Ornette: Tomorrow is the Question

  • CultureCatch
Joining such memorable events as Ornette’s week at Lincoln Center in 1997 and the celebration in his honor at Celebrate Brooklyn which was the last time he played in public and which is now documented in an incredible box set alongside the memorial held for him at Riverside Church and Wynton's own celebration of Ornette at Lincoln Center will be Ornette Coleman: Tomorrow is the Question, July 11–16 as part of their yearly indoor festival. There will be a four-part series honoring Ornette's work as a composer, innovator, and performer.

The evenings include a screening of Naked Lunch with live accompaniment by such giants as Ravi Coltrane, Henry Threadgill, Charente Moffatt, and Denard Coleman. Coleman will also be part of a Prime Time Reunion that will honor guitarist Bern Nix who sadly recently passed away and who had been a long time member of the original band. This night the members will include Joshua Redman,
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Dave Kehr receives the insignia of Chevalier of the Order of Arts and Letters by Anne-Katrin Titze - 2017-06-17 19:47:55

Bénédicte de Montlaur with Chevalier of the Order of Arts and Letters honoree Dave Kehr Photo: Anne-Katrin Titze

On a beautiful late spring afternoon in New York, across the street from Central Park and a few blocks down from The Metropolitan Museum of Art on Fifth Avenue, Museum of Modern Art curator in the Film Department Dave Kehr was presented with the insignia of Chevalier of the Order of Arts and Letters by Cultural Counselor of the French Embassy Bénédicte de Montlaur (dressed in Diane von Furstenberg) at the Cultural Services of the French Embassy.

For Films on the Green, Isabella Rossellini has chosen Jean Renoir's Elena and Her Men, starring Ingrid Bergman Photo: Anne-Katrin Titze

Past American recipients include Robert Redford, Paul Auster, Uma Thurman, Ornette Coleman, Jim Jarmusch, Agnes Gund, Marilyn Horne, Richard Meier, Robert Paxton, and Meryl Streep.

The 10th anniversary of Films on the Green had guest curators Wes Anderson,
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Free Fire review – warehouse shootout is bang on target | Peter Bradshaw's film of the week

Ben Wheatley’s thriller about a protracted gun battle, starring Brie Larson and Cillian Murphy, has no plot – but it’s smart, stylish and dazzlingly put together

The restlessly inventive director Ben Wheatley gives us the crime-thriller equivalent of a violently atonal jazz suite lasting an hour and a half, like a Sam Peckinpah movie storyboarded by Ornette Coleman and Sun Ra. Gunshots here are as frequent, numerous and noisy as an avant garde drumroll. The film turns out to be plotless, formless, shapeless, McGuffinless, directionless and ruthless, but it is dazzlingly well put together, with some lethal zingers amid the gunfire and a droll use of John Denver on the soundtrack – alluding subtextually, I suspect, to the urban myth about Denver’s war service in Vietnam.

It’s supremely stylish and smart, and the melee becomes so disorientating that you forget, almost, that the whole thing is taking place in just the one place.
See full article at The Guardian - Film News »

The Weekend Warrior 3/10/17: Kong: Skull Island, Brimstone, Canners

  • LRM Online
Welcome back to the Weekend Warrior, your weekly look at the new movies hitting theaters this weekend, as well as other cool events and things to check out….but mostly movies.

This Past Weekend:

It was absolutely no surprise that Hugh Jackman’s last Wolverine movie Logan would top the box office, but it actually ended up doing even better than my prediction when actual numbers came in, grossing $88.3 million over the weekend. That makes it the fourth highest X-Movie opening (including Deadpool) but also the biggest R-rated opening for March, defeating 300’s once-impressive $70 million opening. It’s also the fourth highest R-rated opening of all time after Deadpool, The Matrix Reloaded and American Sniper.

The bigger surprise was how well Jordan Peele’s thriller Get Out held up in its second weekend, not only because it was going up against Logan, but also because high-profile horror films tend
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Steve's Favorite New Jazz Albums of 2016

  • CultureCatch
Okay, it's time for me to stop trying to listen to more 2016 albums and just wrap up this list. In the past I would split my jazz list into a new releases part dedicated to current recordings and a historical part combining first releases of archival material with reissues. This year I'm skipping reissues, partly because some projects were so gargantuan that little guys like me weren't serviced with them, partly because the vinyl renaissance means everything is being reissued at once, and partly because so much stuff is just rehashing the same material in new packaging, with or without a gimmick or a little additional material added. So first releases of archival material are lumped in here. Maybe that's not entirely fair to the current guys, but on the other hand I don't include many archival items on my list.

