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Ornette!
Ornette!
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Ornette!
Studio album by
Ornette Coleman
ReleasedFebruary 1962 (1962-02)[1][2]
RecordedJanuary 31, 1961
StudioAtlantic Studios, New York City
Genre
Length43:49
LabelAtlantic
Ornette Coleman chronology
Free Jazz: A Collective Improvisation
(1961) 		Ornette!
(1962) 		Ornette on Tenor
(1962)

Ornette! is a studio album by American jazz saxophonist Ornette Coleman, released in February 1962 by Atlantic Records.[1][2] The album features Scott LaFaro in place of Charlie Haden, who had left the Quartet but would work again with Coleman in the future.

The recording session took place on January 31, 1961, at Atlantic Studios in New York City. Three outtakes from the session, "Proof Readers," "Check Up," and "The Alchemy of Scott LaFaro" would later appear respectively on the 1993 box set Beauty Is A Rare Thing, and on 1970s compilations Twins and The Art of the Improvisers. "Proof Readers" is also included on contemporary CD and digital reissues of the album.[3]

The titles of the compositions are initialisms derived from works by Sigmund Freud: Wit and its Relation to the Unconscious, Totem and Taboo, Civilization and Its Discontents, and the essay Relation of the Poet to Day Dreaming.[3]

Reception

[edit]
Professional ratings
Review scores
SourceRating
AllMusicStarStarStarStar[4]
Down BeatStarStarStarStarHalf star[5]
The Penguin Guide to Jazz RecordingsStarStarStar[6]
Pitchfork8.8/10[7]

The authors of the Penguin Guide to Jazz Recordings awarded the album three stars out of four, and wrote that the track titles were presumably the result of an effort to ground Coleman "in the psychoanalysis-obsessed Zeitgeist" and "[lend] weight to those who thought that Ornette's music and musical philosophy were for the couch rather than the concert hall or club." They note LaFaro as "a more forceful and harmonically challenging player than Haden."[6]

In a review for AllMusic, Brian Olewnick commented that Coleman is found "plumbing his quartet music to ever greater heights of richness and creativity," concluding that the album was "a superb release and a must for all fans of Coleman and creative improvised music in general" and particularly praising drummer Ed Blackwell's performance.[4]

Writing for Pitchfork, Alex Linhardt stated: "It's another impressive, comfortable record by someone who knows that racket extraordinarily well. It may not quite match the audacity and shock value of Free Jazz, but when you've just razed the scaffolds of structured music, it's probably as good as you're going to get."[7]

Track listing

[edit]

All tracks are written by Ornette Coleman.

Side one
No.TitleLength
1."W.R.U."16:25
2."T. & T."4:35
Total length:21:00
Side two
No.TitleLength
1."C. & D."13:10
2."R.P.D.D."9:39
Total length:22:49 43:49

Personnel

[edit]

References

[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Ornette!

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from Grokipedia
Ornette! is an studio by American jazz saxophonist and composer , featuring his quartet and released by in February 1962. The album was recorded on January 31, 1961, at in , shortly after the landmark session. It showcases Coleman's pioneering approach to , emphasizing exploration over traditional harmonic structures, and stands as a key work in the development of . The recording features Coleman on , Don Cherry on , Scott LaFaro on , and Ed Blackwell on , marking LaFaro's only appearance on a Coleman before his death later in 1961. LaFaro's agile to the horns and synchronization with Blackwell's polyrhythmic drumming add a dynamic layer to the ensemble's interplay. The comprises four original compositions, including the extended "W.R.U." and "C. & D.", with "R.P.D.D." highlighting Coleman's thematic through motif development and a standout solo. As part of Coleman's prolific Atlantic period (1959–1961), which produced six , Ornette! contributed to the and movements. It is sometimes viewed as uneven compared to Coleman's earlier album The Shape of Jazz to Come, but noted for its adventurous spirit and bold experimentation. Later reissues, such as the Rhino edition, include bonus tracks like "Proof Readers," further enriching its legacy.

