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.
Turnaround
Ornette Coleman Lyrics
We have lyrics for 'Turnaround' by these artists:
noredirect/Devo take a step outside yourself then you turn around take a loo…
Caithlin De Marrais Turn around let me see what you've got on Turn around…
Candy West You′vebeen waiting for a breakthrough And it feels like it j…
Chikita Violenta Looking for the things you want but you can't find Or…
Cosmonaut on Vacation Turnaroud…
Curve I can hear her in the background But she's a…
Daniel Trakell Take the sermon in your head Throw it out, see what…
Deco Auto Take what I'm thinking Take what I'm feeling Give or take Ga…
Dru Chen There you go on your own and you've no place…
Guardian Jenny's sixteen, she was feelingDown; living on the edge in …
Innocent Bystander Walk right out on me As I'm going out Into the waters…
J Prince Da one ya fi do shotta dem All ah mi friend…
Jay Beckenstein chanting…
Jimmie Rodgers Where are you going My little one Little one Where are you g…
Jimmy Swift Fighting just to keep it together I'm fighting just to keep…
KITCHEN + 1 - Nirvana Take a step outside yourself And turn around Take a look at…
Ladon Yeah Figured it out, turned it around I see clearly now Limi…
Low Level Flight Growing up with you was torture Watching all the things you…
Madcap We've been fighting way too long now I don't know if…
Matthew West This rock is tied around my ankle This thorn is…
NEEDTOBREATHE God saved the day 'Cause I'm on the take, yeah I need…
Nirvana Take a step outside yourself And turn around Take a look at…
Nirvana攀 Take a step outside yourself And turn around Take a look a…
Perry Como Turnaround, turnaround, Turnaround and you're a young girl …
Phats Hey, what's wrong with you? You're lookin' kind of down to…
Phats & Small Hey! What's wrong with you? You're looking kinda down to…
Post Saga You come up to my front door And act like you've…
Pride of Lions Turnaround, my love blind lady Turnaround, don't walk so fa…
Robert Plant Walk around in my life Keep your money in your hand Look…
Royal Thunder Hey, I was doing just fine before I met you I…
Shallow Pools Wading deeper Changing with the tides Fighting off the under…
Stan Rogers Bits and pieces you offered Of your life; I didn’t think…
The Jimmy Swift Band Fighting just to keep it together I'm fighting just to keep…
The Pacifiers So it goes my love We found another way As it goes…
The Rare Occasions We all wait for the turnaround The fall of our despair For…
The Subways God bless her lonely soul She said you'll never ever see You…
The Subways [ALL OR NOTHING 2008] God bless her lonely soul She said you'll never ever see Y…
Toth I stumbled to the bar as the sun was rising I…
Whiskeytown Want to cross but I don't think I can It's…
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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Liam Watson
I love all the quartet’s work. They were very influential and inspiring.
Jeff Dawson
Manne and Mitchell are “square” visitors in this group, but how I wish they’d stayed a little longer. This is a top favorite Ornette album of mine because of that balance, space over cacophony. The bass sings here.
Alejandra Carolina Duarte Flores
Me encanta la música 🎷
pedro a. cantero
Ornette me recuerda en estos tientos al joven Picasso que en pocos años acometería trancos de gigante con la seguridad de quien tiene por misión abrir paso, con la entereza de quién sabe de antemano que nada le será dado sin riesgo, al modo de aquellos adelantados que abrían camino por quebradas y espesuras desconocidas, descubriendo horizontes sin cesar superados.
john ross ack
this is such a killing tune!!!!!!!!!!!!!
Mario Ramos
Cuando un amigo se va a los jardines del oriente eterno . QEPD querido Néstor . Ornette suena por vos esta noche.
Fils de Jean Noir
Thanks so much for uploading! I love you forever! I own the original vinyl but don't have the setup to play it anymore.
60otaku4
You're very welcome, Fils de Jean Noir-san!!
Otaku4 (*^_^)/
jay1beaux
Beautiful
Fils de Jean Noir
3:58 Wow! I forgot how crisp Cherry was!