1. Matthew Shipp & Bobby Kapp: Cactus (Northern Spy)

Two generations
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2Nd of Cronenberg Mondo Soundtrack Trilogy Hits Tomorrow with Dead Ringers!!

If you’re heads over heels in love with the Mondo-released Vinyl soundtrack to David Cronenberg’s Naked Lunch, then tomorrow’s release of the second of the Cronenberg soundtrack trilogy of releases, Dead Ringers will make you mind explode, similarly to Scanners. We’ve got the Dead Ringers artwork below, which goes on sale at a random time tomorrow (Oh you Mondo bastards!!! jk), and has a pretty affordable price of $30 and features artwork of Randy Ortiz. The soundtrack alone is worth the price, it’s such a haunting score from Howard Shore and one of this writer’s favorite Cronenberg soundtracks.

Based on the novel Twins by Bari Wood and Jack Geasland, Dead Ringers tells the story of identical twin gynecologists—suave Elliot and sensitive Beverly, bipolar sides of one personality—who share the same practice, the same apartment, and the same women. It is a chilling tale,
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Horror Highlights: New Chucky Doll, Wizard World & Crypt TV, Mondo’s Cronenberg Vinyls, Screamfest 2016, Shortwave

  • DailyDead
Chucky’s back and better than ever… Mezco Toyz presents their newest Chucky doll based on his likeness in the first Child’s Play movie. Also: Wizard World and Crypt TV’s eight-city video showcase, Mondo’s Cronenberg vinyls, the Screamfest 2016 announcement, and over 10 photos from Shortwave.

Photos of Mezco Toyz’s New Chucky Doll: From Mezco Toyz: “Unlike the scarred and battle-damaged look Chucky normally bears (people have tried to destroy him in six films so far), this version represents the cleaner, earlier Chucky. His trademark outfit is un-slashed, his face is not yet mauled.

Just as he did in his films, Chucky has lots to say from his trademark “My name is Chucky” to far more sinister phrases.

The star of the Child’S Play films, Chucky stands fifteen inches tall and features real cloth Good Guys clothing, eleven points of articulation, his trademark orange hair and realistic glass-like eyes.
See full article at DailyDead »

Mondo Unveils Vinyl Artwork for Three Cronenberg Classics

Exciting vinyl announcement from our friends at Mondo:

Mondo, in collaboration with Howe Records, announces three incredible Howard Shore scores from classic David Cronenberg films Naked Lunch, Dead Ringers and Crash. This continuation of Mondo’s Cronenberg series, which began with a soundtrack for Scanners and The Brood, features beautiful and haunting design work and marks the first time all three titles will be available on vinyl.

Can’t wait to own these. While you’re waiting for these records to go on sale, check out this new Hoop Dreams print from Mondo.

Crash (1996) – Original Motion Picture Soundtrack 2Xlp Music by Howard Shore Original Artwork by Rich Kelly 20th Anniversary. First time ever on Vinyl. Available online at this July $35

Dead Ringers (1988) – Original Motion Picture Soundtrack LP Music By Howard Shore Performed by London Philharmonic Orchestra Original Artwork by Randy Ortiz First time ever on Vinyl. Available online at mondotees.
See full article at CriterionCast »

Paul Bley (November 10, 1932 - January 3, 2016)

  • CultureCatch
The death of the visionary pianist/ improviser Paul Bley leaves a big hole in the jazz universe. Bley, a fearless improviser with grace, bite, humor, and knowledge, will be remembered for the ability to empty his self of all preconceptions and impediments before sitting down at the instrument, and for the ability to take his own specific approach and language and to morph it into something that works with whatever the environment and/or musicians that are in the ambient -- and for the ability to sit at any piano [and they all have different personalities] and except for being extremely stylized, he could pull out the personality of that particular piano while still sounding like himself.

