Ornette Coleman Music

As good as his first Atlantic album was, this 2nd album with the same personnel is maybe Ornette's best for that label. One reason is that the writing and playing is even better that the first outing. Tunes like "Una Muy Bonita" or "The Face of the Bass" have that tunefulness that is reminscent of Monk. Also Billy Higgins is on board again and though I did like his replacement, Ed Blackwell on drums--I missed Billy's light as feather accompaniment behind Ornette. If you want an introduction to Ornette's music--start with this one.

Change of the Century, Ornette's 4th album is a work of stunning brilliance. Any doubts that because it is sandwiched between the definitive classic The Shape Of Jazz To Come & the revolutionary Free Jazz that it would be somewhat lesser can be thrown right out. This is a great a jazz album as any ever made & amongst the greatest of any music, seriously all the labels, genre-specificness & niche marketing should be thrown right out, like OC fan Captain Beefheart meant when he said "Lick my decals off, baby!", I'm sure Ornette would agree. 1st of all there is the striking stark portrait of the man himself by Lee Friedlander to get yr attention, I've seen a book full of her photography & it's good stuff [note the similar style on Miles Davis' Greatest Hits lp cover of the late 60s]. Then there are the liner notes explaining the philosophy driving the music, Ornette believes deeply in what his group were doing [I should now mention that drummer Billy Higgins recently died & a sad shame it is, also the great Don Cherry has been gone since 1995], the bold titles of the albums were not an exercise to build an ego but just great confidence in the power of the music. Now, Ramblin' which opens the album is something that should be listened to every day to wake you up & get you in the mood for lifeliving, very catchy & great playing from all members, pure genius. Free is the name of the next track & it's worth noting this is preceding the term 'free jazz' slightly, the intro of it really superb, a streaming sea of sound & then of course there is a lot of free group improvisation. The Face Of The Bass highlights the talents of Charlie Haden [& rightly so!], daring to give him an extended solo before the whole band jumps in again. Una Muy Bonita is an overwhelmingly joyous tune but never embarrassingly so, another classic. The only tune to not grab you immediately & predict the more out there abrasiveness of the free jazz scene is the title track which closes the lp, it is also the shortest track here. The other songs are top notch too of course, particularly Forerunner. Like Ornette says in the liner notes, music can't be analysed too much or it loses what makes it great in the 1st place, so all I can say is it's something I highly recommend & yr ears will thank you for it. P.S. [3 months after initial write-up]: THIS IS THE PINNACLE, IT DOES NOT GET ANY BETTER THAN THIS!! An absolute classic that can be played every day & is always compelling. That's not to say there's not a whole lot more worth checking out, the electric Body Meta & semi-orchestral Chappaqua Suite are brilliant too. Start here though.

I must admit I'm not very much experienced with free jazz; I listened to some Pharoah Sanders and to some of Miles Davis' experiments with this style ("Cookin' at plugged nickel" or something like that...). Well, I was moderatly impressed and moderately confused. I have also listened to some of the more recent jazz explorations by Charlie Haden and Billy Higgins, as well as some recordings by Art Ensemble of Chicago and Wayne Shorter's latest explorations that go beyond most traditional achievements,,,
It therefore seemed about time I went to the source...

First of all, I am impressed by the level of expressiveness of this music; it is no accident that Coleman's liner notes mention New Orleans jazz - some of his (but also Cherry's) solos have brought back some of the tonal features that started to disappear as early as the swing era...
I'm not an expert but I'm almost certain I heard Ornette produce some blue notes on his plastic instrument!

Naturally, New Orleans style is one of the styles in jazz in which collective improvisation was not so uncommon, so it is no wonder that, in the attempt to free jazz from Charlie Parker's magnificent shadow, Ornette at times went to the sources of jazz. In addition to that, the occasional "ethno" influences on this album (not only in the last song)are a continuation of the usual manners in which jazz musicians tried to infuse new ideas into their music; Ellington, Gillespie and others were particularly impressed by Latin America(s), there were even some Middle East experiments, but it was about time in the late 50's someone shows the influences of South Asia and other sources...

However, I must admit I still dig Ornette's explanations much more than I dig the music... This is fine jazz, with strong sense of swing and, at least occasionally, with fine drive, but all in all, I'm not hypocritical enough to hide my opinion that the band at times rambles a bit too much...

