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     Ornette Coleman
 
 

Born: Mar 9, 1930 in Fort Worth, TX
Died: June 11, 2015 in New York, NY
Genres: Jazz
Styles: Mixed Media, Avant-Garde Jazz, Free Funk, Free Jazz
Instruments: Sax (Alto), Leader, Composer, Violin, Trumpet

One of the most important (and controversial) innovators of the jazz avant-garde, Ornette Coleman gained both loyal followers and lifelong detractors when he seemed to burst on the scene in 1959 fully formed. Although he and Don Cherry in his original quartet played opening and closing melodies together, their solos dispensed altogether with chordal improvisation and harmony, instead playing quite freely off of the mood of the theme. Coleman's tone (which purposely wavered in pitch) rattled some listeners and his solos were emotional and followed their own logic. In time his approach would be quite influential and the Quartet's early records still sound advanced over 35 years later.

Unfortunately Ornette Coleman's early development was not documented. Originally inspired by Charlie Parker, he started playing alto at 14 and tenor two years later. His early experiences were in R&B bands in Texas including those of Red Connors and Pee Wee Crayton but his attempts to play in an original style were consistently met with hostility both by audiences and fellow musicians. Coleman moved to Los Angeles in the early '50s where he worked as an elevator operator while studying music books. He met kindred spirits along the way in Don Cherry, Charlie Haden, Ed Blackwell, Bobby Bradford, Charles Moffett and Billy Higgins but it was not until 1958 (after many unsuccessful attempts to sit in with top L.A. musicians) that Coleman had a nucleus of musicians who could play his music. He appeared as part of Paul Bley's Quintet for a short time at the Hillcrest Club (which is documented on live records) and recorded two very interesting albums for Contemporary. With the assistance of John Lewis, Coleman and Cherry attended the Lenox School of Jazz in 1959 and had an extended stay at the Five Spot in New York. This engagement alerted the jazz world towards the radical new music and each night the audience was filled with curious musicians who alternately labelled Coleman a genius or a fraud.

During 1959-61 Ornette Coleman recorded a series of classic and somewhat startling quartet albums for Atlantic (all of which have been reissued on a six-CD set by Rhino). With Don Cherry, Charlie Haden, Scott LaFaro or Jimmy Garrison on bass and Billy Higgins or Ed Blackwell on drums, Coleman created music that would greatly affect most of the other advanced improvisers of the 1960s including John Coltrane, Eric Dolphy and the free jazz players of the mid-; 60s. One set, a nearly 40-minute jam called Free Jazz (which other than a few brief themes was basically a pulse-driven group free improvisation) had Coleman, Cherry, Haden, LaFaro, Higgins, Blackwell, Dolphy and Freddie Hubbard forming a double quartet.

In 1962 Ornette Coleman, feeling that he was worth much more money than the clubs and his label were paying him, surprised the jazz world by retiring for a period. He took up trumpet and violin (playing the latter as if it were a drum!) and in 1965 he recorded a few brilliant sets on all his instruments with a particularly strong trio featuring bassist David Izenzon and drummer Charles Moffett. Later in the decade Coleman had a quartet with the very complementary tenor Dewey Redman, Haden and either Blackwell or his young son Denardo Coleman on drums. In addition Coleman wrote some atonal and wholly-composed classical works for chamber groups and had a few reunions with Don Cherry.

In the early '70s Ornette Coleman entered the second half of his career. He formed a "double quartet" comprised of two guitars, two electric bassists, two drummers and his own alto. The group, called "Prime Time," featured dense, noisy and often-witty ensembles in which all of the musicians are supposed to have an equal role but the leader's alto always ended up standing out. He now calls his music "Harmolodics" (symbolizing the equal importance of harmony, melody and rhythm) although "free funk" (combining together loose funk rhythms and free improvising) probably fits better; among his sidemen in Prime Time have been drummer Ronald Shannon Jackson and bassist Jamaaladeen Tacuma in addition to his son Denardo.

Prime Time was a major (if somewhat unacknowledged) influence on the M-Base music of Steve Coleman and Greg Osby. Pat Metheny (a lifelong Ornette admirer) collaborated with Coleman on the intense Song X, Jerry Garcia played third guitar on one recording and Ornette had irregular reunions with his original quartet members in the 1980s.

Ornette Coleman, who currently records for Verve, has remained true to his highly original vision throughout his career and, although not technically a virtuoso and still considered controversial, is an obvious giant of jazz.

- Scott Yanow (All Music Guide)

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Коулмен Орнет (р. 1930) - американский саксофонист, руководитель ансамбля, композитор, один из родоначальников и главных представителей негритянской школы авангардного джаза.