Paul, though studied, was completely naturalistic and organic in his musical conception. He had a mindset that was always in the moment, and if so-called history ever came through in his playing, it was more a function of the
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Anniversaries: Pat Metheny Born 61 Years Ago

  • CultureCatch
Happy birthday to Pat Metheny (born August 12, 1954), one of the few jazz superstars of the past four decades to combine commercial success and critical plaudits. After paying his dues in Gary Burton's band (which he joined at age 19), Metheny put out his first album in 1976 and by the time of his third release two years later was gaining crossover radio play. Though the style of his eponymous band was smooth and tuneful, Metheny had a firm basis in jazz and straight-ahead guitarist gods such as Jim Hall (with whom he eventually recorded a fine duo album).

With success came the challenge of avoiding complacency, which Metheny has met masterfully with a wide-ranging series of albums in a variety of stylistic bags, from atonal skronk to mellow Brazilian, from thorny Ornette Coleman covers to mercurial bebop. Along the way he has lent his prestige to both respected elders (Hall, Burton, Coleman,
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Milestone Films’ Dennis Doros on Ornette: Made in America and Project Shirley

Since founding Milestone Films in 1990, the husband and wife team of Dennis Doros and Amy Heller have been restoring and distributing some of the most significant and overlooked titles in the American independent cannon. Ornette: Made in America, one of four feature films in their “Project Shirley” Shirley Clarke collection, is wrapping up a week long run at Spectacle today, as part of a celebration of Ornette Coleman. Filmmaker spoke to Doros about the acquisition and restoration process behind Clarke’s characteristically singular documentary, as well as Milestone’s recent objection to Stephen Winter’s Jason and Shirley, which liberally re-imagines the set of Portrait of […]
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Watch: Ornette Coleman: Free Spaces

Shirley Clarke’s filmography is witnessing a much needed resuscitation thanks to the efforts of Milestone Films, and one specific title, Ornette: Made in America, is of particular pertinence given the untimely passing of its subject, Ornette Coleman. Kevin B. Lee has taken Clarke’s ever unusual documentary portrait — filmed over the course of 20 years — and divvied its often psychedelic tinged frames over a widescreen to analyze the visual patterns and rhythms Clarke achieves with her offbeat editing style. Watch above.
See full article at Filmmaker Magazine »

Looking at Jazz with Ornette Coleman

The music world lost one of its most legendary innovators when Ornette Coleman passed away earlier this month. But his bold spirit lives on, not only in a body of work that spans a staggering seven decades, but in the documentary Ornette: Made in America. The film was the last by Shirley Clarke, herself a legendary figure in independent cinema for her groundbreaking candid portraits of people occupying the margins and countercultural currents of American life. >> - Kevin B. Lee
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'Jason and Shirley': The Cruelty and Irresponsibility of 'Satire'

Milestone Film & Video is one of the finest and most well-established U.S. distributor of docs and arthouse features. They have such great films like the classic "I am Cuba" and have been working on compiling all they can on the filmmaker Shirley Clarke ("The Connection") whose film in the 60s, "The Cool World," made me one of her avid fans forever. Their film, "Portrait of Jason," also by Clarke, premiered at Idfa 2014, the premium doc festival in the world and I was lucky enough to see it at the American Film Festival in Wroclaw, Poland. Its clarity and humanity moved me so much that I feel obliged to publish this here. When Amy Heller and Dennis Doros of Milestone speak the way they do in the following blog, I listen. Since the film "Jason and Shirley" just premiered at BAMcinemaFest and Frameline Film Festival, both wonderful events, I think it is important for everyone to know what they have to say. "In 25 years, we have never weighed in on anyone else's film (except to recommend those we love), but Dennis and I felt the need to go on the record about Stephen Winter's new feature Jason and Shirley."

'Jason and Shirley': The Cruelty and Irresponsibility of 'Satire'

by Amy Heller

In the twenty-five years that we have been running Milestone Films, we have never before reviewed or commented publicly on anyone else’s film—except to recommend it. But we have now encountered a new feature film that purports to “satirize” a film and a filmmaker we represent and have spent years researching. While we are absolute believers in freedom of speech and artistic expression and do not dispute that the producers, writers and stars of Jason and Shirley have every right to make their “re-vision” of the making of Shirley Clarke’s great documentary "Portrait of Jason," we feel we must go on the record about the film’s inaccurate and simplistic portrayals of a brilliant filmmaker and her charismatic subject.

