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.
Una Muy Bonita
Ornette Coleman Lyrics
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[Instrumental]
As it is an instrumental song, there are no lyrics to interpret. However, the music itself can be analyzed to understand the emotions it conveys to the listener. Ornette Coleman uses his saxophone to create a dynamic and upbeat melody that is reflective of the Latin rhythms of the Cuban dance, Cha Cha Cha. The repetitive and infectious melody gives the sense of joy and celebration, with the listener being swept up in the fun and energy of the music. The improvisation and solos by Coleman and the other musicians add depth and complexity to the melody, creating a nuanced experience for the listener.
Una Muy Bonita was recorded in 1970 and appeared on Coleman's album "Friends and Neighbors: Ornette Live at Prince Street." The song was inspired by Latin rhythms and was one of the few times Coleman used this style in his music. Coleman is known for his innovative approach to jazz, and "Una Muy Bonita" showcases his ability to blend different styles and genres together. The song remains popular among jazz enthusiasts and has been covered by various artists over the years.
Contributed by Peyton O. Suggest a correction in the comments below.
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@habege2408
Mein liebstes Stück meiner ersten Ornette LP.
@RAJANAWAB
I still dance to this after 50 years. It went through my head over and over when I first met my wife
@shishyupal
This is what jazz induces: being ready for bursts of various feelings on the spot, while maintaining the groove. It's not easy for the ear, but then with lots of listening of Coltrane, Miles, Dizzy, Parker, and Ornette, it becomes enjoyable. Listen the tracks according to your mood, never force yourself to listen just for listening. If it rains on a grey sunday afternoon, choose the piece you feel appropriate, same thing for the girl you're thinking of, etc. JAZZ !
@j3nn_
Gorgeous song, Charlie Haden's playing is perfect here. Didn't know Ornette was capable of such tender yet joyous compositions before this.
@farshimelt
Listen to Lonely Woman.
@ECP-xu5vj
@@farshimelt that's not joyous
@JazzobellDeux777
No doubt,this is the revolution in jazz,the best Coleman's album! Thanks for posting
@emilianoturazzi
a good album for sure, but I don't think it's is his best. the point is that actually I don't which is his best... I think there are some (not many) that are less good, but the good ones.... are almost all on the same level... I couldn't choose one.
@1scousers
Wonderful Ornette solo.
@yugang08
you hit the nail on the head! all these artists and their style of jazz has its place and time you can play it according to what you're in the mood for at the moment