" with its wonderful trumpet solo, and \"Rejoicing,\" which has become one of Coleman's classics for its elongated melody line and simple obbligato phrasing, which become part of a wonderfully complex solo that keeps the blues firmly intact. The final track, \"Endless,\" is pure magic. After Manne carries it in 6\/8, Coleman uses a nursery rhyme to move to the solo terrain and, when he does, the solo itself becomes a part of that rhyme as even Don Cherry feels his way through it in his break. And, if anything, this is one of the things that came to define Ornette -- his willingness to let simplicity and its bright colors and textures confound not only other players and listeners, but also him too. In those days, Coleman's musical system -- although worked out in detail -- always left room for the unexpected and, in fact, was played as if his life depended on it. As a result, Tomorrow Is the Question! was a very literal title; who could have guessed the expansive, world-widening direction that Coleman's system would head into next?” AllMusic Review by Thom Jurek\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 4 \/ 5 ; Discogs : 4,87 \/ 5\u003cbr\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":47772200304975,"sku":"ACONC 596","price":45.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/files\/ornette-coleman-tomorrow-is-the-question-audiosoundmusic-1.jpg?v=1719862561"},{"product_id":"clifford-jordan-in-the-world-2lp-45rpm-japanese-edition","title":"\u003ctc\u003eB.B. King - Singin' The Blues (Edition Japonaise)\u003c\/tc\u003e","description":"\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eORDER LIMITED TO ONE ITEM PER CUSTOMER\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTenor Saxophone – Clifford Jordan \u003cspan data-mce-fragment=\"1\" style=\"color: #ff8000;\"\u003e\u003ca data-mce-fragment=\"1\" style=\"color: #ff8000;\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/clifford-jordan\" title=\"vinyl featuring Clifford Jordan\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/clifford-jordan\"\u003e[click here to see more vinyl featuring Clifford Jordan]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePiano – Wynton Kelly \u003ca data-mce-fragment=\"1\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/wynton-kelly\" title=\"vinyl featuring Wynton Kelly\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/wynton-kelly\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"color: #ff8000;\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Wynton Kelly]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDrums – Roy Haynes (C1, D1) \u003ca data-mce-fragment=\"1\" title=\"vinyl featuring Roy Haynes\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/roy-haynes\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/roy-haynes\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"color: #ff8000;\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Roy Haynes]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTrumpet – Kenny Dorham (C1, D1)\u003cspan style=\"color: #ff8000;\"\u003e \u003ca data-mce-fragment=\"1\" style=\"color: #ff8000;\" title=\"Vinyl featuring Kenny Dorahm\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/kenny-dorham\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/kenny-dorham\"\u003e[click here to see more vinyl featuring Kenny Dorham]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTrumpet – Don Cherry (A1, B1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBass – Richard Davis, Wilbur Ware\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDrums – Al Heath (A1, B1), Ed Blackwell (C1, D1)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTrombone – Julian Preister\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAll tracks written by Clifford Jordan\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2 LPs, \u003c\/strong\u003e\u003cstrong\u003egatefold jacket\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e\u003cstrong\u003eLimited edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : Black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 45 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : unspecified (Japan)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : P-Vine\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal label : Strata-East\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded Spring 1969 at Town Sound Studios, Englewood, NJ\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered by Orville O'Brion\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Clifford Jordan\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCover design by C L Roberts\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLiner Notes by Clifford L. Jordan, Jr.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1972\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in December 2023\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eVienna\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eDoug's Prelude\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide C:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eOuagoudougou\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide D:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003e872\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003col\u003e\u003c\/ol\u003e\n\u003col\u003e\u003c\/ol\u003e\n\u003col\u003e\u003c\/ol\u003e\n\u003col\u003e\u003c\/ol\u003e\n\u003cul\u003e\u003c\/ul\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003e“Whether at the helm of a record date or as a sideman, Clifford Jordan was known for giving his all. These studio recordings were originally made for Strata East, a label known for its adventurous spirit. The tenor saxophonist leads two separate groups. The sextet selections include trombonist Julian Priester, pianist Wynton Kelly, bassists Wilbur Ware and Richard Davis, drummer Albert Heath, and trumpeter Don Cherry. Jordan's pensive \"Vienna\" is given an extended workout, with Cherry's somewhat abstract playing fitting in rather well. The second piece, Jordan's \"Doug's Prelude,\" is also a bit brooding, showcasing the leader, Priester, and Kelly.” AllMusic Review by Ken Dryden\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 4.5 \/ 5  ; Discogs : 4.63 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":48241053729103,"sku":"PLP-7962\/3","price":85.