Ornette Coleman (March 9, 1930 - June 11, 2015) was an American jazz saxoph… Read Full Bio ↴Ornette Coleman (March 9, 1930 - June 11, 2015) was an American jazz saxophonist, violinist, trumpeter, and composer. He was one of the founders and major innovators of the 1960s free jazz movement and one of the most notable figures in jazz history.
Coleman was born in 1930 in Fort Worth, Texas where he participated in his high school band until being dismissed for improvising during "The Washington Post" march. He began performing rhythm and blues and bebop, initially on tenor saxophone. He later switched to alto, which has remained his primary instrument. Coleman's timbre is perhaps one of the most easily recognized in jazz; his keening, crying sound draws heavily on the blues. Part of the uniqueness of his sound came from his use of a plastic saxophone on his classic early recordings (Coleman claimed that it sounded drier, without the pinging sound of metal), though in more recent years he has played a metal saxophone.
Coleman is most famous for his albums The Shape of Jazz to Come (1959), Free Jazz (1961), and Skies of America (1972). In The Shape of Jazz to Come, he and his famous quartet, consisting of Don Cherry on trumpet, Charlie Haden on upright bass, and Billy Higgins on drums, play solos free of a chordal structure, due in part to the absence of the pianist or guitarist that had been traditional in jazz. On Free Jazz, Coleman brings together his quartet from the previous album, together with multi-instrumental reedist Eric Dolphy, trumpeter Freddie Hubbard, bassist Scott LaFaro, and drummer Ed Blackwell for a forty-minute double-quartet recording. This recording was perhaps his most controversial because it featured dense instrumentation with only brief and dissonant moments of composition, allowing for horn players to chime in to accompany the soloist, and because it contributed the name "Free Jazz" to the avant-garde jazz movements of the 1960s. Skies of America is Coleman's first symphony, recorded by the London Symphony Orchestra. Coleman can be heard playing on this recording, beginning with the movement "The Artist in America".
In the 70s, Coleman, like Miles Davis before him, took to playing with electrified instruments. The 1976 jazz-funk album Dancing in Your Head, Coleman's first recording with the group which later became known as Prime Time, prominently featured electric guitars. While this marked a stylistic departure for Coleman, the music maintained certain similarities to his earlier work. These performances had the same angular melodies and simultaneous group improvisations – what Joe Zawinul referred to as "nobody solos, everybody solos" and what Coleman called 'harmolodics' – and although the nature of the pulse was altered, Coleman's rhythmic approach did not. Harmolodics encompassed the central musical approach of Coleman's later period, and he has explained it variously in depth, particularly in an interview with the WIRE magazine 257, July 2005 issue.
In the 1980s, albums like Virgin Beauty and Of Human Feelings continued to use rock and funk rhythms, sometimes called free funk. Jerry Garcia played guitar on three tracks from Coleman's 1988 album Virgin Beauty: "Three Wishes", "Singing in the Shower", and "Desert Players". Coleman joined the Grateful Dead on stage once in 1993 during "Space", and stayed for "The Other One", "Stella Blue", Bobby Bland's "Turn on Your Lovelight", and the encore "Brokedown Palace". Another collaboration was with guitarist Pat Metheny, with whom Coleman recorded Song X (1985); though released under Metheny's name, Coleman was essentially a co-leader, having contributed to all the compositions.
In 1991, Coleman played on the soundtrack for David Cronenberg's Naked Lunch; the orchestra was conducted by Howard Shore. It is notable among other things for including a rare sighting of Coleman playing a jazz standard: Thelonious Monk's blues line "Misterioso". The mid-1990s saw a flurry of activity from Ornette: he released four records in 1995 and 1996, and for the first time in many years worked regularly with piano players (either Geri Allen or Joachim Kühn).
In September 2006 a live album titled Sound Grammar with his newest quartet (Denardo drumming and two bassists, Gregory Cohen and Tony Falanga) was released. This was Coleman's first album of new material in ten years, and was recorded in Germany in 2005. It eventually won the 2007 Pulitzer Prize for music, making Coleman only the second jazz artist to win the prize.
