George Coleman - George Coleman At Yoshi's - VINYL LP
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Double vinyl LP pressing. When any recording made by George Coleman is issued, it's an instant event. Though Coleman has always been busy performing, writing, and especially teaching, scant few LPs or CDs have come listeners' way. It is especially thrilling to hear him live in concert performance at the initial site of the then newly minted Yoshi's in Oakland, CA, as his extended techniques and heightened sense of tonal ideas come fully to the fore. Coleman and pianist Harold Mabern, both originally from the fertile jazz scene in Memphis, make the perfect tandem, ably supported by super pros in expatriate drummer Alvin Queen and veteran New York bassist Ray Drummond, both of whom Coleman played with when he was in Europe. There are many solemn, laid-back, and reflective moments from Coleman, as both of the opening tracks, 'They Say It's Wonderful' and 'Good Morning Heartache,' warm slowly and simmer at their easily swinging maximum, with the tenor man progressively squeezing out more and more notes in refined fashion. Never far from the soul of his homeland, 'Laig Gobblin' Blues' is a refreshing modal original by the leader, a 5/4 beat in a 12-bar idea, with 7/4 tossed in cleverly. The dignity and class of Coleman cannot be overemphasized, as he further displays on his neat and clean composition 'Father.' A lovely and loping 'Soul Eyes' is a perfect closer over it's nearly 17 minutes, giving pause to the thought that it was in fact Coleman who influenced John Coltrane. The quick, constantly forward-moving Freddie Hubbard standard waltz 'Up Jumped Spring' further shows a relationship between the tenor titans, with the band quoting Trane's 'Olé.' The talent of Mabern is formidable, tasteful, and exciting, as showcased during his rumbling chords during 'Io,' a killer modal track written by Paul Arslanian, as Coleman inserts a memorable singsong line and Queen injects som
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- GenreJazzDescriptionDouble vinyl LP pressing. When any recording made by George Coleman is issued, it's an instant event. Though Coleman has always been busy performing, writing, and especially teaching, scant few LPs or CDs have come listeners' way. It is especially thrilling to hear him live in concert performance at the initial site of the then newly minted Yoshi's in Oakland, CA, as his extended techniques and heightened sense of tonal ideas come fully to the fore. Coleman and pianist Harold Mabern, both originally from the fertile jazz scene in Memphis, make the perfect tandem, ably supported by super pros in expatriate drummer Alvin Queen and veteran New York bassist Ray Drummond, both of whom Coleman played with when he was in Europe. There are many solemn, laid-back, and reflective moments from Coleman, as both of the opening tracks, 'They Say It's Wonderful' and 'Good Morning Heartache,' warm slowly and simmer at their easily swinging maximum, with the tenor man progressively squeezing out more and more notes in refined fashion. Never far from the soul of his homeland, 'Laig Gobblin' Blues' is a refreshing modal original by the leader, a 5/4 beat in a 12-bar idea, with 7/4 tossed in cleverly. The dignity and class of Coleman cannot be overemphasized, as he further displays on his neat and clean composition 'Father.' A lovely and loping 'Soul Eyes' is a perfect closer over it's nearly 17 minutes, giving pause to the thought that it was in fact Coleman who influenced John Coltrane. The quick, constantly forward-moving Freddie Hubbard standard waltz 'Up Jumped Spring' further shows a relationship between the tenor titans, with the band quoting Trane's 'Olé.' The talent of Mabern is formidable, tasteful, and exciting, as showcased during his rumbling chords during 'Io,' a killer modal track written by Paul Arslanian, as Coleman inserts a memorable singsong line and Queen injects somArtistGeorge ColemanTitleGeorge Coleman At Yoshi'sFormatVINYLLabelPure Pleasure