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/files\/clifford-jordan-in-the-world-2lp-45rpm-japanese-edition-audiosoundmusic-1.jpg?v=1719863371"},{"product_id":"charlie-haden-the-golden-number","title":"Charlie Haden – The Golden Number","description":"\u003cp data-mce-fragment=\"1\" style=\"margin: 0cm 0cm 12.0pt 0cm;\" data-mce-style=\"margin: 0cm 0cm 12.0pt 0cm;\"\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eCharlie Haden - double bass\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eDon Cherry - pocket trumpet, flute (A1)\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eArchie Shepp - tenor saxophone (A2) \u003ca data-mce-fragment=\"1\" title=\"vinyl featuring Archie Shepp\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/archie-shepp\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/archie-shepp\"\u003e\u003cspan data-mce-fragment=\"1\" style=\"color: #ff8000;\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Archie Shepp]\u003c\/span\u003e\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eHampton Hawes - piano (B1)\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eOrnette Coleman - trumpet (B2) \u003cspan data-mce-fragment=\"1\" style=\"color: #ff8000;\" data-mce-style=\"color: #ff8000;\"\u003e\u003ca data-mce-fragment=\"1\" style=\"color: #ff8000;\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/ornette-coleman\" title=\"Vinyl featuring Ornette Coleman\" data-mce-href=\"https:\/\/www.audiosoundmusic.com\/collections\/ornette-coleman\" data-mce-style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Ornette Coleman]\u003c\/a\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eWritten by Charlie Haden (A1-2, B2), Ornette Coleman (B1)\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, Gatefold jacket\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : \u003cspan lang=\"EN-GB\" style=\"font-size: 11.0pt; line-height: 107%; font-family: 'Aptos',sans-serif; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: Aptos; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-theme-font: minor-bidi; mso-ansi-language: EN-GB; mso-fareast-language: EN-US; mso-bidi-language: AR-SA;\"\u003eThird Man in Detroit, MI\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Verve \u003cspan lang=\"EN-GB\" style=\"font-size: 11.0pt; line-height: 107%; font-family: 'Aptos',sans-serif; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: Aptos; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-theme-font: minor-bidi; mso-ansi-language: EN-GB; mso-fareast-language: EN-US; mso-bidi-language: AR-SA;\"\u003eBy Request Series\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Horizon\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eRecorded at Kendun Recorders in Burbank, California, on June 7, 1976, (A1), at Village Recorder in Los Angeles on August 21, 1976, (B1), at Generation Sound in New York City on December 19 (B2) and December 20 (A2), 1976\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eProduced by Ed Michel\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eMastered by Ryan Smith at Sterling Sound\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eOriginally released in 1977\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in July 2024\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eSide A:\u003c\/span\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eOut of Focus\u003c\/span\u003e\u003c\/li\u003e\n\u003cli class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eShepp's Way\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eSide B:\u003c\/span\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eTurnaround\u003c\/span\u003e\u003c\/li\u003e\n\u003cli class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eThe Golden Number\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp class=\"MsoNormal\" style=\"padding-left: 40px;\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e\u003cspan style=\"mso-tab-count: 1;\"\u003e  \u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e“The second of two duet sets by bassist Charlie Haden is the equal of the first. Haden teams up with Don Cherry (on trumpet and flutes), tenor saxophonist Archie Shepp (for the excellent \"Shepp's Way\"), pianist Hampton Hawes (jamming Ornette Coleman's blues \"Turnaround\"), and Ornette himself, who unfortunately plays trumpet this time around. In general, the music is quite intriguing and has its share of variety.” AllMusic Review by Scott Yanow\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRating:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eAllMusic : 4 \/ 5 ; Discogs : 4.17 \/ 5 \u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":49345924071759,"sku":"AVER43761","price":45.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/files\/CharlieHaden_TheGoldenNumber1.jpg?v=1721587086"},{"product_id":"ornette-coleman-ornette-on-tenor","title":"Ornette Coleman - Ornette on Tenor (Speakers Corner)","description":"\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eTenor Saxophone - \u003c\/span\u003eOrnette Coleman \u003cspan style=\"color: #ff8000;\"\u003e\u003ca data-mce-fragment=\"1\" title=\"Vinyl featuring Ornette Coleman\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/ornette-coleman\" style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Ornette Coleman]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003ePocket Trumpet - Don Cherry\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eBass - Jimmy Garrison\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eDrums - Ed Blackwell\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eWritten by Ornette Coleman \u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eOriginal Label :  Atlantic\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eRecorded on \u003c\/strong\u003e\u003cstrong\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eMarch 22 \u0026amp; 27, 1961, at Atlantic Studios, New York City\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eEngineered by Phil Iehle, Tom Dowd\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eProduced by Nesuhi Ertegun\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eOriginally Released: December 1962\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eReissued in February 2025\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eSide A:\u003c\/span\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eCross Breeding\u003c\/span\u003e\u003c\/li\u003e\n\u003cli class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eMapa\u003c\/span\u003e\u003c\/li\u003e\n\u003cli class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eEnfant\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eSide B:\u003c\/span\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eEos\u003c\/span\u003e\u003c\/li\u003e\n\u003cli class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eEcars\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eReviews :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e“Most of the space is devoted to improvisation, but there are also several provocative compositions.” - Down Beat magazine, Harvey Pekar\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e\"\u003c\/span\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eIt's an understatement to say that Ornette Coleman's stint with Atlantic altered the jazz world forever, and Ornette on Tenor was the last of his six LPs (not counting outtakes compilations) for the label, wrapping up one of the most controversial and free-thinking series of recordings in jazz history. Actually, it's probably his least stunning Atlantic, not quite as revolutionary or memorable as many of its predecessors, but still far ahead of its time. Coleman hadn't played much tenor since a group of Louisiana thugs beat him and destroyed his