Director Stephen Winter (and co-writers Sarah Schulman and Jack Waters) have created a fictitious drama that imagines what might have happened on December 3, 1966 when Shirley Clarke spent twelve hours with Jason Holliday, Carl Lee, Jeri Sopanen, Jim Hubbard and Bob Fiore shooting "Portrait of Jason." The filmmakers claim the right to re-imagine the events that took place in that Hotel Chelsea apartment, but they fail to understand something that Shirley Clarke knew and conveyed in all her films: the need for integrity.

Clarke’s first feature, "The Connection," a fiction film based partly on real people, has enormous respect for all its characters, an understanding of humanity, and a love for cinema. Shirley knew that a genuine artist values inner truth, whether the film is a documentary or a dramatic feature. And of course, Shirley did not use real names. She knew that when you use real people’s names and identities, you need to seek and explore the truth in all its complexities. Ornette: Made in America, a film that she and Ornette Coleman were very proud to create, is an example of Clarke’s quest for meaning and authenticity.

We at Milestone are now in the seventh year of “Project Shirley,” our ongoing commitment to learn everything about Clarke as a director, an artist and a person. With the cooperation of the Wisconsin Center for Film and Theater and the Clarke estate, we have digitized nearly one hundred of her features, short films, outtakes, unfinished projects, home movies, and experimental films and videos. We have gone through thousands of pages of letters, contracts, and Shirley’s diaries. We have interviewed and talked to dozens of people who knew and worked with her.

We have heard wonderful stories, tragic stories, and stories of such real pain that they are almost unbearable. Shirley Clarke was a sister, wife, mother, dancer, lover, filmmaker, editor, teacher, and yes, for a sad period, a junkie. It wasn’t intended, but along the way we fell in love with Shirley and came to feel that we owed it to her to create a portrait of a real woman and an artist. Shirley’s daughter Wendy Clarke and her extended family have supported our efforts every step of the way, encouraging us to reveal what is true, for better or worse. We have shared our discoveries with the world in theaters, on television, on DVD and Blu-Ray, in lectures — and in our exhaustive press kits (available on our website, free for everyone).

We have strived for the highest levels of accuracy, knowing that critics, academics, bloggers, and the general public deserve and depend on our research. We corroborated all the oral histories we conducted using primary sources, including original letters, interviews, and contracts. Finally, we asked people who knew Shirley to check and proof all our work. We have shared this research with every filmmaker, scholar and critic who has asked us for information.

So it was truly agonizing for us to watch Stephen Winter’s "Jason and Shirley," a film that is bad cinema and worse ethics—that cynically appropriates and parodies the identities of real people, stereotyping and humiliating them and doing disservice to their memory. The filmmakers may call it an homage, but their complete lack of research and their numerous factual errors and falsehoods have betrayed everyone who was involved in making "Portrait of Jason."

Winter and his team call their film an “imagination” of the night (although they stage the filming during the day) of December 3, when Shirley Clarke shot "Portrait of Jason." But interestingly, they only use the real names of those participants who have died: Clarke, Jason Holliday and Carl Lee (perhaps because you cannot libel the dead). They did not interview the people who were on the set that long night and who are still around—filmmakers Bob Fiore and Jim Hubbard.

They also chose not to work with Shirley’s daughter, artist and filmmaker Wendy Clarke, whom they never bothered to contact (and go out of their way to mock in the film). Jason and Shirley even features a title card in the closing credits thanking Wendy, implying that she has given her approval for the film. In truth, Wendy’s response, when she finally saw Jason and Shirley, was: “I don’t want people seeing this film to think there is any truth to it. This film tells nasty lies and is a parasitic attempt to gain prominence from true genius.”

Similarly, the filmmakers never asked us at Milestone for access to the reams of documents we have discovered from the making of "Portrait of Jason." Instead, they preferred to pretend to know what happened, to create their own “Shirley Clarke,” “Carl Lee,” and “Jason Holliday,” rather than try to create honest and respectful portraits of these very real people.

Lazy filmmakers make bad movies and "Jason and Shirley" is false, flaccid, and boring—unforgivable cinematic sins. Perhaps its most egregious and painful crime is taking the strong, brilliant woman that Shirley Clarke truly was and portraying her as a lumpy, platitude-spouting Jewish hausfrau—an inept cineaste who doesn’t know what she is doing and eventually needs her boyfriend to “save” the film for her. In service of their alleged investigation into race relations (a topic Shirley explored far better with her powerful and intelligent films "The Connection," "The Cool World," "Portrait of Jason" and "Ornette: Made in America"), they reduced her to a sexist cliché—the little woman—and a tedious cliché at that.