Also, keeping the format of innitial and concluding statement of...well...anti-melody at some songs also doesn't seem such a good idea . I think that much better, or at least "freer", is the approach on "Change of the Century"...

Perhaps if I devote more time to this style I would get used to it or discover more beauty, but as for now, 4 stars is the maximum I can give...
Even that is a bit far fetched, rewarding the courage and determination to follow original path (regardless of the number of followers)...

This is a classic recording, only slightly less compelling than Coleman's SHAPE OF JAZZ TO COME. If you like SHAPE, you'll certainly like CHANGE. These of course were recorded within a few months of each other, by the same legendary group (Coleman, Cherry, Haden, Higgins). To these ears, this remastered version is a big improvement (higher resolution) over the original CD. Same goes for the remastered version of SHAPE. These are both from the ATLANTIC MASTERS series (Warner Jazz), made in Germany. I haven't heard the much more expensive Japanese imports, but I expect the German ones may be hard to beat. The only downside is that you almost need a microscope to read the liner notes, and there's quite a bit to read.

Following up a classic album is always a difficult endeavor. Certainly to do so when that album was revolutionary and influential is even harder. Our natural tendency as listeners and amateur critics is to compare albums to each other, particularly those that are relatively contemporary to each other. Such is the case with Ornette Coleman's "Change of the Century", followup to "The Shape of Jazz to Come". Released just five months later, it finds Coleman's quartet (the leader on alto sax, Don Cherry on cornet, Charlie Haden on bass and Billy Higgins on drums) in full flight-- more comfortable as a unit, in some ways, the performance is tighter and better than "The Shape of Jazz to Come", but as a result of this, in some ways it seems to lack the urgency and immediacy of the album it followed.

Still, lacking immediacy doesn't make a bad album, and there's plenty of good material on here-- the fractured title track largely represents everything critics of Coleman have to say about him-- its disjoint theme and following solos are unpredictable, even on repeated listens, and manage somehow to be stunning each time, no dobut due to the sympathetic playing of Haden and Higgins. Likewise, on "Una Muy Bonita" and "The Face of the Bass"-- the two of them strike a delicate mix between free association with the soloist and swing that keeps things together and coherent. And check out Cherry and Haden together on "Ramblin'"-- clearly the two of them have developed an unusual rapport that they can utilize to great effect.

All in all, "Change of the Century" a good followup to "The Shape of Jazz To Come"-- not quite the masterpiece that album is, but a worthwhile listen. Recommended.

As good as his first Atlantic album was, this 2nd album with the same personnel is maybe Ornette's best for that label. One reason is that the writing and playing is even better that the first outing. Tunes like "Una Muy Bonita" or "The Face of the Bass" have that tunefulness that is reminscent of Monk. Also Billy Higgins is on board again and though I did like his replacement, Ed Blackwell on drums--I missed Billy's light as feather accompaniment behind Ornette. If you want an introduction to Ornette's music--start with this one.

Change of the Century, Ornette's 4th album is a work of stunning brilliance. Any doubts that because it is sandwiched between the definitive classic The Shape Of Jazz To Come & the revolutionary Free Jazz that it would be somewhat lesser can be thrown right out. This is a great a jazz album as any ever made & amongst the greatest of any music, seriously all the labels, genre-specificness & niche marketing should be thrown right out, like OC fan Captain Beefheart meant when he said "Lick my decals off, baby!", I'm sure Ornette would agree. 1st of all there is the striking stark portrait of the man himself by Lee Friedlander to get yr attention, I've seen a book full of her photography & it's good stuff [note the similar style on Miles Davis' Greatest Hits lp cover of the late 60s]. Then there are the liner notes explaining the philosophy driving the music, Ornette believes deeply in what his group were doing [I should now mention that drummer Billy Higgins recently died & a sad shame it is, also the great Don Cherry has been gone since 1995], the bold titles of the albums were not an exercise to build an ego but just great confidence in the power of the music. Now, Ramblin' which opens the album is something that should be listened to every day to wake you up & get you in the mood for lifeliving, very catchy & great playing from all members, pure genius. Free is the name of the next track & it's worth noting this is preceding the term 'free jazz' slightly, the intro of it really superb, a streaming sea of sound & then of course there is a lot of free group improvisation. The Face Of The Bass highlights the talents of Charlie Haden [& rightly so!], daring to give him an extended solo before the whole band jumps in again. Una Muy Bonita is an overwhelmingly joyous tune but never embarrassingly so, another classic. The only tune to not grab you immediately & predict the more out there abrasiveness of the free jazz scene is the title track which closes the lp, it is also the shortest track here. The other songs are top notch too of course, particularly Forerunner. Like Ornette says in the liner notes, music can't be analysed too much or it loses what makes it great in the 1st place, so all I can say is it's something I highly recommend & yr ears will thank you for it. P.S. [3 months after initial write-up]: THIS IS THE PINNACLE, IT DOES NOT GET ANY BETTER THAN THIS!! An absolute classic that can be played every day & is always compelling. That's not to say there's not a whole lot more worth checking out, the electric Body Meta & semi-orchestral Chappaqua Suite are brilliant too. Start here though.