instrument, but he hadn't lost his affection for the tenor's soulful, expressive honk and the ease with which people connected with it. That rationale might suggest a more musically accessible session, but that isn't the case. Ornette on Tenor is just as challenging and harmonically advanced as any of his previous Atlantics. In fact, it's arguably more so, since there aren't really any memorable themes to return to. That means there are fewer opportunities for Coleman and Don Cherry to interact and harmonize, which puts the focus mainly on Coleman's return to tenor playing. And, actually, it isn't tremendously different from his alto playing. There are a few traces of Coleman's early Texas gutbucket R\u0026amp;B days, plus a few spots where he explores a breathier tone, but for the most part his spiraling solo lines are very similar to his other Atlantic albums, and his upper-register sound is often a dead ringer for his plaintive alto cries. With Coleman ostensibly exploring new territory, it's hard not to be a little disappointed that Ornette on Tenor doesn't have the boundary-shattering impact of his previous work -- but then again, it's probably asking too much to expect a revolution every time out.\" AllMusic \u003c\/span\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eReview by Steve Huey\u003c\/span\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003e\u003cbr\u003eRatings :\u003c\/strong\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan\u003eAllmusic : 3.5 \/ 5, Discogs \u003c\/span\u003e: \u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4.44\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":53753758974287,"sku":"SCR-1394","price":38.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/files\/Ornette_Coleman_-_Ornette_on_Tenor_0.jpg?v=1744320652"},{"product_id":"the-ornette-coleman-double-quartet-free-jazz-test-pressing","title":"The Ornette Coleman Double Quartet - Free Jazz (Test Pressing)","description":"\u003cp\u003e \u003c\/p\u003e\n\u003ch3\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003e\u003cstrong\u003eTest pressing - Rarity - Unsealed\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOrnette Coleman - alto sax \u003cspan style=\"color: #ff8000;\"\u003e\u003ca title=\"Vinyl featuring Ornette Coleman\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/ornette-coleman\" style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Ornette Coleman]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEric Dolphy- bass clarinet \u003ca title=\"vinyl featuring Eric Dolphy\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/eric-dolphy\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Eric Dolphy]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDon Cherry - trumpet\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFreddie Hubbard - trumpet \u003ca href=\"https:\/\/www.audiosoundmusic.com\/collections\/freddie-hubbard\" title=\"Vinyl featuring Freddie Hubbard\"\u003e\u003cspan style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Freddie Hubbard]\u003c\/span\u003e\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCharlie Haden - bass\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eScott LaFaro - bass\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBilly Higgins - drums\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEd Blackwell – drums\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, \u003cmeta charset=\"utf-8\"\u003e\u003c\/strong\u003e\u003cstrong\u003eTest pressing sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cmeta charset=\"utf-8\"\u003e \u003cspan style=\"color: rgb(255, 42, 0);\"\u003eLimited Edition (\u003cmeta charset=\"utf-8\"\u003eTest Pressing only 30 records pressed)\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Atlantic\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded December 21st, 1960 at A\u0026amp;R Studios, New York City\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered by Tom Dowd\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduced by Nesuhi Ertegun\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRemastered by Kevin Gray\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in 1961\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2021\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSide A:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eFree Jazz\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eSide B:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eFree Jazz (alternative take)\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003e“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.” AllMusic Review by Steve Huey\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 5 \/ 5 , Discogs : 4,5 \/ 5\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":54771300303183,"sku":"Atlantic SD 1364","price":75.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/files\/Captured_ecran2025-03-30a08.28.27.png?v=1743316290"},{"product_id":"john-coltrane-the-heavyweight-champion-the-complete-atlantic-recordings-2lp-box-set","title":"\u003ctc\u003eJohn Coltrane – The Heavyweight Champion - The Complete Atlantic Recordings (12LP, Coffret)\u003c\/tc\u003e","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eRARITY Sealed\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eCOMPILATION\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eSoprano Saxophone – John Coltrane (C1, C2, I, K2, L2, M2, P1, P2, Q1 to Q3)\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eTenor Saxophone – John Coltrane (A1 to B3, C1 to D4, F1 to H2, J1 to K1, K3, L1, L3 to M1, M3 to O2, O3, Q1, Q3 to T4, U1 to X4)\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eAlto Saxophone – George Lane (J1, J2), John Coltrane (Q2)\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eBass – Art Davis (I, J1, Q2), Charlie Haden (O1, P1), Paul Chambers (3) (A1 to B3, C1, C3 to D4, G1, H2, S1 to T2, T4, U1 to W2), Percy Heath (O2, P2, P3), Reggie Workman (I to J2), Steve Davis (C2, E1 to F2, K1 to N3, Q1, Q3, T3, W3 to X4)\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eDrums – Art Taylor (A1 to B1, B3, S4, T2, T4, W1, W2), Connie Kay (A1 to B2, R1 to R3), Ed Blackwell (O1 to P3), Elvin Jones (C2, E1 to F2, I to N3, Q1 to Q3, T3, W3 to X4), Jimmy Cobb (B2, C1, C3 to D4, T1), Lex Humphries (S1 to S3, U1 to V11)\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eFlute – Eric Dolphy (Q2), George Lane (I)\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003ePiano – Cedar Walton (S1 to S3, U1 to V11), Hank Jones (G1 to H2, R1 to R3), McCoy Tyner (C2, E1 to F2, I to K1, L1 to N2, Q1 to Q3, T3, W3 to X4), Tommy Flanagan (A1 to B1, B3, S4, T2, T4, W1, W2), Wynton Kelly (B2, C1, C3 to D4, T1)\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eTrumpet – Don Cherry (O1 to P3), Freddie Hubbard (I to J2, Q2)\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eVibraphone – Milt Jackson (G1 to H2, R1 to R3)\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eWritten by John Coltrane (A1 to B3, C2, C4 to D2, D4, I1, J1, K2 to L3, M2-3, N2-3, O2 to