{"title":"Ornette Coleman","description":"\u003cp class=\"font-claude-response-body whitespace-normal break-words\"\u003eOrnette Coleman was an American jazz saxophonist, trumpeter, violinist and composer best known as a principal founder of the free jazz genre, a term derived from his 1960 album \u003cem\u003eFree Jazz: A Collective Improvisation\u003c\/em\u003e. Born March 9, 1930 in Fort Worth, Texas, he taught himself to play the saxophone when he was a teenager. His pioneering works often abandoned the harmony-based composition, tonality, chord changes and fixed rhythm found in earlier jazz idioms, instead emphasising an experimental approach to improvisation rooted in ensemble playing and blues phrasing.\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body whitespace-normal break-words\"\u003eIn November 1959, his quartet began a controversial residency at the Five Spot jazz club in New York City and released \u003cem\u003eThe Shape of Jazz to Come\u003c\/em\u003e, his debut for Atlantic Records. The album was a watershed event in the genesis of avant-garde jazz, profoundly steering its future course. His compositions 'Lonely Woman' and 'Broadway Blues' became genre standards cited as important early works in free jazz. In the mid-1970s, he formed the group Prime Time and explored electric jazz-funk and his concept of harmolodic music. His 2006 album \u003cem\u003eSound Grammar \u003c\/em\u003ereceived the Pulitzer Prize for Music, making Coleman the second jazz musician ever to receive the honour. He died on June 11, 2015 in New York City.\u003c\/p\u003e","products":[{"product_id":"ornette-coleman-trio-at-the-golden-circle-stockholm-vol-2-us-blue-note-with-japanese-obi","title":"Ornette Coleman Trio - At The Golden Circle Stockholm Vol. 2 (US Blue Note with Japanese Obi)","description":"\u003cp\u003e\u003cb\u003eVinyl\u003c\/b\u003e: EX\u003cbr\u003e\u003cb\u003eSleeve\u003c\/b\u003e: EX\u003cbr\u003e\u003cstrong\u003eObi:\u003c\/strong\u003e VG+\u003c\/p\u003e\n\u003cp\u003eOur grading system explained \u003ca href=\"https:\/\/dpbg4u-d1.myshopify.com\/pages\/secondhand-grading-guide\"\u003e\u003cb\u003ehere\u003c\/b\u003e\u003c\/a\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003ePhoto is of the actual item.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body whitespace-normal break-words\"\u003e \u003c\/p\u003e\n\u003cp class=\"font-claude-response-body whitespace-normal break-words\"\u003e\u003cstrong\u003eThe Ornette Coleman Trio - At The Golden Circle Stockholm Volume Two\u003c\/strong\u003e \u003cstrong\u003eVinyl LP - US Blue Note Pressing with Japanese Obi\u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cdiv class=\"grid-cols-1 grid gap-2.5 [\u0026amp;_\u0026gt;_*]:min-w-0\"\u003e\n\u003cp class=\"font-claude-response-body whitespace-normal break-words\"\u003eOne of the most important documents of free jazz, \u003cem\u003eAt The Golden Circle Stockholm Volume Two\u003c\/em\u003e captures Ornette Coleman's revolutionary trio in concert at Stockholm's Golden Circle club in December 1965. This remarkable copy represents a fascinating hybrid: an original US Blue Note pressing (circa 1973) distributed by Toshiba Musical Industries for the Japanese market, complete with Japanese obi strip marked \"direct import\" and remarkably still in its original shrink wrap with the obi outside the wrap.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv class=\"grid-cols-1 grid gap-2.5 [\u0026amp;_\u0026gt;_*]:min-w-0\"\u003e\n\u003cp class=\"font-claude-response-body whitespace-normal break-words\"\u003eBy 1965, Coleman had already fundamentally altered the course of jazz with his concept of \"harmolodics\" and his abandonment of predetermined chord changes in favour of collective improvisation guided by melody and emotion. This trio, featuring the sympathetic and adventurous bassist David Izenzon and drummer Charles Moffett, represented Coleman's working group during this period, and their musical telepathy is evident throughout these live performances.