I must admit I'm not very much experienced with free jazz; I listened to some Pharoah Sanders and to some of Miles Davis' experiments with this style ("Cookin' at plugged nickel" or something like that...). Well, I was moderatly impressed and moderately confused. I have also listened to some of the more recent jazz explorations by Charlie Haden and Billy Higgins, as well as some recordings by Art Ensemble of Chicago and Wayne Shorter's latest explorations that go beyond most traditional achievements,,,
It therefore seemed about time I went to the source...

First of all, I am impressed by the level of expressiveness of this music; it is no accident that Coleman's liner notes mention New Orleans jazz - some of his (but also Cherry's) solos have brought back some of the tonal features that started to disappear as early as the swing era...
I'm not an expert but I'm almost certain I heard Ornette produce some blue notes on his plastic instrument!

Naturally, New Orleans style is one of the styles in jazz in which collective improvisation was not so uncommon, so it is no wonder that, in the attempt to free jazz from Charlie Parker's magnificent shadow, Ornette at times went to the sources of jazz. In addition to that, the occasional "ethno" influences on this album (not only in the last song)are a continuation of the usual manners in which jazz musicians tried to infuse new ideas into their music; Ellington, Gillespie and others were particularly impressed by Latin America(s), there were even some Middle East experiments, but it was about time in the late 50's someone shows the influences of South Asia and other sources...

However, I must admit I still dig Ornette's explanations much more than I dig the music... This is fine jazz, with strong sense of swing and, at least occasionally, with fine drive, but all in all, I'm not hypocritical enough to hide my opinion that the band at times rambles a bit too much...

Also, keeping the format of innitial and concluding statement of...well...anti-melody at some songs also doesn't seem such a good idea . I think that much better, or at least "freer", is the approach on "Change of the Century"...

Perhaps if I devote more time to this style I would get used to it or discover more beauty, but as for now, 4 stars is the maximum I can give...
Even that is a bit far fetched, rewarding the courage and determination to follow original path (regardless of the number of followers)...

This is a classic recording, only slightly less compelling than Coleman's SHAPE OF JAZZ TO COME. If you like SHAPE, you'll certainly like CHANGE. These of course were recorded within a few months of each other, by the same legendary group (Coleman, Cherry, Haden, Higgins). To these ears, this remastered version is a big improvement (higher resolution) over the original CD. Same goes for the remastered version of SHAPE. These are both from the ATLANTIC MASTERS series (Warner Jazz), made in Germany. I haven't heard the much more expensive Japanese imports, but I expect the German ones may be hard to beat. The only downside is that you almost need a microscope to read the liner notes, and there's quite a bit to read.

Following up a classic album is always a difficult endeavor. Certainly to do so when that album was revolutionary and influential is even harder. Our natural tendency as listeners and amateur critics is to compare albums to each other, particularly those that are relatively contemporary to each other. Such is the case with Ornette Coleman's "Change of the Century", followup to "The Shape of Jazz to Come". Released just five months later, it finds Coleman's quartet (the leader on alto sax, Don Cherry on cornet, Charlie Haden on bass and Billy Higgins on drums) in full flight-- more comfortable as a unit, in some ways, the performance is tighter and better than "The Shape of Jazz to Come", but as a result of this, in some ways it seems to lack the urgency and immediacy of the album it followed.