Background

Context

Ornette Coleman's transition to in 1959 marked a pivotal shift following his initial releases on Contemporary Records, including Something Else!!!! (1958) and Tomorrow Is the Question! (1959).https://concord.com/news/ornette-coleman-box-set-genesis-of-genius-the-contemporary-albums-set-for-release-march-25/ His debut for Atlantic, The Shape of Jazz to Come (1959), introduced emerging elements of his theory, which emphasized the equality of melody, harmony, and rhythm in collective improvisation, laying groundwork for his explorations.https://www.rhino.com/aod/the-shape-of-jazz-to-come-ornette-coleman-0 https://www.openculture.com/2020/07/how-ornette-coleman-freed-jazz-with-his-theory-of-harmolodics.html This move to a major label provided greater resources and visibility, allowing Coleman to expand his quartet's sound amid growing interest in . A key change for Ornette! was the replacement of longtime bassist with , a rising bassist known for his work in ' influential trio from 1959 to 1961.https://jazztimes.com/features/columns/the-other-scott-lafaro/ LaFaro's innovative approach, characterized by melodic independence and interactive dialogue with other instruments, contrasted with Haden's more rooted, supportive style, infusing the album with heightened rhythmic freedom and contrapuntal complexity.https://www.sieveking-sound.com/the-ornette-coleman-quartet-ornette.html The quartet—completed by trumpeter and drummer —benefited from this shift, enabling a more fluid, egalitarian interplay that advanced Coleman's vision of unstructured yet cohesive improvisation.https://www.jazzdisco.org/ornette-coleman/discography/ Released in 1962 but part of Coleman's prolific Atlantic period spanning 1959 to 1961, Ornette! followed This Is Our Music (1960) and helped solidify his innovations during a time of intense in the community.https://www.rhino.com/product/the-atlantic-years Critics and traditionalists often decried his abandonment of chord changes and fixed tempos as chaotic, yet the album exemplified his push toward spontaneous composition, influencing the broader movement.https://www.arts.gov/honors/jazz/ornette-coleman The tracks for Ornette! were composed in late 1960, reflecting Coleman's growing interest in psychological themes inspired by Freud's writings on the unconscious and .https://www.jazzdisco.org/ornette-coleman/discography/ The song titles, such as "W.R.U." (Wit and Its Relation to the Unconscious) and "R.P.D.D." (Relation of the Poet to Day-Dreaming), serve as initialisms drawn from Freud's key works, underscoring the album's conceptual depth.https://www.soundohm.com/product/ornette-lp

Recording

The recording of Ornette! took place on January 31, 1961, at in , marking the first studio session for bassist with Ornette Coleman's quartet following Charlie Haden's departure from the group. Produced by Nesuhi Ertegun and engineered by , the session lasted from 3:00 p.m. to 7:30 p.m., capturing the ensemble's spontaneous energy in a compact timeframe typical of Atlantic's productions during this era. The lineup featured on , on , on , and on , emphasizing the quartet's cohesive yet liberated interplay central to Coleman's harmolodic concept. In addition to the four tracks selected for the album—"W.R.U.", "T. & T.", "C. & D.", and "R.P.D.D."—the group laid down three outtakes: "Proof Readers", "Check Up", and "The Alchemy of Scott LaFaro", the latter of which highlighted Coleman's rare use of alongside LaFaro's prominent bass lines. Technical aspects adhered to Atlantic's standard jazz recording practices, employing a straightforward multi-microphone setup with few if any overdubs to prioritize the raw, in-the-moment improvisation that defined . Dowd's focused on balancing the ensemble's wide dynamic swings, from delicate bass passages to explosive collective solos, ensuring the recordings retained the acoustic immediacy of a live performance. A key dynamic of the session involved LaFaro's adjustment to Coleman's non-traditional structures, where the moved beyond conventional timekeeping to engage in more egalitarian, conversational exchanges with the front line, yielding a fluid and propulsive sound that contrasted with Haden's earlier, more anchor-like role in the quartet. This adaptation underscored LaFaro's innovative approach, honed in settings like the Bill Evans Trio, and contributed to the 's distinctive rhythmic vitality.

