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The Ornette Coleman Trio At the Golden Circle, Vol. 1 [Extra tracks, Live, Original recording remastered]

Ornette Coleman Audio CD
4.7 out of 5 stars  See all reviews (3 customer reviews)
Price: 5.86 & FREE Delivery in the UK on orders over 10. Details
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The Ornette Coleman Trio At the Golden Circle, Vol. 1 + The Ornette Coleman Trio At the Golden Circle, Vol. 2 + Six Classic Albums [Audio CD] Ornette Coleman
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Product details

  • Audio CD (7 Jan 2002)
  • Number of Discs: 1
  • Format: Extra tracks, Live, Original recording remastered
  • Label: EMI
  • ASIN: B00005UMTT
  • Other Editions: Audio CD  |  MP3 Download
  • Average Customer Review: 4.7 out of 5 stars  See all reviews (3 customer reviews)
  • Amazon Bestsellers Rank: 29,775 in Music (See Top 100 in Music)

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Songs from this album are available to purchase as MP3s. Click on "Buy MP3" or view the MP3 Album.

Song Title Time Price
Listen  1. Announcement (Live) 1:090.99  Buy MP3 
Listen  2. Faces And Places (Live)11:372.49  Buy MP3 
Listen  3. European Echoes (Live) 7:530.99  Buy MP3 
Listen  4. Dee Dee (Live)10:3812.99  Buy MP3 
Listen  5. Dawn (Live) 8:070.99  Buy MP3 
Listen  6. Faces And Places (Alternate) [Live] 8:320.99  Buy MP3 
Listen  7. European Echoes (Alternate) [Live]14:132.49  Buy MP3 
Listen  8. Doughnut (Live)13:302.49  Buy MP3 

Product Description

Recorded in Sweden in 1965, these celebrated recordings marked Ornette Coleman's return to activity following a three-year self-imposed exile from public performance. In contrast to the compact, earthy swing that characterised his groundbreaking quartet recordings for Atlantic (collected on the vaunted Beauty Is a Rare Thing box), here Coleman projects his speech-like melodicism in paragraphs rather than poems, stretching out as if a creative dam had burst. David Izenzon's agility in the bass's high register and liquid time anchor Coleman's flights of fancy, while Charles Moffett's inventive yet unobtrusive cymbal work adds drama to the overall group dynamic. Few musicians embody the discipline of spontaneity with the unbridled joy Coleman brings to each of these four cuts, and on At the Golden Circle, Volume 2 as well. An inspiring disc. --Jed Distler