P2, Q1, Q3, S1-4, T1-4), \u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eHoagy Carmichael (C1), Stanley Adams (C1), \u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eJohnny Mercer (C3) Harold Arlen (C3), \u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eGeorge Treadwell (D3), Jerry Valentine (D3), \u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eRichard Rodgers \u0026amp; Oscar Hammerstein (E1), \u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eCole Porter (E2), \u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eDu Bose Heyward (F1), George Gershwin (F1-2), Ira Gershwin (F2), \u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eMilt Jackson (G1, H2, R3), \u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eBert Kalmar (G2), Harry Ruby (G2), \u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eMatt Dennis (G3), Tom Adair (G3), \u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eDizzy Gillespie (H1), \u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eMcCoy Tyner (J2), \u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eElvin Jones (K1), \u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eBuddy Bernier (M1), Jerry Brainin (M1), \u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eEdward Heyman (N1), Frank Eyton (N1), Johnny Green (N1), Robert Sour (N1), \u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eDon Cherry (O1), \u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eThelonious Monk (P3), \u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eBilly Frazier (Q2), \u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eHarry Edison (R1), Bill Tennyson (R1), \u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eFrank Signorelli (R2), Matt Malneck (R2), Mitchell Parish (R2), \u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eGeorge Treadwell (T1), Jerry Valentine (T1)\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e12 LPs, Box set, \u003c\/strong\u003e\u003cstrong\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eIndividual LPs in original reproduction covers with 40 page LP sized booklet in hard case\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003e\u003cstrong\u003eLimited to 3,000 copies\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g High Performance Vinyl\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : unspecified\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Because Sound Matters\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Atlantic\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eRecorded 1959 to 1961 at Atlantic Studios and A\u0026amp;R Studios in New York City\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eRecorded by Phil Iehle (A1 to F2, O1 to P3, S1 to S3), Phil Ramone (I1 to J2, Q2), Tom Dowd (A1 to H2, K1 to Q1, Q3 to T4)\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eRe-mixed by Geoffrey Haslam\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eOriginal sessions produced by Nesuhi Ertegun\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eCompilation produced by Joel Dorn\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eExecutive-Producer – Patrick Milligan\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eRemastered by Bill Inglot, Bob Fisher, Gene Paul, Geoff Sykes\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003ePhotography by Alice Arnold, Chuck Stewart, Jimmy Heath, Lee Friedlander, Lee Tanner, Michael Ochs Archives, Jim Marshall\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginally released in November 1995\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2000\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eLP1 : Giant Steps\u003cspan style=\"mso-tab-count: 1;\"\u003e       \u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eSide A:\u003c\/span\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eGiant Steps\u003c\/span\u003e\u003c\/li\u003e\n\u003cli class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eCousin Mary\u003c\/span\u003e\u003c\/li\u003e\n\u003cli class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eCountdown\u003c\/span\u003e\u003c\/li\u003e\n\u003cli class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eSpiral\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eSide B:\u003c\/span\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eSyeeda's Song Flute\u003c\/span\u003e\u003c\/li\u003e\n\u003cli class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eNaima\u003c\/span\u003e\u003c\/li\u003e\n\u003cli class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eMr. P.C.\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eLP2 : Coltrane Jazz\u003cspan style=\"mso-tab-count: 1;\"\u003e    \u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eSide C\u003c\/span\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eLittle Old Lady\u003c\/span\u003e\u003c\/li\u003e\n\u003cli class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eVillage Blues\u003c\/span\u003e\u003c\/li\u003e\n\u003cli class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eMy Shining Hour\u003c\/span\u003e\u003c\/li\u003e\n\u003cli class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eFifth House\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eSide D:\u003c\/span\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eHarmonique\u003c\/span\u003e\u003c\/li\u003e\n\u003cli class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eLike Sonny\u003c\/span\u003e\u003c\/li\u003e\n\u003cli class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eI'll Wait And Pray\u003c\/span\u003e\u003c\/li\u003e\n\u003cli class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eSome Other Blues\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eLP3 : My Favorite Things\u003cspan style=\"mso-tab-count: 1;\"\u003e        \u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eSide E:\u003c\/span\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eMy Favorite Things\u003c\/span\u003e\u003c\/li\u003e\n\u003cli class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eEverytime We Say Goodbye\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eSide F:\u003c\/span\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eSummertime\u003c\/span\u003e\u003c\/li\u003e\n\u003cli class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eBut Not For Me\u003c\/span\u003e\u003c\/li\u003e\n\u003cli class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eLP4 : Bags \u0026amp; Trane\u003cspan style=\"mso-tab-count: 1;\"\u003e     \u003c\/span\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eSide G:\u003c\/span\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eBags \u0026amp; Trane\u003c\/span\u003e\u003c\/li\u003e\n\u003cli class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eThree Little Words\u003c\/span\u003e\u003c\/li\u003e\n\u003cli class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eThe Night We Called It A Day\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eSide H:\u003c\/span\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eBe-Bop\u003c\/span\u003e\u003c\/li\u003e\n\u003cli