The Radically Inclusive Music of Ornette Coleman 

Source: The New Republic.

There were other bebop musicians playing with experimental forms in the 1950s, like John Coltrane and Miles Davis, but Coleman brought something wholly unexpected to his signature white plastic saxophone. His sound’s arrival in New York made Coleman “an overnight underground sensation,” Maria Golia writes in her new book, Ornette Coleman: The Territory and the Adventure.

One thought on “The Radically Inclusive Music of Ornette Coleman 

  1. This is a poor book and contains no new insights into his music, no analysis of recordings, discussions of ideas, his ensembles or anything creative. Golia typically has no musical background and no training, she spends a long time on Ornette’s birth and early life in Texas and arrival in NYC jazz scene in 1959. There little about his impact on music in the next 5 decades except appearances at Caravan of Dreams where guess what Golia was an usher in the late 80’s. Overall covers biography, controversy and opinions but nothing musical. The best books on Ornette Coleman have been by German bass player Peter Niklas Wilson, Litweiler, articles by scholar Gary Giddins and the composer Stephen Rush.

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