Product Description

CD Rudy Van Gelder Serie

Customer Reviews

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4.7 out of 5 stars
4.7 out of 5 stars
Most Helpful Customer Reviews
8 of 8 people found the following review helpful
By Jazzrook TOP 500 REVIEWER
Format:Audio CD
I was lucky enough to see the UK debut of this trio at the legendary Fairfield Hall concert in August,1965 (Now available on CD as 'The Croydon Concert'). The music on this CD recorded at 'The Golden Circle', Stockholm on December 3/4, 1965 comes close to the brilliance of the trio's performance at that Croydon gig.
Ornette's alto playing is superbly melodic, David Izenzon is imaginative on arco and pizzicato bass while Charles Moffett is a hard-swinging and boisterous drummer.
With good sound quality for a live recording and 3 bonus tracks giving over 75 minutes playing time this marvellous Rudy Van Gelder Edition(2002) is an ideal introduction to the music of Ornette Coleman.
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7 of 7 people found the following review helpful
4.0 out of 5 stars Live at the Golden Circle vol.1 -- a review 10 Dec 2005
By J. D. Naylor TOP 1000 REVIEWER
Format:Audio CD
Love him or hate him - genius or chump ? You just can't ignore Ornette Coleman and the influence this man has had on modern jazz.Even if the whole free jazz movement leaves you uninterested,confused or just plain bored you should at least give this album a chance to work it's way into your subconcious and give you an appreciation of Mr Coleman.
This album hears him live at the Golden Circle in Stockholm - Sweden and he is in rare form indeed.The club atmosphere is good and so is the live sound (especially for 1960).
European echos is the pick of the album for me which is simplicity in itself.The piece has a simple waltz like melody which Ornette bases his subtle but effective improvisations around and achieves complexity and simplicity all in the same piece.
This is ground breaking music that deserves to be listened to and appreciated for what it did for improvised music for decades to come.
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3 of 3 people found the following review helpful
5.0 out of 5 stars Essential Reissue, if you like Ornette 22 Mar 2009
Format:Audio CD|Verified Purchase
A great sounding recording of Ornettes groundbreaking trio. This album is a fine example of the new direction that Coleman developed after the original OC quartet had disbanded. He's re-thought his playing and his leadership style completely, abandoning the be-bop jazz structures which informed his earlier work, seeming to lead simply by blowing a melodic line and allowing full freedom to his band.
Charles Moffat starts impessively, coaxing a rather startling drone from his ride cymbal, not a convential sound, but perfectly suited to the occasion. His playing is as musical as ever a drummer could be, and is presented in glorius 3D by the recording.
David Izenson blends perfectly with Moffat in the rhythm role, and bows his bass to create beautiful mournful solos.
The re-issue pretty much doubles the length of the original LP, with 2 lengthy alternative versions and an extra composition. Really, what we have here is a two part cd, the alt takes mean this doesn't really add up to a musically satisfying whole, even though the versions are so interestingly different.
No matter, listen to the first half, then stop. Later on, come back and listen to the second half as an alternate remake (twin) of the first. The second half wouldn't have disappointed if released as a single LP, and the contrast presumably gives clues to the "harmolodic technique" of the bandleader. Coleman deliberately issued Hidden Man/Three Women as two "takes" of the same album, so I imagine he'd approve.
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Most Helpful Customer Reviews on (beta) 4.7 out of 5 stars  10 reviews
27 of 27 people found the following review helpful
5.0 out of 5 stars Unchained melody 22 Mar 2002
By A Customer - Published on
Format:Audio CD
A true definition of Ornette Coleman 's idiosyncratic theory of harmolodics eluded this listener in the spring of -66 when I bought this record. The leader's R&B Texas wail, the bassist David Izenson plays as if every note was his last. It's all here: the nascent bag of bends, trills, and double stops that mark Coleman's later work, the weaving of others' solos into the evolving quilt of composition, the ardent commitment to unchained melody on all levels, and a deep, soulful tone that embraces gospel and the Deep South. Couldn't get it. Then in the winter of -67 I was stationed up north in Finland, was in the army and there was a jazz... as a sergeant and he, of all people in the universe, played this music in his room. Amazin stuff, it hit me, and out went the Beatles, Stones, Animals, at least for a while and I realized that I'd finally found the music that speaks directly to your gut. Music that comes from soewhere deep inside Coleman, and not only him, but from some form a collective subconscious of wishes and dreams that he can connect with. I salute the sergeant and still remember with fondness our colemanesque moments in a not so jazz-friendly environment. True, great music is like that. It touches you deep inside and you come out of it a different person.