class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eThe Late Late Blues\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eLP 5 : Olé Coltrane\u003cspan style=\"mso-tab-count: 1;\"\u003e    \u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eSide I:\u003c\/span\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eOlé\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eSide J:\u003c\/span\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eDahomey Dance\u003c\/span\u003e\u003c\/li\u003e\n\u003cli class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eAisha\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eLP 6: Coltrane Plays The Blues\u003cspan style=\"mso-tab-count: 1;\"\u003e         \u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eSide K:\u003c\/span\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eBlues To Elvin\u003c\/span\u003e\u003c\/li\u003e\n\u003cli class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eBlues To Bechet\u003c\/span\u003e\u003c\/li\u003e\n\u003cli class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eBlues To You\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eSide L:\u003c\/span\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eMr. Day\u003c\/span\u003e\u003c\/li\u003e\n\u003cli class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eMr. Syms\u003c\/span\u003e\u003c\/li\u003e\n\u003cli class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eMr. Knight\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eLP 7: Coltrane's Sound\u003cspan style=\"mso-tab-count: 1;\"\u003e          \u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eSide M:\u003c\/span\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eThe Night Has A Thousand Eyes\u003c\/span\u003e\u003c\/li\u003e\n\u003cli class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eCentral Park West\u003c\/span\u003e\u003c\/li\u003e\n\u003cli class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eLiberia\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eSide N:\u003c\/span\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eBody And Soul\u003c\/span\u003e\u003c\/li\u003e\n\u003cli class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eEquinox\u003c\/span\u003e\u003c\/li\u003e\n\u003cli class=\"MsoNormal\"\u003eSatellite\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp class=\"MsoNormal\"\u003eLP 8: The Avant-Garde\u003cspan style=\"mso-tab-count: 1;\"\u003e           \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eSide O: \u003c\/span\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eCherryco\u003c\/span\u003e\u003c\/li\u003e\n\u003cli class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eFocus On Sanity\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eSide P:\u003c\/span\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eThe Blessing\u003c\/span\u003e\u003c\/li\u003e\n\u003cli class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eThe Invisible\u003c\/span\u003e\u003c\/li\u003e\n\u003cli class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eBemsha Swing\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eLP 9: The Coltrane Legacy\u003cspan style=\"mso-tab-count: 1;\"\u003e    \u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eSide Q:\u003c\/span\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003e26-2\u003c\/span\u003e\u003c\/li\u003e\n\u003cli class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eOriginal Untitled Ballad (To Her Ladyship)\u003c\/span\u003e\u003c\/li\u003e\n\u003cli class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eUntitled Original (Exotica)\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eSide R:\u003c\/span\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eCenterpiece\u003c\/span\u003e\u003c\/li\u003e\n\u003cli class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eStairway To The Stars\u003c\/span\u003e\u003c\/li\u003e\n\u003cli class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eBlues Legacy\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eLP 10: Alternate Takes\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003e\u003cspan style=\"mso-tab-count: 1;\"\u003eSide S:\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eGiant Steps\u003c\/span\u003e\u003c\/li\u003e\n\u003cli class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eNaima\u003c\/span\u003e\u003c\/li\u003e\n\u003cli class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eLike Sonny\u003c\/span\u003e\u003c\/li\u003e\n\u003cli class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eCousin Mary\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eSide T:\u003c\/span\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eI'll Wait And Pray\u003c\/span\u003e\u003c\/li\u003e\n\u003cli class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eCountdown\u003c\/span\u003e\u003c\/li\u003e\n\u003cli class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eBody And Soul\u003c\/span\u003e\u003c\/li\u003e\n\u003cli class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eSyeeda's Song Flute\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eLP 11: \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eSide U:\u003c\/span\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eGiant Steps (Alternate Version)\u003cspan style=\"mso-tab-count: 1;\"\u003e        \u003c\/span\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eNaima (Alternate Version)\u003cspan style=\"mso-tab-count: 1;\"\u003e    \u003c\/span\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eSide V:\u003c\/span\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eLike Sonny (Alternate Version)\u003cspan style=\"mso-tab-count: 1;\"\u003e         \u003c\/span\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eLP 12:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eSide W: \u003c\/span\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eGiant Steps (Alternate Version)\u003c\/span\u003e\u003c\/li\u003e\n\u003cli class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eVillage Blues (Alternate Version)\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eSide X:\u003c\/span\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eBlues To Elvin\u003cspan style=\"mso-tab-count: 1;\"\u003e \u003c\/span\u003e (Alternate Version)\u003c\/span\u003e\u003c\/li\u003e\n\u003cli class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eBlues To You (Alternate Version)\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv style=\"mso-element: para-border-div; border: none; border-bottom: solid windowtext 1.0pt; mso-border-bottom-alt: solid windowtext .5pt; padding: 0cm 0cm 1.0pt 0cm;\"\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003e“The Heavyweight Champion is a box set that lives up to its title. Collecting all of John Coltrane's Atlantic recordings, including a fair number of unreleased takes as well as an entire disc of alternate tracks and studio chatter, the seven-disc box set documents a pivotal moment in Coltrane's career, as he was moving from hard bop and sweet