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv class=\"grid-cols-1 grid gap-2.5 [\u0026amp;_\u0026gt;_*]:min-w-0\"\u003e\n\u003cp class=\"font-claude-response-body whitespace-normal break-words\"\u003eThe four tracks showcase Coleman's multi-instrumental approach and compositional range. \"Snowflakes And Sunshine\" opens with Coleman on violin and trumpet, demonstrating his commitment to approaching all instruments with fresh ears, unencumbered by traditional technique. \"Morning Song\", \"The Riddle\", and \"Antiques\" feature his alto saxophone, the instrument on which his voice is most fully developed. His playing here is both lyrical and explosive, tender and confrontational, always singing a deeply personal blues inflected with harmonic freedom that was still shocking to many listeners in 1965.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv class=\"grid-cols-1 grid gap-2.5 [\u0026amp;_\u0026gt;_*]:min-w-0\"\u003e\n\u003cp class=\"font-claude-response-body whitespace-normal break-words\"\u003eIzenzon's bass playing deserves special mention. Rather than simply walking time or providing roots, he engages in genuine three-way conversation, sometimes mirroring Coleman's melodic ideas, sometimes providing rhythmic propulsion, and sometimes venturing into entirely independent territory. Moffett's drumming is equally liberated, responding to the moment rather than maintaining rigid timekeeping, yet always propelling the music forward with energy and purpose.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv class=\"grid-cols-1 grid gap-2.5 [\u0026amp;_\u0026gt;_*]:min-w-0\"\u003e\n\u003cp class=\"font-claude-response-body whitespace-normal break-words\"\u003eThis US pressing with Japanese distribution represents an unusual collecting opportunity: the sonic quality of an original US Blue Note pressing combined with the presentation elements that make Japanese jazz releases so appealing to collectors.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Blue Note","offers":[{"title":"Default Title","offer_id":42705839816763,"sku":null,"price":55.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_5099.jpg?v=1763006231"},{"product_id":"ornette-coleman-the-shape-of-jazz-to-come-1971-japanese-atlantic-stereo-lp","title":"Ornette Coleman - The Shape Of Jazz To Come (1971 Japanese Atlantic Stereo LP)","description":"\u003cp class=\"p1\"\u003e\u003cb\u003eVinyl\u003c\/b\u003e: EX\u003cbr\u003e\u003cb\u003eSleeve\u003c\/b\u003e: VG+\u003cbr\u003e\u003cstrong\u003eObi:\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003eNone\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan\u003eOur grading system explained \u003c\/span\u003e\u003ca href=\"https:\/\/dpbg4u-d1.myshopify.com\/pages\/secondhand-grading-guide\"\u003e\u003cspan class=\"s1\"\u003e\u003cb\u003ehere\u003c\/b\u003e\u003c\/span\u003e\u003c\/a\u003e\u003cspan\u003e.\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003ePhoto is of the actual item.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOrnette Coleman - \u003cem\u003eThe Shape Of Jazz To Come\u003c\/em\u003e\u003c\/strong\u003e \u003cstrong\u003eVinyl LP - 1971 Japanese Atlantic Jazz Age Series Stereo Reissue with Japanese Insert\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eOrnette Coleman's revolutionary 1959 album redefined jazz's possibilities, abandoning conventional chord changes in favour of collective improvisation guided by melody and emotion rather than harmonic structures. Recorded on 22 May 1959 with his quartet—cornetist Don Cherry, bassist Charlie Haden, and drummer Billy Higgins—this session sparked fierce debate while inspiring generations of musicians to explore beyond bebop's harmonic conventions. The six Coleman compositions, including the haunting \"Lonely Woman\" (featuring one of jazz's most memorable themes), demonstrate that freedom from chord changes didn't mean formlessness but rather new organisational principles based on melody, rhythm, and collective interaction. Released in Japan in September 1971 as part of Atlantic's Jazz Age series and manufactured by Warner Bros.-Pioneer Corporation, this stereo pressing includes Japanese liner notes insert.