Artist: The Ornette Coleman Quartet Label: Atlantic Orig. Released: 1965 Catalog No.: LPATLA1353 Condition: Format: LP Retail Price: $ 8.99 (1 available) Quantity: add to cart

Description The classic lineup: Donald Cherry, Ed Blackwell, Charlie Haden

Track Titles A1. BLUES CONNOTATION A2. BEAUTY IS A RARE THING A3. KALEIDOSCOPE B1. EMBRACEABLE YOU B2. POISE B3. HUMPTY DUMPTY B4. FOLK TALE

Liner Notes YOU PROBABLY HAVE HEARD OR READ SOMETHING OF THE MUSIC WE ARE PLAYING AND IF YOU HAVEN'T WE WOULD LIKE TO INVITE YOU INTO OUR MUSICAL WORLD. FIRST, THE MOST IMPORTANT PART OF OUR MUSIC IS THE IMPROVISATION, WHICH IS DONE AS SPONTANEOUSLY AS POSSIBLE, WITH EACH MAN CONTRIBUTING HIS MUSICAL EXPRESSION TO CREATE THE FORM. NOW � LET'S LOOK BACK. GROUP IMPROVISATION IS NOT NEW. IN EARLY JAZZ, THAT KIND OF GROUP PLAYING WAS KNOWN AS DIXIELAND. IN THE SWING ERA, THE EMPHASIS CHANGED AND IMPROVISATION TOOK THE FORM OF SOLOS BASED ON RIFFS. IN MODERN JAZZ, IMPROVISATION IS MELODIC AND HARMONICALLY PROGRESSIVE. NOW WE ARE BLENDING THE THREE TOGETHER TO CREATE AND GIVE MORE FREEDOM TO THE PLAYER AND MORE PLEASURE TO THE LISTENER. NOW � A LITTLE ABOUT THE MUSIC CALLED JAZZ. FIRST IT'S THE PLAYER. IN CLASSICAL MUSIC IT'S THE COMPOSER. IN JAZZ THE COMPOSER IS NEEDED ALSO, BUT IT IS THE PLAYER WHO MAKES JAZZ SO INVALUABLE. I THANK GOD THAT I AM � AND HAVE BEEN � AROUND SOME WONDERFUL PLAYERS. NOW � THE PLAYERS WITH ME ON THIS DATE ARE ED BLACKWELL, DONALD CHERRY AND CHARLIE HADEN. CHERRY AND CHARLIE ARE ON THE LAST TWO ALBUMS WITH ME. CHERRY IS THE OLDEST MEMBER OF THE GROUP AND BLACKWELL IS THE NEWEST. NOW � LET ME TELL SOMETHING ABOUT THE PLAYERS OF THIS GROUP AS OF NOW. CHARLIE HADEN, THE BASSIST, IS TWENTY-THREE YEARS OF AGE AND AS THEY SAY IN THE JAZZ WORLD, "HE CAN COOK LIKE CRAZY." THIS MAN HAS AN EAR AND FEELING FOR MUSIC THAT ONE CAN'T HELP BUT HEAR AND FEEL WHEN HE IS PLAYING. HE HAS NEVER CAUSED ANY FRICTION IN ANY COMPOSITION WHEN WE ARE IMPROVISING. HE CAN STAND ON HIS OWN AS A PLAYER. DONALD CHERRY, THE TRUMPETER, KNOWS MORE OF MY COMPOSITIONS THAN I CAN REMEMBER. HE TOO HAS THE PLAYER AND COMPOSER QUALITY THAT JAZZMEN HAVE. HE IS IN THE AVANT-GARDE OF THE YOUNGER TRUMPETERS SINCE HE HIMSELF IS ONLY TWENTY-FOUR, AND HE KEEPS HIS PLAYING IN HIS VIVID IMAGE. ED BLACKWELL, THE DRUMMER, HAS TO MY EARS ONE OF THE MOST MUSICAL EARS OF PLAYING RHYTHM OF ANYONE I HAVE HEARD. THIS MAN CAN PLAY RHYTHM SO CLOSE TO THE TEMPERED NOTES THAT ONE SEEMS TO HEAR THEM TAKE EACH OTHER'S PLACES. THE EXPERIENCE OF PLAYING WITH THESE MEN IS UNEXPLAINABLE AND I ONLY KNOW THAT WHAT THEY KNOW IS FAR BEYOND A TECHNICAL EXPLANATION FOR ME TO CONVEY TO YOU. I CAN'T TALK ABOUT TECHNIQUE BECAUSE IT IS EVER CHANGING. THAT'S WHY FOR ME THE ONLY METHOD FOR PLAYING ANY INSTRUMENT IS THE RANGE IN WHICH IT IS BUILT. LEARNED TECHNIQUE IS A LAW METHOD. NATURAL TECHNIQUE IS NATURE'S METHOD. AND THIS IS WHAT