Music

Style and themes

Ornette Coleman's Ornette! embodies the core tenets of through its embrace of collective improvisation, the rejection of predetermined chord progressions, and a prioritization of melodic liberty over harmonic constraints. Coleman's traces emotional, jagged melodic paths that propel the quartet, while the ensemble—featuring on , on bass, and on drums—engages in simultaneous, egalitarian expression guided by Coleman's philosophy, which equalizes , , , and as interdependent elements. LaFaro's bass lines play a pivotal role in fostering harmonic ambiguity, weaving contrapuntal melodies that dialogue independently with the front line rather than merely outlining changes, thus enabling fluid tonal exploration. Blackwell's drumming, though rooted in propulsion, loosens traditional timekeeping to incorporate coloristic accents and polyrhythmic layers, supporting extended group dialogues without dominating the texture. Thematically, the album draws on psychological depth, with three track titles serving as initialisms from Sigmund Freud's writings—"W.R.U." abbreviating Wit and Its Relation to the Unconscious, "T. & T." for , and "C. & D." for —to evoke an immersion in the subconscious mind. "R.P.D.D." stands for The Relation of the Poet to Dream and Desire. This framing positions the music as a sonic analog to Freudian inquiry, channeling unconscious drives and emotional truths through improvisation to liberate jazz from rational structures. As an extension of free jazz concepts from Coleman's earlier Atlantic releases like The Shape of Jazz to Come (1959), Ornette! innovates by expanding track durations—reaching up to nearly 17 minutes on "W.R.U."—to accommodate prolonged solos, interactive passages, and evolving forms, markedly diverging from bebop's concise, chord-bound heads and solos in favor of open-ended, organic development.

Track listing

The album Ornette! is structured as a standard LP with two sides, featuring four original compositions by Ornette Coleman performed by his quartet. No singles were released from the album. The total runtime of the original release is 43:49.
SideTrackTitleDurationDescription
A1W.R.U. (Wit and Its Relation to the Unconscious)16:25The opening track features collective with Coleman on engaging in dialogue with bassist , incorporating R&B-inflected honks and bop elements from pocket trumpeter .
A2T. & T. ()4:35A shorter piece highlighting intense, taboo-breaking interplay between the horns, drawing on Freudian themes in its title.
B1C. & D. ()13:10An extended exploration emphasizing cyclic motifs and group dynamics in style.
B2R.P.D.D. (The Relation of the Poet to Dream and Desire)9:39The closing track drives with rhythmic propulsion from drummer , building to a climactic resolution.
The recording session on January 31, 1961, at Atlantic Studios in New York City yielded three outtakes that were not included on the original album: "Proof Readers," "Check Up," and "The Alchemy of Scott LaFaro," later issued on subsequent Atlantic compilations.

Release and reception

Release details

Ornette! was released in February 1962 by Atlantic Records, with the stereo LP catalog number SD 1378 and the mono version numbered 1378. The album's release followed its recording on January 31, 1961, at Atlantic Studios in New York City, representing a delay of approximately one year. Nesuhi Ertegun served as the producer, overseeing the project as part of Atlantic's commitment to innovative jazz artists. The original packaging featured a vinyl LP in both mono and stereo formats, with cover art consisting of an abstract design that reflected the album's experimental ethos. There was no initial compact disc edition; CD reissues did not appear until the 1990s, aligning with broader digital remastering efforts for Atlantic's catalog. The pressing was limited, consistent with the niche market for avant-garde jazz at the time. Basic liner notes accompanied the release, explaining the Freudian inspirations behind the track titles, which were acronyms derived from Sigmund Freud's works such as Wit and Its Relation to the Unconscious (W.R.U.) and Totem and Taboo (T. & T.). Commercially, Ornette! experienced modest sales within the segment, without achieving any chart positions on mainstream listings, yet it sustained a steady presence as a catalog item for Atlantic. This performance occurred amid broader industry backlash against , but the label continued promoting Coleman's recordings as part of its strategy to establish him as a key figure in modern jazz. No formal awards were associated with the album's initial release.