Still, lacking immediacy doesn't make a bad album, and there's plenty of good material on here-- the fractured title track largely represents everything critics of Coleman have to say about him-- its disjoint theme and following solos are unpredictable, even on repeated listens, and manage somehow to be stunning each time, no dobut due to the sympathetic playing of Haden and Higgins. Likewise, on "Una Muy Bonita" and "The Face of the Bass"-- the two of them strike a delicate mix between free association with the soloist and swing that keeps things together and coherent. And check out Cherry and Haden together on "Ramblin'"-- clearly the two of them have developed an unusual rapport that they can utilize to great effect.

All in all, "Change of the Century" a good followup to "The Shape of Jazz To Come"-- not quite the masterpiece that album is, but a worthwhile listen. Recommended.

I found this CD in a small record/CD store in the suburbs of Chicago, and it was only 20 bucks or so. I really dig Ornette, so I picked it up, and it's great. It's one of my favorite Ornette CD's, and it's just one long suite running approximately 80 minutes. It was composed for Conrad Rooks's film Chappaqua. But Rooks was so taken by Ornette's wonderful music that he felt that if he used it in his film, it would diminish it. He was right; this music is better than the film. The film is a pretentious, overly artsy mess. This is a very rare recording by Ornette, but if you're lucky enough to see it, and you have the scratch, buy it.

Recorded in 1965, this music was commissioned for the soundtrack of Conrad Rooks' cult film of same name. Ultimately, a Ravi Shankar score was opted for instead of this one. I've never seen "Chappaqua," and I've not heard Shankar's score, but hearing this album I can't believe anyone turned this stuff down! The score is fantastic, as you would expect from Coleman. The music is evocative and seems as though it would make a superb accompaniment to film. Fortunately, it also works fantastically as an album all by itself, so all was not wasted. The CD liner notes claim that director Rooks hesitated to use the music because it was so beautiful in and of itself, and he feared that the score's many merits might conflict with or even overshadow the actual film. I can accept that, but the liner notes go on to say that Rooks "kept this recording to offer it in an album of two LPs to all those fascinated by the musical world initiated by Ornette Coleman." You can believe that, or not, but the truth is that this recording is only available as a fairly cheesy and hard-to-find 2-disc (though its just over 79 minutes in total) expensive French import. And as far as I know this is the only way its ever been available, so those lofty idealistic claims don't go so far with me.

The permutation of the Ornette Coleman trio in action here includes Charles Moffett and David Izenson (the same line-up as on the remarkable "Golden Circle" recordings and in the landmark '62 Town Hall concert). Pharoah Sanders (!) makes a cameo for an added bonus. And on top of that, the whole performance is accompanied by a studio orchestra (ten musicians? eleven? there are conflicting reports on this matter). Pretty much, the trio do their thing, and the orchestral players fill in, adding color to the music and giving the whole affair a thicker and healthier sound. But sometimes, many times, things really heat up and there's some fierce back-and-forth between the trio and the orchestra. These moments give this score a real intensity that helps to make it, I feel, a very important Coleman recording. Coleman had by this point had some limited experience working with orchestral performers (for example on the Town Hall concert), and he would pursue further interest in the area with such recordings as "Skies of America."

If you have any interest in jazz music composed for film soundtracks, check out Miles Davis's score for Louis Malle's "Elevator to the Gallows," Shafi Hadi & Charlie Mingus's score for John Cassavetes' "Shadows" (some of which is on "Mingus Ah Um"), and the score for Michael Snow's "New York Eye & Ear Control," which features the likes of Albert Ayler, Don Cherry, and Roswell Rudd. Those are all pretty great. Oh, and then there's always the score to "Anatomy of Murder," obviously. In addition to "Chappaqua" and the later "Naked Lunch" soundtrack, Coleman did a soundtrack for another film, "Who's Crazy," around the same time with the same Trio line-up. I've heard a good chunk of it, and its really really good, and covers some of the same material performed in Stockholm for the Golden Circle concerts. But like so many other crucial Coleman recordings ("Crisis," the Great London Concert, the remaining material from the '62 Town Hall Concert, etc.) it is not now in print, and probably won't be any time in the near future (or maybe ever). Unlike the rest of the Town Hall material though, "Who's Crazy" was issued on vinyl as an import (italian?) many years ago (good luck finding it!). There's also a short documentary which films them laying down the "Who's Crazy" tracks, which I highly recommend tracking down.

