An overlooked chapter in Ornette Coleman's recording career, these two Blue Note albums recorded in NY in 1968 and issued in '68 & '71 feature the innovative alto saxophonist joined by West Coast tenor saxophonist recently moved to NYC, Dewey Redman, and Coltrane sidemen, drummer Elvin Jones & bassist Jimmy Garrison, for two sessions of inventive and accomplished free jazz.
Label: ezz-thetics by Hat Hut Records Ltd Catalog ID: ezz-thetics 1125 Squidco Product Code: 31340
Format: CD Condition: New Released: 2021 Country: Switzerland Packaging: Cardboard Gatefold Recorded April 29, 1968 (tracks 1 to 3,6 & 8) and May 7, 1968 (track 4,5,7, & 9) New York City; CD-master by Michael Brändli, Hardstudios AG; Cover photo by Philippe Gras; Liner Notes by Bill Shoemaker, graphic concept by fuhrer vienna; Associate producer: Christian C. Dalucas; Executive producer: Werner New York Is Now originally released in 1968 on the Blue Note label as a vinyl LP with catalog code BST 84287. Love Call originally released in 1971 on the Blue Note label as a vinyl LP with catalog code BST-84356.
"New York is Now! and Love Call are rarely mentioned in surveys of Ornette Coleman's music, and they are often glossed over when they are cited. They are not landmark statements like The Shape of Jazz to Come or Dancing in Your Head. Even in commentary focusing on Coleman's recordings for Blue Note between 1965 and '68, these albums tend to be overshadowed by the two volumes of At the "Golden Circle" Stockholm with David Izenzon and Charles Moffett. However, these last sessions before Coleman's departure for Impulse! are pivotal, influential albums that merit reassessment.
Thumbnail descriptions of the two albums too often lead with namechecking Jimmy Garrison and Elvin Jones - "Coltrane's rhythm section" - as if their presence was a ploy. This overlooks the bassist's undervalued contribution to Ornette on Tenor, and his work in Coleman's quartet with Bobby Bradford and Moffett until the end of 1961, when he joined Coltrane's quartet for steady work after Coleman stopped playing clubs. Even in its heyday, Garrison and Jones collaborated outside the classic quartet, co-leading Illumination, a 1963 sextet date that included Coleman's high school friend, Prince Lasha. It is also noteworthy that Jones' trio with Garrison and Joe Farrell recorded the minor classic Puttin' It Together for Blue Note three weeks before the first of the two sessions represented here. They had the requisite experiences to fully engage as a tandem with the idiosyncrasies of Coleman's music - and they did.
Arguably, Coleman's most crucial recruitment for the dates was Dewey Redman, another of Coleman's contemporaries at Fort Worth's I.M. Terrill High School (along with John Carter, King Curtis and Moffett). The tenor saxophonist had recently relocated to New York after nine years in San Francisco, where he recorded Look for the Black Star in early 1966, with Jym Young, Donald Garrett, and Eddie Moore. Issued on Fontana, the album most likely was little heard in the US when Redman arrived in New York; yet, he became sufficiently known in short order to play on a legendary unissued Sunny Murray session for Columbia in March '68. On both the Fontana album and the Murray session, Redman played with exciting dexterity and intensity, augmented by what became his signature use of voice-thickened textures, attributes he brought to Coleman's music.
With Redman, Jones, and Garrison, Coleman essentially retooled his music. Instead of Billy Higgins' aerodynamic swing or Ed Blackwell's New Orleans-steeped buoyancy, Jones created visceral heat. Reflective of his rapport with Jones, Garrison's sound was more muscular than the filigree-prone Scott LaFaro, and he was more persistent in projecting forward momentum than Charlie Haden, who had a penchant for veering into ponderous rubato. Redman exemplified Coleman's case - quoted by A.B. Spellman in his liner notes for Ornette on Tenor - that "[t]he tenor is a rhythm instrument, and the best statement Negroes have made, of what their soul is ... you can get to people with it."
By no means did Coleman's unit mainstream his music; instead, they gave a new, palpable energy to several aspects of his unorthodox compositional language. They smoothly negotiated the tempo changes, the transposition of themes by a minor third, and the metric ambiguity, Coleman embedded in pieces like "Broadway Blues" and "Check Out Time." Facilitated by Redman's Bb tenor, Coleman introduced themes played in parallel fourths, which gave "The Garden of Souls" and "Open to the Public" added harmonic texture. Additionally, they bolstered Coleman on "Love Call," his most technically assured and well-constructed performance on trumpet.
Perhaps the most intriguing, singular track from these sessions is "We Now Interrupt for a Commercial." It is a high-intensity, three-minute improvisation featuring Coleman's ecstatically sawed violin, which is repeatedly and abruptly stopped for the announcement that gave the piece it's named. Band members, primarily Redman, made the off-mic announcements on the original take; however, Mel Fuhrman's voice was overdubbed for the LP. While Fuhrman's stereotypical announcer's voice gave the piece a sharper satirical edge, the original, issued on a 1990 CD reissue of New York is Now!, has an infectious after-hours joviality.
Discussions of a recording being influential usually beg the question: Who did it influence? In the case of New York is Now!, there is an obvious answer - Pat Metheny, who included "Broadway Blues" and "Round Trip" on his 1975 debut, Bright Size Life. The guitarist's dedication to Coleman's music was sustained and ardent. Metheny recorded Coleman compositions on subsequent albums with, respectively, Redman and Haden, and Haden and Higgins, leading to his 1986 collaboration with Coleman, the widely acclaimed Song X. If anyone came close to mainstreaming Coleman's music, it was Metheny.
The music on New York is Now! and Love Call is, at turns, provocative and joyful, familiar and strange, in a deep pocket and outward bound. Beyond being influential and deserving of higher rank among Coleman's many enduring recordings, they are simply among the most satisfying."-Bill Shoemaker, October 2021