This was an album that changed my perceptions about jazz and Ornette Coleman when I bought the LP in the late 70s; it expanded my own playing and opened up the whole New Jazz/Free Improvisation scene to me and it`s little wonder this and it`s companion volume are regarded as landmark recordings in Colman`s discography.
The music has been beautifully remastered and the addition of three extra tracks (adding some 36 minutes extra playing time to the original release) provides a chance to compare and consider both the original tracks and the group`s performance approach on different nights. I think the fact that it is live and the trio is a relatively exposed unit with only Coleman to the fore as the sole vocal instrument, the music has an intensity and searching urgency about it; the level of interaction between all three musicians is really remarkable – and very different from the studio albums of his classic Atlantic quartets.
I`m very please to have caught up with this again on CD; the total run time of the disc is just short of 76 minutes – check out the sound samples above.
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.
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.
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.
Three musicians; three instruments : alto sax, bass and drums and free form jazz! Sound like. Recipe for a disaster, yet the music here is enthralling. The music is surprisingly melodic and the empathy between the three nothing short of amazing. The music is recorded live in Stockholm and the audience certainly inspire the three musicians to give a very fine performance. I find the music totally captivating and enthralling. Wonderful.
The now sadly late Ornette Coleman (1930-2015) was an innovator, a clear-thinking, clean-toned musical ringleader, and a lyrically inclined Texan jazzman who made some of the most refreshing and invigorating records of the postwar era. In 1965 he took bass virtuoso David Izenzon (1932-79) and energetic drummer Charles Moffett (1929-97, like Ornette a native of Fort Worth) to Sweden to play a few nights at Stockholm's Golden Circle club. These fizzing, gloriously uplifting sides are the result. Thank heaven someone thought to tape them, since they are at the centre of the alto sax player's recorded achievement. What you get on the two Blue Note discs, now remastered and with extra tracks - including the boisterous, previously unreleased Doughnuts on this first volume - are three people playing virtually as one, though with the positive creative tensions that come from a strong-minded leader and two equally forceful sidemen. All three play their hearts out. Each number is worth your time, but the slower Dawn is quite beautiful, and deserves to be singled out from its 'noisier' companions. What strikes me about these CD reissues is that they somehow sound so much better than the LPs ever did, warmer and less 'dry'. I remember the first time I heard these tracks - many years ago now - and finding them hard to love. Not now. I expect I've changed, but I think it's also down to some magic in the new mix too. Whatever it is, to me these are essential jazz classics from a man who oozed music, and who changed the language of modern jazz as surely as did Parker, Miles or Coltrane. Buy, as they say, with confidence.