Coleman continued to push himself into unusual playing situations, often with much younger musicians or musicians from radically different musical cultures. An increasing number of his compositions, while not ubiquitous, have become minor jazz standards, including "Lonely Woman", "Peace", "Turnaround", "When Will the Blues Leave?", "The Blessing", "Law Years", "What Reason Could I Give" and "I've Waited All My Life". He has influenced virtually every saxophonist of a modern disposition, and nearly every such jazz musician, of the generation that followed him. His songs have proven endlessly malleable: pianists such as Paul Bley and Paul Plimley have managed to turn them to their purposes; John Zorn recorded Spy vs Spy (1989), an album of extremely loud, fast, and abrupt versions of Coleman songs. Finnish jazz singer Carola covered Coleman's "Lonely Woman" and there have even been progressive bluegrass versions of Coleman tunes (by Richard Greene).
Ornette Coleman died of a cardiac arrest at the age of 85 in New York City on June 11, 2015. His funeral was a three-hour event with performances and speeches by several of his collaborators and contemporaries.
Coleman was born in 1930 in Fort Worth, Texas where he participated in his high school band until being dismissed for improvising during "The Washington Post" march. He began performing rhythm and blues and bebop, initially on tenor saxophone. He later switched to alto, which has remained his primary instrument. Coleman's timbre is perhaps one of the most easily recognized in jazz; his keening, crying sound draws heavily on the blues. Part of the uniqueness of his sound came from his use of a plastic saxophone on his classic early recordings (Coleman claimed that it sounded drier, without the pinging sound of metal), though in more recent years he has played a metal saxophone.
Coleman is most famous for his albums The Shape of Jazz to Come (1959), Free Jazz (1961), and Skies of America (1972). In The Shape of Jazz to Come, he and his famous quartet, consisting of Don Cherry on trumpet, Charlie Haden on upright bass, and Billy Higgins on drums, play solos free of a chordal structure, due in part to the absence of the pianist or guitarist that had been traditional in jazz. On Free Jazz, Coleman brings together his quartet from the previous album, together with multi-instrumental reedist Eric Dolphy, trumpeter Freddie Hubbard, bassist Scott LaFaro, and drummer Ed Blackwell for a forty-minute double-quartet recording. This recording was perhaps his most controversial because it featured dense instrumentation with only brief and dissonant moments of composition, allowing for horn players to chime in to accompany the soloist, and because it contributed the name "Free Jazz" to the avant-garde jazz movements of the 1960s. Skies of America is Coleman's first symphony, recorded by the London Symphony Orchestra. Coleman can be heard playing on this recording, beginning with the movement "The Artist in America".
In the 70s, Coleman, like Miles Davis before him, took to playing with electrified instruments. The 1976 jazz-funk album Dancing in Your Head, Coleman's first recording with the group which later became known as Prime Time, prominently featured electric guitars. While this marked a stylistic departure for Coleman, the music maintained certain similarities to his earlier work. These performances had the same angular melodies and simultaneous group improvisations – what Joe Zawinul referred to as "nobody solos, everybody solos" and what Coleman called 'harmolodics' – and although the nature of the pulse was altered, Coleman's rhythmic approach did not. Harmolodics encompassed the central musical approach of Coleman's later period, and he has explained it variously in depth, particularly in an interview with the WIRE magazine 257, July 2005 issue.
In the 1980s, albums like Virgin Beauty and Of Human Feelings continued to use rock and funk rhythms, sometimes called free funk. Jerry Garcia played guitar on three tracks from Coleman's 1988 album Virgin Beauty: "Three Wishes", "Singing in the Shower", and "Desert Players". Coleman joined the Grateful Dead on stage once in 1993 during "Space", and stayed for "The Other One", "Stella Blue", Bobby Bland's "Turn on Your Lovelight", and the encore "Brokedown Palace". Another collaboration was with guitarist Pat Metheny, with whom Coleman recorded Song X (1985); though released under Metheny's name, Coleman was essentially a co-leader, having contributed to all the compositions.
In 1991, Coleman played on the soundtrack for David Cronenberg's Naked Lunch; the orchestra was conducted by Howard Shore. It is notable among other things for including a rare sighting of Coleman playing a jazz standard: Thelonious Monk's blues line "Misterioso". The mid-1990s saw a flurry of activity from Ornette: he released four records in 1995 and 1996, and for the first time in many years worked regularly with piano players (either Geri Allen or Joachim Kühn).