MAKES MUSIC SO BEAUTIFUL TO ME. IT HAS BOTH, THANK GOD. AND THE ART OF JAZZ BUILDS WITH THE TWO. MEN LIKE JOHN LEWIS, GUNTHER SCHULLER, GEORGE RUSSELL, MILES DAVIS, THELONIOUS MONK HAVE BEEN VERY MUCH INTERESTED IN BOTH UNTIL THIS DAY. BUT LET'S NOT FORGET THOSE WHO HAVE PASSED WHO ALSO FOUGHT TO KEEP THESE TWO TOGETHER: CHARLIE CHRISTIAN, JIMMY BLANTON, BIX BEIDERBECKE, DJANGO REINHARDT, FREDDIE WEBSTER, ART TATUM, JELLY ROLL MORTON, FATS WAILER, FATS NAVARRO AND LESTER YOUNG, AND THE SEER OF MODERN JAZZ � CHARLIE PARKER. ONE HAS ONLY TO HAVE HEARD ONE OF THEM. * * * * * BLUES CONNOTATION IS PLAYED IN THE BLUES TRADITION, WHICH MAKES IT SOUND LIKE A BLUES, BUT AS YOU LISTEN THROUGHOUT YOU HEAR THAT THE MINOR THIRDS DO NOT DOMINATE BUT ACT AS A BASIS FOR THE MELODY. AND AS YOU GET MORE ACCUSTOMED TO MY MUSIC, YOU WILL REALIZE THAT THIS IS HAPPENING THROUGHOUT ALL OF IT. BEAUTY IS A RARE THING. THIS TITLE SUGGESTS AN IMPRESSION WHICH IS HARD TO CAPTURE IN ANYTHING ONE TRIES TO DO OR BELIEVE. CHARLIE AND BLACKWELL ARE JUST AS THE TITLE SUGGESTS IN THEIR PLAYING TOGETHER. THE MELODY, WHICH IS SIMPLE, STARTS WITH AN F MAJOR CONCERT NOTE AND ENDS WITH A G CONCERT FOR THE E FLAT ALTO AND A D CONCERT FOR THE TRUMPET. KALEIDOSCOPE. THIS MELODY IS FAST AND HAS A THIRTY-TWO BAR FORM STRUCTURE, BUT ONLY AS A LISTENING FORM, NOT AS A PLAYING FORM. THIS IS ANOTHER PART OF THE MUSIC THAT HAPPENS BECAUSE OF THE RHYTHM WE ARE PLAYING. IT ALSO HAS THE MINOR SEVENTH CHORD THAT DOESN'T COME IN ANY DIATONIC KEY FOR ITS BEGINNING AND ENDING DIRECTION. EMBRACEABLE YOU IS THE FIRST STANDARD THAT WE HAVE RECORDED AND WE PLAYED IT THE WAY STANDARDS ARE PLAYED AND WITH AS MUCH SPONTANEITY AS WE COULD. POISE HAS AN F SHARP FOR ITS TONIC ON THE E FLAT ALTO AND A D CONCERT FOR THE TRANSPOSED KEY WITH A MAJOR SEVENTH MELODIC DIRECTION. ITS TEMPO IS MEDIUM AND HAS A VERY FREE MOVEMENT. HUMPTY DUMPTY. AS YOU LISTEN TO THE INTRODUCTION IT GOES INTO THE THEME AND THE PIECE ENDS WITH THE INTRO. IT ALSO HAS A SYNCOPATED MELODY WHICH CAUSES IT TO HAVE A RHYTHMIC PROGRESSION RATHER THAN A NOTE PROGRESSION FORM. FOLK TALE HAS A HUMOROUS EXPRESSION IN THE BRIDGE (SOMETIMES CALLED THE MIDDLE OF THE MELODY) WHICH CARRIES A FOLK LORE EXPRESSION TO ME, AND WHICH IS ONE OF THE TRUEST AND MOST NATURAL FORMS OF EXPRESSION IN WRITING AND MUSIC. AND THIS JAZZ HAS! JUST AS CLASSICAL MUSIC HAS ITS COMPOSERS TO TELL ABOUT THE COUNTRY AND ITS PEOPLE AND THEMSELVES. ABOUT MYSELF. I'M THIRTY YEARS OF AGE AND WAS BORN IN TEXAS � FORT WORTH TO BE EXACT. SINCE THERE ISN'T TOO MUCH I HAVEN'T TOLD YOU ABOUT MY MUSIC, I REALLY TOLD YOU ABOUT MYSELF THROUGH IT. THE OTHER AUTOBIOGRAPHY OF MY LIFE IS LIKE EVERYONE ELSE'S. BORN, WORK, SAD AND HAPPY AND ETC. WE DO HOPE YOU ENJOY OUR MUSIC. ORNETTE COLEMAN ORNETTE COLEMAN CAN ALSO BE HEARD ON THE FOLLOWING ATLANTIC LPS: CHANGE OF THE CENTURY (1327); THE SHAPE OF JAZZ TO COME (1317).