Critical response

Upon its release in 1962, Ornette! received mixed reviews in the jazz press. DownBeat awarded it 4.5 out of 5 stars, praising the album as "emotionally direct, uncluttered, essentially simple music" and a "superior jazz" entry point for listeners new to Coleman's style. In contrast, Jazz Journal's Kennedy Brown expressed personal reservations, describing the music as unappealing and hoping it did not represent jazz's future direction, though he acknowledged the DownBeat assessment. Retrospective critiques have been more uniformly positive, emphasizing the album's role in Coleman's development. describes it as a "superb release" and essential for fans, highlighting Ed Blackwell's standout drumming and the quartet's cohesive interplay. Pitchfork's 2004 review lauds the "impressive, comfortable" improvisations, particularly Scott LaFaro's ethereal bass lines and Coleman's seductive alto playing, which convey subtle emotional fluctuations. Common themes in praise focus on LaFaro's innovative bass work, which advances cohesion through its vitality and independence, as noted in both contemporary and later analyses. Critiques often point to the album's shorter runtime—around 44 minutes—compared to Coleman's expansive live performances, and its relatively restrained innovation relative to earlier breakthroughs like . Over time, opinions evolved with the revival in the 1990s, repositioning Ornette! as a vital bridge between Coleman's more structured early works and his fully abstract phases, gaining broader appreciation for its interactive trio dynamics.

Legacy

Influence

Ornette! played a pivotal role in the evolution of by emphasizing the bassist's expanded function in ensemble improvisation, moving beyond traditional timekeeping to active melodic interplay and . On this , Scott LaFaro's contributions, particularly evident in tracks like "C. & D.," showcased a liberated approach that integrated the bass as an equal voice in collective expression, influencing the genre's shift toward democratic group dynamics. This innovation resonated with later free jazz practitioners, including members of the Association for the Advancement of Creative Musicians (AACM) and the , whose ensembles adopted similar interactive structures that prioritized individual freedom within the group. LaFaro's performances on Ornette! helped define his brief but transformative career, establishing him as a model for subsequent bassists who sought greater expressive in jazz settings. His work here directly informed players like Dave Holland, who drew from LaFaro's melodic and rhythmic independence to shape their own improvisational styles in contexts. Similarly, Ornette Coleman's compositional frameworks, with their psychological undertones and rejection of fixed chord progressions, inspired explorations of thematic depth in , as seen in Anthony Braxton's multifaceted works that expanded on collective improvisation and structural ambiguity. The album's legacy extends to the foundational elements of Coleman's harmolodics theory, where harmonic, rhythmic, and melodic lines are treated democratically, a concept previewed in the trio's fluid interactions and later disseminated through his broader oeuvre. In jazz education, Ornette! is frequently referenced for its exemplary trio dynamics, illustrating how piano-less ensembles could achieve harmonic richness through improvisation alone. As part of the 1960s avant-garde jazz movement, it paralleled developments like John Coltrane's Ascension in pushing boundaries toward freer forms of expression. The recording's cultural significance is highlighted in the 1985 documentary Ornette: Made in America, which portrays Coleman's early innovations, including this album, as cornerstones of his pioneering Atlantic-era output.