Музыкой начал заниматься самостоятельно; играл на альт-саксофоне, впоследствии освоил также тенор-саксофон, трубу, скрипку. Профессиональным музыкантом стал в конце 40-х годов. В эти годы работал главным образом в оркестрах ритм-энд-блюза (например, у К. Сэмюэлса, "Пи Ви" Крэйтона и других), с которыми совершил ряд гастрольных поездок. В 1952-54 выступал в ряде ансамблей современного джаза, активно экспериментируя и широко используя в импровизации элементы атональности. Из-за радикальности своих идей долго не мог добиться признания. В 1956 Коулмен познакомился с трубачом Д. Черри, который стал его сподвижником и единомышленником. В 1958 ему удалось записаться на пластинку, а в 1959 - поступить в школу джаза в городе Ленноксе (штат Массачусетс) благодаря протекции ее директора, пианиста и композитора Дж. Льюиса, заинтересовавшегося творческими исканиями Коулмена. С этого времени Коулмен начал регулярно выступать с организованным им квартетом, в котором кроме него играли Д. Черри, басист Ч. Хэйден (позднее его сменили С. Лафаро и Дж. Харрисон), на ударных - Б. Хиггинс (затем Э. Блэкуэлл). После двухлетнего перерыва (1963-64) создал трио с участием Д. Изенсона (бас) и Ч. Мофета (ударные). С 1965 неоднократно выезжал на гастроли в различные страны, с успехом выступал на европейских джазовых фестивалях.

Шуллер провозгласил Коулмена самым ярким новатором современного джаза после Паркера. Прежде всего Коулмен известен как представитель фри-джаза (само название данного стиля появилось впервые на его пластинке, записанной в 1960 - Free Jazz, Atlantic, 1964) и "третьего течения". В игре Коулмена обращают на себя внимание необычный тембр звучания его инструмента (пластмассовый саксофон оригинальной конструкции), сочетание совершенной исполнительской техники со стремлением к вокализации инструментальной мелодии, блюзовая окраска интонации при доминирующей роли свободной атональности и микротоновой хроматики, логичность и целенаправленность в разработке исходного тематического материала наряду с тенденцией к стихийной импровизационности, отход от традиционных принципов формообразования (отсутствие строфичности, опоры на гармонический "квадрат", членения на равнодлительные хорусы и тому подобное; воссоздание процессов "распада" формы), склонность к использованию методов модального мышления и алеаторики. В своем творчестве Коулмен также продолжил развитие идей хот- и кул-джаза, способствовал сближению джазового искусства с современной европейской концертной музыкой. Он оказал влияние не только на молодых музыкантов-экспериментаторов, но и на некоторых ведущих представителей модерн-джаза (Дж. Колтрэйн, Э. Долфи, А. Эйлер, А. Шепп и других).

www.km.ru


Ресурсы сети, связанные с исполнителем:
musicians.allaboutjazz.com/musician.php?id=5818 Biography & articles on 'All About Jazz'
www.ornettecoleman.com Personal web site
en.wikipedia.org/wiki/Ornette_Coleman About from 'wikipedia'
ru.wikipedia.org/wiki/Коулман,_Орнетт О исполнителе из 'википедии' [ru]
en.m.wikipedia.org/wiki/Ornette_Coleman About from 'wapedia.mobi' [mobile]
ru.m.wikipedia.org/wiki/Коулман,_Орнетт О исполнителе из 'мобильной википедии' [mobile] [ru]
Хронологические таблицы (Hrono table)  
Поиск видео (Video Search) :  

CD коллекции, связанные с исполнителем:
  как основной исполнитель ...
 Ornette Coleman - 'At The 'Golden Circle' Stockholm, Vol. 1' - 1965, Blue Note
 Ornette Coleman - 'At The 'Golden Circle' Stockholm, Vol. 2' - 1965, Blue Note
 Ornette Coleman - 'Body Meta' - 1976, Verve, AGAT
 Ornette Coleman - 'Change Of The Century' - 1959, Atlantic
 Ornette Coleman - 'Colors: Live From Leipzig' - 1997, Harmolodic Records
 Ornette Coleman - 'Ornette On Tenor' - 1961, Rhino
 Ornette Coleman - 'The Shape Of Jazz To Come' - 1959, Atlantic
 Ornette Coleman - 'This Is Our Music' - 1960, Atlantic
  как основной соисполнитель ...
 Rahsaan Roland Kirk - 'A Meeting Of The Times. Ornette!' - 1999, Collectables
  как соисполнитель ...
 Charlie Haden - 'The Golden Number' - 1976, A&M
 Fred Hersch - 'Alive At The Vanguard' - 2012, Palmetto
 Rolf Kuhn - 'Affairs' - 1997, Intuition
 Scott LaFaro - 'The Alchemy Of Scott La Faro' - 1995, Giants Of Jazz
 Jackie McLean - 'New & Old Gospel' - 1967, EMI
 Jamaaladeen Tacuma - 'Renaissance Man' - 1991, Gramavision
 


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  Последние изменения в документе сделаны 14/10/2016 18:40:03

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