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Double vinyl LP pressing. When any recording made by George Coleman is issued, it's an instant event. Though Coleman has always been busy performing, writing, and especially teaching, scant few LPs or CDs have come listeners' way. It is especially thrilling to hear him live in concert performance at the initial site of the then newly minted Yoshi's in Oakland, CA, as his extended techniques and heightened sense of tonal ideas come fully to the fore. Coleman and pianist Harold Mabern, both originally from the fertile jazz scene in Memphis, make the perfect tandem, ably supported by super pros in expatriate drummer Alvin Queen and veteran New York bassist Ray Drummond, both of whom Coleman played with when he was in Europe. There are many solemn, laid-back, and reflective moments from Coleman, as both of the opening tracks, 'They Say It's Wonderful' and 'Good Morning Heartache,' warm slowly and simmer at their easily swinging maximum, with the tenor man progressively squeezing out more and more notes in refined fashion. Never far from the soul of his homeland, 'Laig Gobblin' Blues' is a refreshing modal original by the leader, a 5/4 beat in a 12-bar idea, with 7/4 tossed in cleverly. The dignity and class of Coleman cannot be overemphasized, as he further displays on his neat and clean composition 'Father.' A lovely and loping 'Soul Eyes' is a perfect closer over it's nearly 17 minutes, giving pause to the thought that it was in fact Coleman who influenced John Coltrane. The quick, constantly forward-moving Freddie Hubbard standard waltz 'Up Jumped Spring' further shows a relationship between the tenor titans, with the band quoting Trane's 'Olé.' The talent of Mabern is formidable, tasteful, and exciting, as showcased during his rumbling chords during 'Io,' a killer modal track written by Paul Arslanian, as Coleman inserts a memorable singsong line and Queen injects som
It would not be an exaggeration to claim that Ornette Coleman's collaboration with Atlantic Records changed the jazz world for ever. On InchOrnette On TenorInch, his sixth LP for the tag (not counting outtakes compilations), he switches to tenor saxophone, but the great enrichment of this record is the participation of Jimmy Garrison on double bass. Compared to his previous recording InchOrnette!Inch (with Scott LaFaro on the bass), these recordings are earthier, darker. Garrison integrates seamlessly into Coleman's sound world. And he accompanies Coleman's tenor saxophone to perfection. He appears to have a lot of fun with his instrument, which he played previously in rhythm and blues combos. His musical lines breathe precisely this atmosphere, and sometimes one might believe one is listening to a InchfreeInch Coleman Hawkins. Ever since his instrument was damaged in an assault, Coleman played relatively little on his tenor sax, but he never lost his love for the lyrical, highly expressive and pleasing tone. This might indicate a musically accessible session, but that is not the case. Rathermore, it is adventurous, since there are no memorable themes to return to. All four musicians are accompanists, all four are soloists, musical lines of various importance interact, overlap and support one another continuously. It makes one think of a ample walk through an ever-changing (and yet consistant) landscape. The revolution continues. This Speakers Corner reissue LP was remastered using pure analogue components only, from the master tapes through to the cutting head. More information under Pure-analogue. #com. All royalties and mechanical rights have been paid. Recording March 1961 by Tom Dowd and Phil LehleProduction Nesuhi ErtegunRelease date 2/3/2025Original tag Atlantic
Ornette Coleman - An Evening With Ornette Coleman, Vol. 1 [VINYL LP] 180 Gram date 11/24/2016
Modern improvisational jazz starts here. With one quartet placed in the left stereo channel and another situated in the right, Free Jazz unloads with two simultaneously playing rhythm sections and a 37-minute-plus title cut devised entirely on the spot. Distinctive from the copycat attempts that followed, this 1960 magnum opus claims melody and harmony, solidifying Ornette Coleman?s reputation as a compositional genius. Of course, the presence of Don Cherry, Scott LaFaro, Billy Higgins in the left channel and Coleman, Freddie Hubbard, Charlie Haden, and Ed Blackwell in the right doesn't hurt.Mastered from the original master tapes, ORG Music's analog edition has turned this classic into an audiophile spectacular. Due to the presentation of the recording in two distinct stereo channels, this album supremely benefits from the tag's mastering efforts and decision to expand the music into wider grooves. Prepare for a mind-blowing experience.
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