Reissues

In the , a track from Ornette!, "C. & D.", appeared in the Atlantic compilation The Best of Ornette Coleman (1970, Atlantic SD 1558), which drew from sessions across Coleman's early Atlantic catalog to highlight his improvisational style. The full album saw stereo vinyl reissues in 1974 and 1975 (Atlantic SD 1378), maintaining the original track listing without alterations. The album's first standalone reissue arrived in 2003 (Rhino R2 73714), remastered from the original tapes and featuring the complete original mono mix across its five tracks. Outtakes from the Ornette! sessions, along with those from other Atlantic recordings, were integrated into comprehensive s, notably Beauty Is a Rare Thing: The Complete Atlantic Recordings (Rhino R2 71480, 1993; reissued 2000), a six- collection encompassing all of Coleman's Atlantic output from 1959 to 1961, plus previously unreleased material. The 2018 ten-LP vinyl The Atlantic Years (Rhino R1 794069) by Atlantic/Rhino provided remastered 180-gram pressings of Ornette! and five other studio albums, alongside three LPs of session outtakes and a bonus disc The Ornette Coleman Legacy with tracks like the previously vinyl-unavailable "Proof Readers" from 1960 sessions. Since the 2010s, Ornette! has been widely available on streaming platforms such as and , often in standard digital formats derived from the Rhino remasters. High-resolution digital versions, emphasizing the album's original mono configuration, emerged through services like and HDtracks around 2018, coinciding with the vinyl box set's audio upgrades. A standalone 180-gram vinyl reissue followed in 2018 as part of the components (Atlantic SD 1378). Later editions, particularly the box sets, incorporated enhancements such as extensive session notes by critics like Ben Ratliff, rare photographs from jazz photographer , and detailed liner essays on Coleman's recording process. While no significant alternate mixes have been issued, outtakes—such as alternate takes from the 1961 sessions—became standard inclusions in deluxe packages like Beauty Is a Rare Thing and The Atlantic Years, expanding access to unreleased material without altering the core album.

References

  1. https://www.discogs.com/master/183269-The-Ornette-Coleman-Quartet-Ornette
  2. https://www.jazzdisco.org/ornette-coleman/discography/session-index/
  3. http://www.jazzshelf.org/colemanreviews.html
  4. https://www.rhino.com/product/the-atlantic-years
  5. https://www.jazzdisco.org/ornette-coleman/discography/
  6. https://www.speakerscornerrecords.com/products/details/1378/ornette-coleman-ornette
  7. https://www.discogs.com/release/1081900-Ornette-Coleman-Beauty-Is-A-Rare-Thing-The-Complete-Atlantic-Recordings
  8. https://jazztimes.com/features/lists/artists-choice-ben-allison-on-ornette-coleman/
  9. https://music.apple.com/us/album/ornette/50234977
  10. https://thebluemoment.com/2024/09/01/the-vision-of-scott-lafaro/
  11. https://d-scholarship.pitt.edu/27686/1/NFdissfullPittrev2.pdf
  12. https://do-server1.sfs.uwm.edu/mirror/E3296630D6/pdf/E67476D/ornette-coleman.pdf
  13. https://www.allmusic.com/album/ornette-mw0000325438
  14. https://www.allaboutjazz.com/ornette-ornette-coleman-atlantic-jazz-review-by-chris-m-slawecki
  15. https://www.jazzdisco.org/ornette-coleman/discography/session-index/#610131
  16. https://www.jazzdisco.org/ornette-coleman/catalog/
  17. https://www.allmusic.com/album/ornette%21-mw0000325438
  18. https://jazzjournal.co.uk/2022/08/26/jj-08-62-ornette-coleman-ornette/
  19. https://pitchfork.com/reviews/albums/1545-ornette/
  20. https://www.freejazzblog.org/2015/06/to-ornette-coleman.html
  21. https://www.udiscovermusic.com/stories/best-jazz-bassists/
  22. https://www.chicagotribune.com/2015/06/11/ornette-coleman-liberated-jazz/
  23. https://www.theabsolutesound.com/articles/scott-lefaro-pieces-of-jade/
  24. https://www.theguardian.com/music/musicblog/2011/apr/13/50-moments-anthony-braxton-jazz
  25. https://downbeat.com/news/detail/anthony-braxton-hall-of-fame
  26. https://jazztimes.com/features/profiles/the-crosscultural-significance-of-ornette-coleman/
  27. https://milestonefilms.com/products/ornette-made-in-america
  28. https://www.discogs.com/release/13254157-Ornette-Coleman-The-Best-Of-Ornette-Coleman
  29. https://www.rhino.com/product/ornette-coleman-beauty-is-a-rare-thing-the-complete-atlantic-recordings
  30. https://www.discogs.com/release/12092211-Ornette-Coleman-The-Atlantic-Years
  31. https://open.spotify.com/album/7BxOi2aKqOyAcOXo6EpIFl
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