Shirley Clarke was wild, creative, brilliant, graceful, challenging, incredibly stylish, vibrant, and alive with the possibilities of life. At home at the center of many creative circles in New York City and around the world, she was adored by countless admirers—despite (or sometimes because of) her faults and failings. And Shirley is still loved by those who remember her—the people who worked on her films, her friends, her family, and the audiences who are rediscovering her great films. She was incredibly special. The misshapen caricature of Clarke in Jason and Shirley insults and trivializes a great artist and pioneer.

We also find “Jason” in Winter’s film to be a one-dimensional and disrespectful distortion of the very complicated man who was born Aaron Payne in 1924. Jason Holliday’s life was difficult in many ways—as a gay black man he experienced police harassment, poverty, family rejection, imprisonment, painful self-doubt, and innumerable varieties of personal and institutional racism. But he was also vibrantly an original, a self-invented diva, a survivor, and a raconteur of the first order who was the inspiration for his own cinematic Portrait. Shirley decided to make her film in order to explore this extraordinary Scheherazade’s 1001 stories—and the fragile line between his reminiscences and his inventions.

And truly, it is not easy to tell what was real and what was not in Jason’s life. In his “Autobiography” (reprinted in Milestone’s press kit), Holliday talked about appearing on Broadway in “Carmen Jones,” “Finian’s Rainbow,” and “Green Pastures” and about performing his nightclub act in Greenwich Village. And while much of his narrative may seem improbable, the Trenton Historical Society found newspaper articles from the 1950s corroborating Jason’s claim that he was a performer at New York’s Salle de Champagne. So did he study acting with Charles Laughton and dance with Martha Graham and Katherine Dunham? We may never know. But the man who spun those marvelous yarns was not the alternately maniacal and weepy loser in "Jason and Shirley."

Here are just a few of the other things that are obviously, carelessly and offensively wrong in "Jason and Shirley":

In the very beginning, there is a title card stating that the filmmakers were denied access to the outtakes of "Portrait of Jason." These recordings were available for all to hear at the Wisconsin Center for Film and Theater Research, where all of Shirley’s archives can be found—or by contacting Milestone. In fact, all the outtakes (30 minutes of audio) were released on November 11, 2014 as a bonus features on Milestone’s DVD and Blu-Ray of the film. That was six months before "Jason and Shirley" was completed.

In "Jason and Shirley," “Jason” has never previously visited “Shirley’s” apartment and knows nothing about her. In reality, they had been friends for many years and Jason would often visit her apartment. The film states that the cinematographer on Portrait of Jason had worked on Clarke’s other two features. Actually, the film was Jeri Sopanen’s first job with her. Further, absolutely no crew member had an issue about working on "Portrait of Jason," as the new film portrays.

In the film “Shirley” says, “See that horrible painting on the wall? My daughter painted that… I have a daughter who is a terrible artist.” Fact: in several video interviews with Shirley (including one released as a bonus feature on Ornette: Made In America, which also came out last November) and in many of her letters and diaries, Clarke talked about how extremely proud she was of her daughter Wendy and her art. Mother and daughter worked happily together for years on many projects including the legendary Tee Pee Video Space Troupe. Wendy’s fine art, textiles, and video work have received critical praise for nearly 50 years. It was needlessly and maliciously hurtful for the filmmakers to include a line that is so obviously false and unkind.

In the film, “Shirley” says her maiden name was Bermberg. She was born Shirley Brimberg.

There is an Academy Award® statue for "Robert Frost: A Lover’s Quarrel With the World" in “Shirley’s” apartment and the other characters repeatedly mock her for it. The film did win an Oscar®, but although she received directing credit, Shirley had been fired from the final edit and producer Robert Hughes picked up the award. (You can see this on YouTube at

“Shirley” asks “Jason” to go up on the roof of the Hotel Chelsea with her to talk. In reality, her apartment was famously on the roof.

In the film, “Shirley” is unable to finish Portrait of Jason and tells everybody to go home and “Carl Lee” comes in to take over the film and save it. This is ludicrous, wrong and misogynistic. Clarke was a consummate film professional and all her collaborators attest to her skill and drive.