standards to a more daring, experimental style of playing influenced by the avant-garde. Much of the music is hard bop (Giant Steps) or lushly melodic (My Favorite Things), but the latter discs show the saxophonist coming to terms with the more experimental movements in jazz. The scope of this music is, quite simply, breathtaking -- not only was Coltrane developing at a rapid speed, but the resulting music encompasses nearly every element that made him a brilliant musician, and it is beautiful.” AllMusic Review by Stephen Thomas Erlewine\u003c\/span\u003e\u003c\/p\u003e\n\u003cbr\u003e\n\u003cp style=\"border: none; mso-border-bottom-alt: solid windowtext .5pt; padding: 0cm; mso-padding-alt: 0cm 0cm 1.0pt 0cm;\" class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRatings\u003c\/strong\u003e :\u003c\/p\u003e\n\u003cp\u003eAllMusic : 5 \/ 5 , Discogs : 4.89 \/ 5 \u003c\/p\u003e\n\u003cp style=\"border: none; mso-border-bottom-alt: solid windowtext .5pt; padding: 0cm; mso-padding-alt: 0cm 0cm 1.0pt 0cm;\" class=\"MsoNormal\"\u003e \u003cstrong\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/div\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":55441829069135,"sku":"RHM17784","price":289.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/files\/JohnColtrane_TheHeavyweightChampion-TheCompleteAtlanticRecordings3.webp?v=1751249335"},{"product_id":"ornette-coleman-ornette-on-tenor-rhino","title":"Ornette Coleman - Ornette on Tenor (Rhino)","description":"\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003e\u003cstrong\u003eRARITY - SEALED\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eTenor Saxophone - \u003c\/span\u003eOrnette Coleman \u003cspan style=\"color: #ff8000;\"\u003e\u003ca data-mce-fragment=\"1\" title=\"Vinyl featuring Ornette Coleman\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/ornette-coleman\" style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Ornette Coleman]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003ePocket Trumpet - Don Cherry\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eBass - Jimmy Garrison\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eDrums - Ed Blackwell\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eWritten by Ornette Coleman \u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Rainbo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Rhino\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eOriginal Label :  Atlantic\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eRecorded on \u003c\/strong\u003e\u003cstrong\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eMarch 22 \u0026amp; 27, 1961, at Atlantic Studios, New York City\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eEngineered by Phil Iehle, Tom Dowd\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eProduced by Nesuhi Ertegun\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eOriginally Released in December 1962\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eSide A:\u003c\/span\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eCross Breeding\u003c\/span\u003e\u003c\/li\u003e\n\u003cli class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eMapa\u003c\/span\u003e\u003c\/li\u003e\n\u003cli class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eEnfant\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eSide B:\u003c\/span\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eEos\u003c\/span\u003e\u003c\/li\u003e\n\u003cli class=\"MsoNormal\"\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eEcars\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eReviews :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e“Most of the space is devoted to improvisation, but there are also several provocative compositions.” - Down Beat magazine, Harvey Pekar\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e\"\u003c\/span\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eIt's an understatement to say that Ornette Coleman's stint with Atlantic altered the jazz world forever, and Ornette on Tenor was the last of his six LPs (not counting outtakes compilations) for the label, wrapping up one of the most controversial and free-thinking series of recordings in jazz history. Actually, it's probably his least stunning Atlantic, not quite as revolutionary or memorable as many of its predecessors, but still far ahead of its time. Coleman hadn't played much tenor since a group of Louisiana thugs beat him and destroyed his instrument, but he hadn't lost his affection for the tenor's soulful, expressive honk and the ease with which people connected with it. That rationale might suggest a more musically accessible session, but that isn't the case. Ornette on Tenor is just as challenging and harmonically advanced as any of his previous Atlantics. In fact, it's arguably more so, since there aren't really any memorable themes to return to. That means there are fewer opportunities for Coleman and Don Cherry to interact and harmonize, which puts the focus mainly on Coleman's return to tenor playing. And, actually, it isn't tremendously different from his alto playing. There are a few traces of Coleman's early Texas gutbucket R\u0026amp;B days, plus a few spots where he explores a breathier tone, but for the most part his spiraling solo lines are very similar to his other Atlantic albums, and his upper-register sound is often a dead ringer for his plaintive alto cries. With Coleman ostensibly exploring new territory, it's hard not to be a little disappointed that Ornette on Tenor doesn't have the boundary-shattering impact of his previous work -- but then again, it's probably asking too much to expect a revolution every time out.\" AllMusic \u003c\/span\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eReview by Steve Huey\u003c\/span\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003e\u003cbr\u003eRatings :\u003c\/strong\u003e \u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan\u003eAllmusic : 3.5 \/ 5, Discogs \u003c\/span\u003e: \u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4.44\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":55731372785999,"sku":"1394","price":55.