In September 2006 a live album titled Sound Grammar with his newest quartet (Denardo drumming and two bassists, Gregory Cohen and Tony Falanga) was released. This was Coleman's first album of new material in ten years, and was recorded in Germany in 2005. It eventually won the 2007 Pulitzer Prize for music, making Coleman only the second jazz artist to win the prize.
Coleman continued to push himself into unusual playing situations, often with much younger musicians or musicians from radically different musical cultures. An increasing number of his compositions, while not ubiquitous, have become minor jazz standards, including "Lonely Woman", "Peace", "Turnaround", "When Will the Blues Leave?", "The Blessing", "Law Years", "What Reason Could I Give" and "I've Waited All My Life". He has influenced virtually every saxophonist of a modern disposition, and nearly every such jazz musician, of the generation that followed him. His songs have proven endlessly malleable: pianists such as Paul Bley and Paul Plimley have managed to turn them to their purposes; John Zorn recorded Spy vs Spy (1989), an album of extremely loud, fast, and abrupt versions of Coleman songs. Finnish jazz singer Carola covered Coleman's "Lonely Woman" and there have even been progressive bluegrass versions of Coleman tunes (by Richard Greene).
Ornette Coleman died of a cardiac arrest at the age of 85 in New York City on June 11, 2015. His funeral was a three-hour event with performances and speeches by several of his collaborators and contemporaries.
Poetry
Ornette Coleman Lyrics
We have lyrics for 'Poetry' by these artists:
"Luci" A.K.A Oreo Da Pimp Imagine life where You got to stop being how you are And…
2Pac Poetry has a beat like no other Words of inspiration You can…
2pac/Amber & Morgan Of Pacskids Some things I've done make my conscience burn My very spine…
Aberfeldy I've got a bone to pick with you I've got a…
Amber & Morgan of Pacskids Some things I've done make my conscience burn My very spine…
Andrés I know I'm the villain in your poetry I know I'm…
B.Ranzyk I’m gonna pass out I’m gonna black out Any minute in the…
Boogie Down Productions Verse One: KRS-One Well now you're forced to listen to the…
Chef! Dear Poe I have to make sure I get this off…
Cormega [Intro: Black Ice] Yo, yo Nas. Big and Pac didn't…
Danity Kane When I stand in a crowded room I feel alone like…
David Deacon If I knew what had sent you Could I ask it…
Devin Kennedy Love is not a quick read with cheap rhymes Or clichés…
DJ Marky & Solah I can give you some Of my poetry But can't give you All…
DJ Scott La Rock & Krs-One Yea Yea Yea Had to count my chips in the life…
Dog & Sky I am just a common man Words are not my style And…
E&J She loves me, she loves me not Roses are red, cannot…
Elin Synnøve Bråthen POETRY Any old song will ring sweetly if you'll only linger…
Esham [Talking continues from Detroit 101] Heh, see, it's a conspi…
ËþÃ×ÑÇ(Tamia) He said, It's like the grass that grows between the…
F.O.B Pook Yea Yea Yea In my rhyme book With verses and a hook Creating…
Faithless Have you looked for the Poetry beneath the surface Looked be…
galdive (It′s poetry not poetry) I'm feeling not good today (today)…
Galdive feat. love-sadKiD I'm feeling not good today (today) Don't wanna write poetry …
Grace and Julian Have you ever had a moment you couldn't tell the girl…
J.Kas She loves me, she loves me not Roses are red, cannot…
Jay Eskar Rooftop, 2 am cnother crazy night and we're back again On re…
Jimi Cravity All you lovers and friends Come in, come in Have a seat…
Julian Thomas Have you ever had a moment You couldn't tell the girl…
June Freedom Mi gal, ya look so sweet now (You know) Mi gal,…
Junichi Kamiyama J.Project Poetry Fuck this shit up - no apologies Prophecy You know I…
K.D. Nice Yea Yea Yea In my rhyme book With verses and a hook Creating…
Kid CLASE I tried to tell her ugh yeah Tried to tell her…
Kubus en B.A.N.G. Yea Yea Yea Had to count my chips in the life…
LaLion Recently I′ve seen the demons feeding on my family Doubling …