9 of 9 people found the following review helpful
5.0 out of 5 stars Ornette: Open to the public - part 1 23 Jan 2002
By G. Schramke - Published on
Format:Audio CD
Blue Note did a great job with the reissue of this music. Actually it seems to have been one of the really rare occasions, when Ornette Coleman accepted to perform at a Jazz Club, since it is a known fact, that he feels about his music as being more suitable for concert halls. Playing a club date, Ornette obviously felt about sounding a little more "in the groove" than usually. That's just the way, how things start off with "Faces and Places". Nevertheless, he remains faithful to his style, namely to his harmolodic explorations while improvising. This group was really a great one, both David Izenzon on bass with his immaculate arco playing and Charles Moffett with some very powerful drumming are fascinating. Sometimes their telepatic understanding (abrupt changes of key and tempo) can be compared to the legendary teamwork of Mingus and Richmond. "Down" is one of those really haunting ballad compositions, just beautiful. Listening to "Dee Dee" with it's latin-based theme, one can imagine hearing this kind of music being interpretated by one of Coleman's later "Prime Time"-groups, it's really suitable for both acoustic and electric surroundings. As usual for the wonderful RVG-Reissues, we have the opportunity to listen to lengthy bonus tracks, among them a really long version of "European Echoes".
12 of 13 people found the following review helpful
5.0 out of 5 stars Less is More 23 Feb 2002
By Todd Ebert - Published on
Format:Audio CD
The gigs the Ornette Coleman Trio played at the Golden Cirkeln must have been very memorable for those in attendance. I enjoy most the way Ornette, bass-player Izenzon, and drummer Moffett take on the task of remaining in synch in this free-jazz type setting. Both Moffett and Inzenzon seem to always know how to recover during Ornette's many spontaneous excursions.
Furthermore, there is nothing pretentious about this music. Ornette seems to have a theme for each song, and the trio takes it from there. "European Echoes" is my favorite because of its simplicity and humor. I think all musicians should listen to Coleman's music as a means for understanding how to make good music through being real and spontaneous, for those qualities seem to be at the heart of the creative process.
6 of 6 people found the following review helpful
5.0 out of 5 stars Great saxophone trio 26 Jan 2002
By G B - Published on
Format:Audio CD
Ornette Coleman emerged from retirement in 1965 with one of his most exciting groups -- a trio featuring bassist David Izenzon and drummer Charles Moffett. It's great to hear Ornette stretch out more than in the early Atlantic recordings and his interplay with Izenzon and Moffett is practically telepathic. Ornette's playing is lively, humorous, and very melodic; he plays alto sax exclusively on this CD.
This RVG reissue almost doubles the playing time of the original CD issue, with alternate takes of the freebop gem "Faces and Places" and the goofy waltz "European Echoes" as well as the previously unreleased "Doughnuts". Volume 2 is also great though slightly more "out".
2 of 2 people found the following review helpful
5.0 out of 5 stars Will the Circle Be Unbroken After All 12 May 2009
By Giordano Bruno - Published on
Format:Audio CD
This live performance, recorded at a club in Stockholm in 1965, has three tracks on it that I think are the best Ornette Coleman ever played. Two are definitely "bebop on high ethyl" - 'Dee Dee' & 'Doughnut' - while the third, 'Dawn', is Coleman's most convincing demonstration that he could play lyrically when he so chose. The trio that Ornette took to Europe included Charles Moffet on drums, for the octane drive, and David Izenson on bass, for the suave conceptual lyricism. They were a remarkable mesh of contrasts.

Ornette's first LP, "The Shape of Jazz to Come", caught me in my first year of college still listening mostly to West Coast melancholia. Ornette was playing a plastic alto sax that had all the tonal beauty of a hamster on a rusty exercise wheel, but that woke my ears to a kind of music made from raw energy. As it turned out, Ornette's sound wasn't "the shape of jazz" for long, not even for Coleman himself. It was too ornately crude, too obviously effortful, and by 1965 Ornette was ready to "fess up" that he really could play the saxophone with grace, that he had not only energy but also fresh harmonic and rhythmic ideas. That was also the decade of Albert Ayler, Cecil Taylor, and other outrageously bold innovators, but Ornette Coleman has remained for many jazz fans the outer limit of comprehensibility. 'Farther out' than Ornette, there are only the European "Free Jazz" musical terrorists.

If you've never heard Ornette Coleman, I can't guarantee that you'll love him on first or second listening. His music may seem deliberately crude and/or chaotic. On this CD at least, on the three tracks I named, it's certainly not chaotic, and the more I listen, the more of Charlie Parker's ghost I hear. Coleman has shaped jazz over the last 40 years, not exactly in his acoustic image but with nervous attention to his fierce independence from any pop crossover commercial impulses. Coleman is more than free; he's pure.
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