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Product Description
Amazon.co.uk
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
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CD
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Most Helpful Customer Reviews
7 of 7 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.
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.
6 of 6 people found the following review helpful
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.
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.
3 of 3 people found the following review helpful
By A. Butler
Format:Audio CD|Amazon 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.
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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