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/files\/OrnetteColeman-OrnetteonTenor1.webp?v=1755101177"},{"product_id":"ornette-coleman-change-of-the-century-rhino-rarity","title":"Ornette Coleman – Change Of The Century","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003e\u003cstrong\u003eRARITY - SEALED\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eAlto Saxophone - \u003c\/span\u003eOrnette Coleman \u003cspan style=\"color: #ff8000;\"\u003e\u003ca style=\"color: #ff8000;\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/ornette-coleman\" title=\"Vinyl featuring Ornette Coleman\"\u003e[click here to see more vinyl featuring Ornette Coleman]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003eDrums – Billy Higgins\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003eTrumpet – Don Cherry\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003eBass – Charlie Haden\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eWritten by Ornette Coleman\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003e\u003cstrong\u003eLimited Edition\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : RTI\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Rhino\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label :  Atlantic\u003c\/strong\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eRecorded on October 8–9, 1959\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003eEngineered by Bones Howe\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003eProduced by Nesuhi Ertegun\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003eLiner Notes by Gary Kramer\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003ePhotography by  Lee Friedlander\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eOriginally Released in 1960\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eReissued in \u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003eSide A\u003c\/p\u003e\n\u003col\u003e\n\u003cli class=\"MsoNormal\"\u003eRamblin'\u003c\/li\u003e\n\u003cli class=\"MsoNormal\"\u003eFree\u003c\/li\u003e\n\u003cli class=\"MsoNormal\"\u003eThe Face Of The Bass\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp class=\"MsoNormal\"\u003eSide B\u003c\/p\u003e\n\u003col\u003e\n\u003cli class=\"MsoNormal\"\u003eForerunner\u003c\/li\u003e\n\u003cli class=\"MsoNormal\"\u003eBird Food\u003c\/li\u003e\n\u003cli class=\"MsoNormal\"\u003eUna Muy Bonita\u003c\/li\u003e\n\u003cli class=\"MsoNormal\"\u003eChange Of The Century\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e« The second album by Ornette Coleman's legendary quartet featuring Don Cherry, Charlie Haden, and Billy Higgins, Change of the Century is every bit the equal of the monumental The Shape of Jazz to Come, showcasing a group that was growing ever more confident in its revolutionary approach and the chemistry in the bandmembers' interplay. When Coleman concentrates on melody, his main themes are catchier, and when the pieces emphasize group interaction, the improvisation is freer. Two of Coleman's most memorable classic compositions are here in their original forms -- \"Ramblin'\" has all the swing and swagger of the blues, and \"Una Muy Bonita\" is oddly disjointed, its theme stopping and starting in totally unexpected places; both secure their themes to stable, pedal-point bass figures. The more outside group improv pieces are frequently just as fascinating; \"Free,\" for example, features a double-tongued line that races up and down in free time before giving way to the ensemble's totally spontaneous inventions. The title cut is a frantic, way-out mélange of cascading lines that nearly trip over themselves, brief stabs of notes in the lead voices, and jarringly angular intervals -- it must have infuriated purists who couldn't even stomach Coleman's catchiest tunes. Coleman was frequently disparaged for not displaying the same mastery of instrumental technique and harmonic vocabulary as his predecessors, but his aesthetic prized feeling and expression above all that anyway. Maybe that's why Change of the Century bursts with such tremendous urgency and exuberance -- Coleman was hitting his stride and finally letting out all the ideas and emotions that had previously been constrained by tradition. That vitality makes it an absolutely essential purchase and, like The Shape of Jazz to Come, some of the most brilliant work of Coleman's career. » AllMusic Review by Steve Huey\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003eRatings :\u003c\/strong\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAllmusic : 5 \/ 5 ; Discogs \u003c\/span\u003e: \u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e4.71\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":56089234506063,"sku":"SD1327","price":39.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/files\/Captured_ecran2025-10-07a08.58.12.png?v=1759820345"},{"product_id":"don-cherry-complete-communion","title":"Don Cherry - Complete Communion","description":"\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"font-size: 10.5pt; line-height: 115%; font-family: 'Helvetica Neue'; mso-fareast-font-family: 'Times New Roman'; mso-bidi-font-family: 'Times New Roman'; color: black; letter-spacing: .1pt; mso-font-kerning: 0pt; mso-ligatures: none; mso-fareast-language: FR;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003eCornet – Don Cherry\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003eBass – Henry Grimes\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003eDrums – Edward Blackwell\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003eTenor Saxophone – Leandro 'Gato' Barbieri\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cmeta charset=\"utf-8\"\u003eWritten by Don Cherry\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, Gatefold jacket\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Record Technology Incorporated\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Blue Note Tone Poet\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label : Blue Note\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003e\u003c\/span\u003e\u003cspan style=\"font-size: 10.5pt; line-height: 115%; font-family: 'Helvetica Neue'; mso-fareast-font-family: 'Times New Roman'; mso-bidi-font-family: 'Times New Roman'; color: black; letter-spacing: .1pt; mso-font-kerning: 0pt; mso-ligatures: none; mso-ansi-language: FR; mso-fareast-language: FR; mso-bidi-language: AR-SA;\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecorded on December 24, 1965 at Van Gelder Studios, Englewood Cliffs, New Jersey\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eEngineered by Rudy Van Gelder\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal session produced by Alfred Lion\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMastered by Kevin Gray\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissue produced by Joe Harley\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003eCover Design by Reid Miles\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003ePhotography by Francis Wolff\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eOriginally Released in 1966\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReissued in 2025\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003eSide A\u003c\/p\u003e\n\u003col\u003e\n\u003cli class=\"MsoNormal\"\u003eComplete Communion\u003c\/li\u003e\n\u003cli class=\"MsoNormal\"\u003eAnd Now\u003c\/li\u003e\n\u003cli class=\"MsoNormal\"\u003eGolden Heart\u003c\/li\u003e\n\u003cli class=\"MsoNormal\"\u003eRemembrance\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003eSide B\u003c\/p\u003e\n\u003col\u003e\n\u003cli class=\"MsoNormal\"\u003eElephantasy\u003c\/li\u003e\n\u003cli class=\"MsoNormal\"\u003eOur Feelings\u003c\/li\u003e\n\u003cli class=\"MsoNormal\"\u003eBishmallah\u003c\/li\u003e\n\u003cli class=\"MsoNormal\"\u003eWind, Sand And Stars\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003col\u003e\u003c\/ol\u003e\n\u003col\u003e\u003c\/ol\u003e\n\u003col