Sit back, get comfortable with dim lights and enjoy this pleasure cruise. Recorded in New York 1965 for a french film score. Undercover and indispensible

Anyone who's interested in jazz in general, Ornette, "free" playing, or music that's got a constant directional flow would like this album. These two really work well together, kind of like Metheny and Ornette on Song X. It was just totally meant to happen. There's a great chemistry here. I can't see why anyone who actually bought the album would not like it; if you're into this type of thing there's no question that you'll like it, but if you don't like this type of thing, why would you even bother to check it out? Great compositions, great piano playing with a wide range of articulation and feeling, and Ornette sounds exactly as he should; it's been over 30 years since The Shape of Jazz to Come, and one can hear that over those 30 years he's gotten better and better with every day; his sound is very focused and pristine, kind of like how Joe Henderson sounded better in the 90's than he did in the 60's. Anyway, this is a must have for any Ornette fan, or any fan of 20 Century/Contemporary Music in general.

Can't say I care for this one much. It sounds like they didn't put much thought or planning into this, just got up on stage and jammed. Well, sometimes that works, sometimes it doesn't. The problem might be the chemistry. Ornette has always been fiery and passionate, sometimes tender. Kühn comes off as cold. This isn't a CD that I take out often.

I just love this CD. I bought it in 1997, and it has held up strong after 5 years of listening.

I'm not certain what the earlier reviewer had against the combination of Ornette and Joachim. I would not describe Mr Kuhn's playing as cold; rather, I think he serves as a wonderful partner to Ornette's frantic, fiery playing - holding back whenever needed, and letting loose with a barrage of notes or just a plain intense attack when possible.

The loose, jamming sound of Ornette works beautifully in this duo setting. Pieces like Passion Cultures come across as powerfully poignant ballads, and the faster tunes, like Three Ways to One allow for amazing amounts of freedom for both of the musicians without it becoming overwhelming or too dense in sound.

All in all, a wonderful recording - I only wish I could have actually BEEN at the concert

Ornette Coleman has always had a perverse genius for publicity & marketing. His erratic career, full of retirements, comebacks, aesthetic swerves & label-changes, has always rested on the bedrock of the amazing series of discs he recorded for Atlantic near the start of his career. He can grab attention for silly things (e.g. for including live bodypiercing as part of his act), yet I can't think of any other artist who could make news by the simple act of adding a piano to his group. That occurred with the two-CD set he did with Geri Allen; on this CD we have the even more unexpected situation of a saxophone-piano duet with the European pianist Joachim Kuhn. But there's no gainsaying it: this is one of Coleman's finest discs.

As usual the album is all (brand-new) originals. Coleman's alto shows remarkable similarities to other veterans of the age of Charlie Parker--sometimes his fragile tone & phrasing remind me of Konitz, for instance. He's happy to play the odd bit of bebop even: there's a spot here where he & Kuhn bat a bop lick around all 12 keys, for instance. Yet the music is unmistakably Coleman, & the duo sounds entirely sympathetic: I'd not encountered Kuhn before but he's obviously a very fine pianist, & isn't once thrown for a loop. Hard to fault this disc, which is one of Coleman's best latterday performances; there is the obligatory (& dispensable) trumpet-and-fiddle solo, but the rest is just fine.

Absolutely stunning and brilliant. the concert on disc 1 is a ridiculously good sound recording and a mesmerizing performance from start to finish. To my ears it's the most exciting jazz recording I've ever heard. The second disc only pales in comparisson. The sound on that one is more muddled, but still good for a live recording and the music is stellar.

Esp. for one who had never heard Ornette's music from this era ('68) apparently I'd been missing his most vibrant music. I didn't think it was possible!

If you haven't heard this yet, you need to. that's all I can tell you, it's incredible.

"The Love Revolution" collects two performances from Ornette Coleman's quartet's Europeean tour in early 1968-- during this period, Coleman performed with a two-bass quartet including Charlie Haden and David Izenzon (both bassists) and drummer Ed Blackwell. This group is pretty much undocumented-- only a pair of spotty bootlegs surfaced. Those two are what "The Love Revolution" is-- live shows from Rome (February 8, 1968) and Milan (February 5). The sound is somewhat improved (although quite frankly, it still sounds like bootleg recordings), but it's really the performance that's the goal with these.