Lily Frost You used to write me poetry And I knew that it…
Lord Simmy Red light, green light We pouring up a purple pint Foot up…
Los I only miss you when the sun goes down Oh, your…
M.N.I.W Oh, this what we doin'? Aight, alright, bet I gotta get a…
Maino Uh, uh, uh, uh Uh, uh, uh Uh, uh, uh, uh (yeah) Uh,…
Majid Estaque G, [7/14/2022 2:47 cM] Naya saal pehla rap karu kill…
Me Me Me Bury down inside of my frame You'll give out in a…
Moddi I'll bury my downcast hours in transparent ink Tie myself t…
Pat Green Some things I've done make my conscience burn My very spine…
Plans and Apologies I write poetry for you I travel, travel for you You know…
Q-Tip QTip Can you picture how a melody can stir into existance…
Q-Tip feat Erykah Badu I wanna know… Yeah I wanna know Just let me know… I wanna kn…
Q-Tip feat. Erykah Badu QTip Can you picture how a melody can stir into existance…
R.3.D Yea Yea Yea In my rhyme book With verses and a hook Creating…
Ray Davies I just got back from a walk down the square To…
Roy Hargrove (Feat Q-Tip Erykah Badu Meshell Ndegeocello I wanna know… Yeah I wanna know Just let me know… I wanna kn…
SeeLife We so caught up in the rainfall We forget that the…
Soul-Funk Waking up daily mementos of lost grief Type of deceit can't…
StanWill Like, huh, hold on, huh Let the lab chain swing But this…
Tamia He said, it's like the grass that grows Between the cracks…
Teitur There was a party last night, last night Cigarettes and empt…
The Drunken Ramblings I can’t shake the sense I’m drowning You push me…
The RH Factor Can you picture how a melody can stir into existence? Rhyth…
The RH Factor Q-Tip Erykah Badu Can you picture how a melody gets thought into existence? Rh…
Theo Blue Tryna get a letter to you Let you know that I…
TYMA & Levi We don't read and write poetry because it's cute. We read…
who? I wnet down to the shop, to buy a pack…
Wilderness of Tekoa I've fallen down with you The burn and sting cuts through …
Wrabel It was that summer I learned your number Like it was my…
Zia Mohyeddin رات یوں دل میں تیری کھوئی ہوئی یاد آئی جیسے ویرانے…
We have lyrics for these tracks by Ornette Coleman:
All My Life I've waited all my life for you and now you're here you neve…
Bird Food [Instrumental]…
Embraceable You Embrace me, my sweet embraceable you! Embrace me, you irrepl…
Free Jazz Unga boinga, this music sucks. this music sucks. random nois…
How Deep is the Ocean How much do I love you? I'll tell you no lie How…
How Deep Is The Ocean? How much do I love you? I'll tell you no lie How…
Lover Come Back To Me You went away I let you We broke the ties that bind I…
Poise Some nights we got too high to fall asleep These nights…
Proof Readers BIG TYMERS Miscellaneous Big Tymers (Intro)"(feat. Bullet …
Una Muy Bonita [Instrumental]…
The lyrics are frequently found in the comments by searching or by filtering for lyric videos
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myuhlz
This is like the intro song for a 70s tv cartoon about a cool cat
Om Sadasiva
Γεια σου ρε Θάνο!
budzugan
awesome to the degree of perversion :)))
Andy S
haven't heard this one in a while. Got this album around 81. I would play it if I wanted people to leave. Free form at its finest.
Rita Licari
I'd a stayed
Rahul Kumar
@Jay M That's a wonderful track 👌👌
Jay M
Andy S I play “OM” by John Coltrane to get people out
Stephan Partyschaum Cay
lecker mehr ....
John Paradise
Perversion?
Rita Licari
Yea-I'mwith ya on the question here-How so-it's almost regular r and b-that's not a knock-it's just what it is and not worried about itself either-then again who am I to speak for these guys-they're playin good music for me (another presumption here-but,,,,)
--Just that I dig them and it fosters curiousity------should probably just say Thanks!--and leave it at that---but as a singer-like most singers and especially us jazz types-I'm trying tofind a way in here-"Hey Ornette-guys? Can I sit in?-And then what?=----On well-as Bill Evans said-one thing at atime--