Musicians PERSONNEL ORNETTE COLEMAN, ALTO SAX; DONALD CHERRY, POCKET TRUMPET; CHARLIE HADEN, BASS; ED BLACKWELL, DRUMS. * * * * * RECORDING ENGINEERS: TOM DOWD & PHIL IEHLE COVER PHOTO: LEE FRIEDLANDER COVER DESIGN: LORING EUTEMEY SUPERVISION: NESUHI ERTEGUN * * * * * THIS IS A HIGH FIDELITY RECORDING. ATLANTIC USES A SPECIALLY CONSTRUCTED 8-CHANNEL AMPEX (300-8R) TAPE RECORDER FOR ITS RECORDING SESSIONS. INDIVIDUAL MICROPHONE EQUALIZATION IS NOT PERMITTED. THE SOUND CREATED BY MUSICIANS AND SINGERS IS REPRODUCED AS FAITHFULLY AS POSSIBLE, AND SPECIAL CARE IS TAKEN TO PRESERVE THE FREQUENCY RANGE AS WELL AS THE DYNAMIC RANGE OF EACH PERFORMANCE. TRANSFER FROM MASTER TAPES TO MASTER LACQUERS IS MADE ON AMPEX 300 TAPE RECORDER, SCULLY VARIABLE PITCH LATHE, AND GRAMPION FEEDBACK CUTTER-HEAD. THE VARIABLE PITCH CONTROL OF THE SCULLY WIDENS THE GROOVES FOR LOUD PASSAGES AND NARROWS THEM DURING QUIETER SECTIONS, FORMING THE LIGHT AND DARK PATTERNS THAT, CAN BE SEEN ON THE SURFACE OF THE PRESSING. THE FINEST VINYLITE COMPOUND IS USED. FOR BEST RESULTS OBSERVE THE R.I.A.A. HIGH FREQUENCY ROLL-OFF CHARACTERISTIC WITH A 500 CYCLE CROSSOVER.

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