The Rome show is sonically the superior of the two-- it's clean with a relatively even balance, although the basses sometimes get a bit muddle and indistinct. My guess is it's a poorly recorded radio broadcast. Four titles are performed, the first two ("Lonely Woman" and "Monsieur le Prince") with Coleman on alto, "Forgotten Children" finds the leader on trumpet and "Buddha Blues" puts him on shenai, a Middle Eastern reed. The latter is most intriguing as I can't think of a single issued recording featuring Coleman on the instrument, which seems to inspire him to a frantic improv, pushed forth by a simply fantastic arco counterpoint from one bass over a fiercely swinging rhythm. "Forgotten Children" feels related to "Just For You" and ends up with a laid-back theme and a more aggressive improvisation from the leader, whose rather unique trumpet technique is on display. The two tracks with Coleman on alto though are the real gems on this disc-- "Lonely Woman", taken an octave lower than the classic recording on "The Shape of Jazz to Come", is energetic and powerful, with Coleman performing brilliantly over a delicate wash of support from the basses. "Monsieur le Prince" is a bouncey, chirping theme and proves to be essentially an alto feature in the form of any number of up-tempo Coleman compositions.

The second disc, recorded at the Teatro Lirico in Milan, is quite a bit less appealing from a sonic standpoint. This has all the clear hallmarks of an audience recording-- that fuzzy theater sound to it, although the audience seems to be dead silent, which leads me to wonder whether the source was not a poorly dubbed broadcast. Three pieces, all of which The opener, "Tutti", a piece that I (and for that matter Jamaaladeen Tacuma) have always thought of as "Dancing in Your Head" (due to its prominent placement on that album) gets an extended (23 minute) reading, with Coleman ecstatically stating the theme and then entering into an extended solo of enormous inventiveness. But trumping him is a bass dialog where one bassist seems to enter in theme variation and the other responds to him. "Three Wisemen and the Saint" is a bluesy, explosive piece, with Coleman digging deep and pulling out all the stops in the sort of improvisation that is usually associated with free jazz, frantic energy, upper register expositions and even occasional overblows make their way into his performance. This kind of performance is somewhat unusual for Coleman and is really intriguing to hear. The closer, "New York", is a slow blues, Coleman plays a brief solo before turning over to an arco solo that is just absolutely lovely and lush, and quite frankly worth the cost of the entire set.

The performances on these CDs is fantastic, but it is important to note these are repackaged (and perhaps still) bootlegs. Sonically, this is not anywhere near a professional sounding recording. If you can deal with that, these are fine shows to have, otherwise save this for the hardcore collectors.

Though jazz historians may argue as to what is the first free jazz album, most people would agree that Ornette Coleman is one of the main contenders. However, there is little documentation of Ornette Coleman's classic quartet (here augmented by Paul Bley who helped found the group and went on to be a known avant-jazz musician on his own). This cd (from 2lp's, one originally released in Paul Bley's name)are the only known live concerts of this extremely influential group. Though this is sound is a little rough, you can clearly hear the pieces and the phrasing and it is certainly more "out there" than Ornette Coleman's first two official albums (his group's style did not come together until "The Shape of Jazz to Come") and has pieces that would appear on later albums (including one predictably entitled "Free") along with standards. Considering that the pieces are subject to intense improvisation (lasting up to 14 minutes) if you buy this you are holding a piece of free jazz history in your hands. With Ornette Coleman still around (catch him live if you haven't already)its good to see his unreleased recordings get their due. However, Ornette Coleman's peak was in the recordings of his classic quartet and to hear it live is to hear a meeting of the minds, a concert where the right sounds and ideas came together and free jazz as an art form congealed.

Having read about this album for years with great anticipation and despite the woeful artwork and wrong track listing - track 5 is 'Ramblin' and not 'When Will the Blues Leave?' as listed - you can't help but be moved and excited listening to the face of jazz changing with each bar. Coleman, Cherry, Haden and Higgins play together and individually beautifully with Bley playing somewhat the role of 'guest' or 'active spectator'. Not a criticism but merely an observation. Haden plays a similar double/triple stop solo at the end of 'Ramblin' to the one he plays on 'Change of the Century' - a solo that captures the essence of what the entire group, heroically led by Ornette, were probably trying most earnestly to achieve - an earthy, swinging, free, bluesy, and truly spontaneous way forward. Free. The back of the CD unambiguously states FILE UNDER JAZZ. Indeed.