\u003c\/p\u003e\n\u003cp\u003eColeman's alto saxophone sound—crying, wailing, occasionally harsh—conveys emotion directly without bebop's virtuosic harmonic navigation, while Don Cherry's pocket cornet provides complementary voice with similarly vocal quality. The two horn players engage in conversations that sound both ancient (recalling early New Orleans polyphony) and utterly modern, their lines interweaving without harmonic constraints. Charlie Haden's bass work provides melodic and rhythmic foundation rather than conventional chord changes, while Billy Higgins' drumming swings intensely while supporting rather than directing the harmonic flow.\u003c\/p\u003e\n\u003cp\u003eBeyond the famous \"Lonely Woman\", tracks like \"Eventually\", \"Peace\", and \"Focus On Sanity\" demonstrate Coleman's gift for memorable melodies that serve as springboards for exploration. His compositions possess folk-like simplicity that belies their radical harmonic implications.\u003c\/p\u003e","brand":"Atlantic","offers":[{"title":"Default Title","offer_id":43187899367483,"sku":null,"price":70.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_5938.jpg?v=1770013367"},{"product_id":"ornette-coleman-double-quartet-free-jazz-1972-japanese-atlantic-stereo-gatefold-lp","title":"Ornette Coleman Double Quartet - Free Jazz (1972 Japanese Atlantic Stereo Gatefold LP)","description":"\u003cp class=\"p1\"\u003e\u003cb\u003eVinyl\u003c\/b\u003e: VG+\u003cbr\u003e\u003cb\u003eSleeve\u003c\/b\u003e: VG+\u003cbr\u003e\u003cstrong\u003eObi:\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003eVG+\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan\u003eOur grading system explained \u003c\/span\u003e\u003ca href=\"https:\/\/dpbg4u-d1.myshopify.com\/pages\/secondhand-grading-guide\"\u003e\u003cspan class=\"s1\"\u003e\u003cb\u003ehere\u003c\/b\u003e\u003c\/span\u003e\u003c\/a\u003e\u003cspan\u003e.\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003ePhoto is of the actual item.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e \u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003e\n\u003cstrong\u003eOrnette Coleman Double Quartet - \u003cem\u003eFree Jazz\u003c\/em\u003e | Vinyl LP - 1972 Japanese Atlantic Stereo Gatefold Reissue (P-6059A, Jazz Age Series, Warner Bros.-Pioneer Corporation)\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eOrnette Coleman assembled eight musicians at Atlantic Recording Studios on December 21, 1960, split them into two quartets and asked them to improvise simultaneously for as long as it took. Tom Dowd placed the two groups in stereo: Coleman's quartet - Coleman on alto, Don Cherry on pocket trumpet, Scott LaFaro on bass and Billy Higgins on drums - on the left channel; Dolphy's on the right, with Eric Dolphy on bass clarinet, Freddie Hubbard on trumpet, Charlie Haden on bass and Ed Blackwell on drums. The two quartets interact across the channels throughout, listening and responding to each other in real time.\u003c\/p\u003e\n\u003cp\u003eThe performance ran 36 minutes and 23 seconds. Coleman wrote a series of brief thematic cells that each musician was given in advance; beyond that there was no arrangement. The LP format required a fade at the end of Side A and a resume at the start of Side B; otherwise the record plays the session exactly as it unfolded. Nothing was edited, spliced or rerecorded.\u003c\/p\u003e\n\u003cp\u003eThe title aligned the album with a movement that had not yet been named at the moment of recording. When Atlantic released the album in February 1961, it arrived alongside Down Beat's Leonard Feather review awarding it zero stars - reportedly without his having heard the record. The rating was one of several gestures that defined the hostile critical reception free jazz initially encountered. Nesuhi Ertegun had bought Coleman's recordings regardless and found the Atlantic audience receptive enough to continue recording him through 1962.\u003c\/p\u003e\n\u003cp\u003eThis is the 1972 Japanese Atlantic gatefold reissue (P-6059A), Jazz Age series, manufactured by Warner Bros.-Pioneer Corporation.\u003c\/p\u003e","brand":"Atlantic","offers":[{"title":"Default Title","offer_id":43556145201211,"sku":null,"price":65.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_7165.jpg?v=1780122846"}],"url":"https:\/\/lushliferecords.com.au\/collections\/ornette-coleman.oembed","provider":"Lush Life Records","version":"1.0","type":"link"}