The film ends with a title card stating that Shirley died in New York (which is simply incorrect) and that Carl Lee died of a heroin overdose. Tragically, Lee died of AIDS and this information is in the Milestone press kit.

Another title card indicates that when Jason Holliday died that there were no friends or family listed in his one obituary. In truth, the Trentonian on July 31, 1998 wrote that two sisters, six nieces and two nephews survived him. We found the relatives when doing our research.

The filmmakers have labeled "Jason and Shirley" a satirical work of fiction. We are just not sure who or what they claim to be satirizing. The film is not ironic, humorous, sardonic or tongue-in-cheek. We can only surmise that they are deliberately parodying the idea of cinematic integrity.

On behalf of Milestone, Wendy Clarke, and Shirley Clarke’s extended family and friends, we respectfully ask film fans not to base their appraisal of Clarke and her filmmaking on the unkind depictions in "Jason and Shirley."

Yours in cinema,

Amy Heller and Dennis Doros

Milestone Films
See full article at Sydney's Buzz »

Thoughts on Ornette Coleman

The first time I heard Ornette Coleman in person was at a New Year’s Eve concert in the Harlem State Office Building cafeteria. (He and his band Prime Time were topping a triple bill that opened with drummer Ronald Shannon Jackson & the Decoding Society and found guitarist James “Blood” Ulmer’s band spanning the transition from 1980 to 1981; both leaders had spent crucial time as Ornette sidemen.) The thing I remember most about it was how closely Ornette’s sound on alto sax resembled that of Charlie Parker’s. I had never heard the resemblance on Coleman’s recordings, but on the nearly non-existent sound system in this low-ceilinged (with acoustic tile) room, the similarity was striking.

Over the years I read many articles, by Ornette or interviewing Ornette or theorizing independently, that tried to explain his concept of harmolodic music (so called because HARmony, MOtion Aka rhythm, and meLODy
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Blow-Up: Goodnight, Ornette Coleman

...Let us end this brief note with a curious story Ornette Coleman relates in Shirley Clarke’s documentary Ornette: Made in America. He explains that on one sunny day in New York City, he was walking down a street when suddenly a woman unknown to him did the kind of thing that almost only happens in dreams. She kissed him on the mouth romantically. But as if wanting to wake from the dream and check in with reality, he broke the kiss and asked if she knew him. She did not. And with that said, she walked away. Coleman then gets into a thought that’s been deep in his head for a long time. He wonders what would have happened if he had just trusted the dream and let the kiss last? What would have happened to his life if he had just done that? Where would he be now?
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5 songs by Ornette Coleman that changed my life

  • Hitfix
5 songs by Ornette Coleman that changed my life
Today saw the passing of three very notable people in the entertainment world. Christopher Lee, Ron Moody and the one who meant the most to me Ornette Coleman. The father of "Free Jazz" completely melted my mind the first time my ears were graced with the sound of his Saxophone.  In no particular order, here are five selected tracks over his 57 year career that changed my life. 1960 "Birdfood" on Change of The Century 1959 "Focus on Sanity" on The Shape of Jazz to Come 1971 "Monk and The Nun" on Twins 2006 "Turnaround" on Sound Grammar 1960 "Una Muy Bonita" on Change of the Century Share your favorite track and memories in the comments below!
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Ornette Coleman’s Uncompromising Genius

  • Vulture
The poet Philip Larkin was notably reactionary, and a lot worse, on a lot of subjects, and when he wrote jazz criticism in the 1960s, he was particularly disapproving of pretty much any such music recorded after the Okeh label was bought by Columbia in 1926. (Okay, that’s a slight exaggeration.) So it’s a little surprising to peruse Larkin’s collected writing on jazz and see him lavish (sometimes admittedly qualified) praise on the visionary Ornette Coleman, once the record-title-proclaimed Shape of Jazz to Come!, who died this morning at the age of 85. Coleman’s “500 odd bars on R.P.D.D.’,” Larkin wrote of a tune on the 1962 LP Ornette!, “ranging from lusty honking to meditative diminuendo and exhibiting unfailing resourcefulness at all stages, must be the most remarkable solo released this year so far.” Years later, bitching about Coleman’s Chappaqua Suite, Larkin grouses that Coleman has no chords,
See full article at Vulture »
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