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Free Jazz

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Customer Reviews

Difficult, but very important

A landmark in jazz music (rather, music in general), Ornette's Free Jazz is a long listen and requires a great deal of patience. But to those that do take the time to listen, it is very rewarding. Not for the average listener of jazz, or most music. I'd rather not describe the music itself. Just listen for yourself. Since there's no review of the album here, I'll give you the group members: The group is a double quartet. In the first group, it is Ornette Coleman on alto sax, Don Cherry on pocket trumpet, Scott La Faro on bass, and Billy Higgins on drums. The second is Eric Dolphy on bass clarinet, Freddie Hubbard on trumpet, Charlie Haden on bass, and Ed Blackwell on drums. Keep in mind both groups are playing simultaneously.

Free Jazz - 1960 - The New Frontier

I doubt if anyone can really "get" this after one play. It took me 2 plays to start to pick up patterns and a sense of direction. Coleman's alto sax sound is jarring, and he almost sounds out of tune, but he not; this is his "sense" of harmony and melody. Everyone plays off everyone else. and it will NOT make sense to YOU at first.

Coleman and Coltrane and Cecil Taylor changed "Jazz" into a world music that has no rules and no boundaries. For that, I am grateful.

If you're up to an adventure, get this ASAP.


Great free jazz. I perfer the first track but the other 1 is really good. If you want good free jazz or want to hear some good talented musicians get this!


Born: March 9, 1930 in Fort Worth, TX

Genre: Jazz

Years Active: '50s, '60s, '70s, '80s, '90s, '00s

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...
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