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Post by steveternal on Mar 28, 2007 16:43:41 GMT -5
Every other band gets their own thread, so here's one for the most unique, left-field and important artist yet.
People are calling Ornette a jazz legend, but even that is an understatement. His first album was in 1958, so he's by far the Bonnaroo artist with the longest career. And since then he went on to play with countless other jazz legends (including many who got their starts in his groups), record landmark records, expand the potential of the saxophone, and of course almost singlehandedly invent the style known as Free Jazz. No other Bonnaroo artist can claim to have influenced John Coltrane.
But to me the most interesting thing about his inclusion is that it marks the first time on Bonnaroo history in which they've had a straight jazz artist, one whose style is without any kind of rock/folk/funk/etc. fusion. Even with other big names like Hancock and Frisell there was an element that linked them to the rock core that Bonnaroo has. Coleman, assuming he's bringing his "Sound Grammar" quartet, will be sraight jazz, and I think that's a bold and exciting choice. Moreover it shows how Bonnaroo as a festival is absolutely peerless in its breadth of styles. I'm just amazed and so glad to be a part of all this!
One more thought, by way of a prediction: Coleman will close out This Tent Friday night, and Tortoise will lead into them. Since Tortoise has claimed Coleman as an influence, I'm sure they'd do anything to have him guest with them, and that's what I hope to God happens.
Thoughts on any of this? Other Coleman fans out there want to weigh in? Favorite albums, tunes, etc.? Anyone actually seen him before?
Post by steveternal on Mar 28, 2007 17:36:07 GMT -5
Right on, that would be unbelievable as well.
For recommendations, I'd probably start with "The Shape of Jazz To Come", his first major album as a leader. And once you're feeling adventurous, check out "Free Jazz". It's a single, 37-minute track of spastic free improvistion by an impressive double quartet. And of course check out his release from last year, "Sound Grammar", as that's probably the sound/style/group he'll have at Bonnaroo.
Post by oatmealschnappz on Mar 28, 2007 17:56:34 GMT -5
I'd love a latenight set! What better way to sit-back, wind-down and chill? Not only does his amazing career and body of work warrant it but, he's almost 80 years old! It doesn't seem right to schedule him a day slot. At least give us an evening show, SuperFly!
Post by thefussydutchman on Mar 28, 2007 18:03:56 GMT -5
Buddy Guy aint a young man either and he was on at 2 in the afternoon. I'd expect something like that for Coleman.But late-night would be SWEET ;D ;D ;D ;D ;D ;D
"We've all been raised on television to believe that one day we'd all be millionaires, movie gods, and rock stars. But we wont, and we're slowly learning that fact & we're very, very pissed off......."
Post by elmorejames on Mar 28, 2007 18:29:29 GMT -5
James Blood was Ornette's first electric guitarist and did some of his best work with him. Check out "Tales of Captain Black" to hear them together. You won't be disappointed.
Man, this is almost too much to take. No way this festival goes by without them sharing a stage.
Post by bloomindaedalus on Mar 28, 2007 20:03:16 GMT -5
Thanks for making this thread.
It is true that the scope of Coleman's influence is very hard to apprehend. So much of what he did from 1959 through the late 60's now may seem standard fare but when it comes to paving the way for radical changes Coleman's is a name that merits placement on any list thus generated.
The album he made in 1959 called The Shape of Jazz To Come famous for being played entirely without recognizable chords did indeed have a prophetic name. As all things (in art/entertainment) post modern began to incorporate deconstruction in the 50s - 2000s, it is hard to appreciate the existence of institutions in art whose very foundations were not constantly under attack. (though there are many cases now which are probably very rigid though they appear "free" and we will wait for history to look back upon our time as stifled and conservative).
But in most cases these attacks begin slowly: The Abstract Expressionists started painting only "slightly weird looking figures" or "blurring the lines between figure and ground". It was along time before they abdicated the figure altogether or went so far as to paint only half the canvas. Though comparisons between music and visual art are tenuous at best, a similar thing can safely be said of the development of "radicalisms" in music in this century.
Coleman played a decisive role not by dropping the piano or by using tape loops or by recoding instruments separately or sampling ...he made a much bolder step; he left out the chords. Again not a big deal today...perhaps. But it opened a door to allow people to hear and compose and play music differently.
The notion of "free jazz", though perhaps as much misused as any meme, nevertheless plays a central role in the way the average person thinks about jazz. Though before Coleman such a notion did not exist. Miles and Coltrane and Mingus are all famous for saying they couldn't answer the question "What is Jazz?". After Coleman though, that question became much harder.