start=\"6\"\u003e\u003c\/ol\u003e\n\u003col\u003e\u003c\/ol\u003e\n\u003cp\u003e\u003cstrong\u003eReview :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e« Not counting a couple of sessions he co-led with John Coltrane and Albert Ayler, Complete Communion was the first album Don Cherry recorded as a leader following his departure from the Ornette Coleman Quartet. It was also one of the earliest showcases for the Argentinian tenor saxophonist Gato Barbieri, who Cherry discovered during a stay in Rome. While the music on Complete Communion was still indebted to Coleman's concepts, Cherry injected enough of his own personality to begin differentiating himself as a leader. He arranged the original LP as two continuous side-long suites, each of which incorporated four different compositions and was recorded in a single take. In practice, this meant that several melodic themes popped up over the course of each side; all the musicians free-associated off of each theme, engaging in intense, abstract dialogues before moving on to the next. As the album's title suggests, every member of the group not only solos, but shares the total space selflessly. Bassist Henry Grimes and drummer Ed Blackwell both play extremely active roles, especially Grimes, who solos powerfully and sometimes carries the main riffs. Often the music sounds more like a conversation, as opposed to a solo with support, because the musicians make such intelligent use of space and dynamics, and wind up with a great deal of crackling, volatile interplay as a result. The leader remains recognizably himself, and his burnished tone is a nice contrast with Barbieri's fiery approach; for his part, Barbieri's playing has a lot of speechlike inflections, and he spends a lot of time in the upper register of his horn, which makes him sound quite similar to Ornette at times. As a whole, the project comes off remarkably well, establishing Cherry as an avant-garde force to be reckoned with in his own right.» AllMusic Review by \u003cmeta charset=\"utf-8\"\u003eSteve Huey\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRating:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eAllMusic : 4.5 \/ 5 ; Discogs 4.79 \/ 5\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":56093960372559,"sku":"ABLU24951","price":55.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/files\/Don_Cherry_-_Complete_Communion_1.webp?v=1759943205"},{"product_id":"ornette-coleman-ornette-speakers-corner","title":"Ornette Coleman - Ornette","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eAlto Saxophone - \u003c\/span\u003eOrnette Coleman \u003cspan style=\"color: #ff8000;\"\u003e\u003ca title=\"Vinyl featuring Ornette Coleman\" href=\"https:\/\/www.audiosoundmusic.com\/collections\/ornette-coleman\" style=\"color: #ff8000;\"\u003e[click here to see more vinyl featuring Ornette Coleman]\u003c\/a\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003eBass – Scott LaFaro\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003eCover – John Jagel\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003eDrums – Ed Blackwell\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003eTrumpet – Don Cherry\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003eWritten by Ornette Coleman\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1 LP, standard sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal analog Master tape : YES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHeavy Press : 180g\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord color : black\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpeed : 33 RPM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSize : 12'’\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStereo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eStudio\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRecord Press : Pallas\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLabel : Speakers Corner\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOriginal Label :  Atlantic\u003c\/strong\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan lang=\"EN-GB\" style=\"mso-ansi-language: EN-GB;\"\u003eRecorded on January 31, 1961 at Atlantic Studios, New York City\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cmeta charset=\"utf-8\"\u003eRecorded by Tom Dowd\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eOriginally Released in 1962\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cstrong\u003e\u003cspan style=\"mso-ansi-language: EN-GB;\" lang=\"EN-GB\"\u003eReissued in 2025\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracks :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003eSide A\u003c\/p\u003e\n\u003col\u003e\n\u003cli class=\"MsoNormal\"\u003eW.R.U.\u003c\/li\u003e\n\u003cli class=\"MsoNormal\"\u003eT. \u0026amp; T.\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp class=\"MsoNormal\"\u003eSide B\u003cspan style=\"mso-tab-count: 2;\"\u003e              \u003c\/span\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli class=\"MsoNormal\"\u003eC. \u0026amp; D.\u003c\/li\u003e\n\u003cli class=\"MsoNormal\"\u003eR.P.D.D.\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReviews :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e« Recorded a little over a month after his groundbreaking work Free Jazz, this album found Coleman perhaps retrenching from that idea conceptually, but nonetheless plumbing his quartet music to ever greater heights of richness and creativity. Ornette! was the first time bassist Scott LaFaro recorded with Coleman, and the difference in approach between LaFaro and Charlie Haden is apparent from the opening notes of \"W.R.U.\" There is a more direct propulsion and limberness to his playing, and he can be heard driving Coleman and Don Cherry actively and more aggressively than Haden's warm, languid phrasing. The cuts, with titles derived from the works of Sigmund Freud, are all gems and serve as wonderful launching pads for the musicians' improvisations. Coleman, by this time, was very comfortable in extended pieces, and he and his partners have no trouble filling in the time, never coming close to running out of ideas. Special mention should be made of Ed Blackwell, with one of his finest performances. Ornette! is a superb release and a must for all fans of Coleman and creative improvised music in general. » AllMusic Review by Brian Olewnick\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003eRatings :\u003c\/strong\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAllMusic : 4 \/ 5, Discogs \u003c\/span\u003e: \u003cspan class=\"ratingValue\"\u003e\u003cspan\u003e5\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\/ 5\u003c\/span\u003e\u003c\/p\u003e","brand":"AudioSoundMusic","offers":[{"title":"Default Title","offer_id":56578793046351,"sku":"EUROS1378","price":38.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3811\/7783\/files\/Captured_ecran2025-12-08a22.37.14.png?v=1765229876"}],"url":"https:\/\/www.audiosoundmusic.com\/fr\/collections\/don-cherry.oembed","provider":"AudioSoundMusic","version":"1.0","type":"link"}