The intention of the analogy with abstract painters is that the major theme in twentieth century visual art history is "what else can art be? How far can we stretch its boundaries?" Jazz, at one time, served as a significant movement in this sense in modern music. Though it may have long ago been eclipsed in this capacity, it has certainly informed and influenced a vast landscape of music. The idea that "you can f*ck with anything that is so commonplace in our visual art and in experimental modes of music has some strong roots in Jazz . And Coleman played an enormous role in showing people just how far they could change something and still declare it was what the same "kind" of thing it evolved from.
There's much more that could be said. I'm no expert on Coleman but his influence is relay incalculable. I hope you consider yourselves lucky to be able to see this dude play for you before he dies and at the biggest party in America no less.......i know i do.
"...well yeah the guitar is good accompaniment but you can't like compose with it; I mean you can't base a whole song around the guitar." -Bob Dylan 1965
Post by heymannn87 on Mar 28, 2007 20:29:27 GMT -5
So basically, this is going to be the show of the weekend not to miss. If you are going to Bonnaroo to see a once in a lifetime show, this would be the one to go to. I don't anything about this guy yet but, I definately plan to look into it, the only band I think I'd pass on Coleman for (if it is as cool as people describe it) is the Stripes. If you think there's going to be a James Blood collabartion, I'd imagine this guy playing a Friday evening preheadliner set probably similar to Herbie Hancock's Headhunters in 05. That's just a guess though (judging by spot on the poster).
ya id like to check em out. and thanx for the dead link. listening to it now. and i will check out his albums too. thanx to all for the recommendations. im kinda hoping for a daytime slot becasue it sounds like one of those one time only chance and id almost surley have to be elsewhere for latenight.
I would not be in the least bit surprised if Ornette popped up in sets over the course of Bonnaroo weekend. For me, an early afternoon Sunday set would be IDEAL.
Post by steveternal on Mar 28, 2007 22:51:53 GMT -5
I think the biggest problem I see with having Coleman midday is I can't imagine who he could properly be scheduled in between. Aside from Ulmer, there's no one on the lineup that even remotely resembles his style. Perhaps that's an indication of the types of additions to come, but who knows. So I really see him getting a closing spot, in a tent like I said before, because I don't see him having enough draw among the usual Bonnaroo crowd to be on a stage, but maybe I'm wrong about that. I could definitely see This Tent looking like this: ??? > James Blood Ulmer > Tortoise > Ornette Coleman.
The album he made in 1959 called The Shape of Jazz To Come famous for being played entirely without recognizable chords did indeed have a prophetic name.
im listening to this now, it was actually the first thing i downloaded and its just great, so great. I forgot how good jazz is, glad i have someone new to get me back to listening to it.
Post by chewtheangels on Mar 29, 2007 8:10:55 GMT -5
I personally would like to see Coleman do a set similar to Karl Denson's Tiny Universe. Ahh what memories. Ornette will get the ladies swaying and jirating without a doubt. Everyone listen to (if you havent already) his future of Jazz album.
I would not be in the least bit surprised if Ornette popped up in sets over the course of Bonnaroo weekend. For me, an early afternoon Sunday set would be IDEAL.
I'd be surprised if he doesn't! I can see him sitting in with all those mentioned here as well as WSP, Ratdog, SCI, & Gov't Mule (Warren Haynes has already said it's not going to be your standard Mule show).
I expect an afternoon slot for his band since he'll be guesting on both late-nights.
I'd love that, but my internet connection at school is so sh-tty that I feel like I'd just be wasting it. Thanks for the offer, though. Have some karma.
I think the biggest problem I see with having Coleman midday is I can't imagine who he could properly be scheduled in between. Aside from Ulmer, there's no one on the lineup that even remotely resembles his style. Perhaps that's an indication of the types of additions to come, but who knows. So I really see him getting a closing spot, in a tent like I said before, because I don't see him having enough draw among the usual Bonnaroo crowd to be on a stage, but maybe I'm wrong about that. I could definitely see This Tent looking like this: ??? > James Blood Ulmer > Tortoise > Ornette Coleman.
haha, i loved that skit. "Thanks, Oops I Crapped My Pants!"--Old Lady
I'd rather poop in my hand and smear it all over my face than listen to free jazz.........just plain noisy nonsense........but i guess i just don't get it, right?
