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Ornette Coleman
94quotes
Ornette Coleman: A Pioneering Musician and Visionary
Full Name and Common Aliases
Ornette Coleman's full name was Charles Ornette Coleman. He is often simply referred to as Ornette Coleman.
Birth and Death Dates
Born on March 9, 1930, in Fort Worth, Texas, USA, Ornette Coleman passed away on June 11, 2015, at the age of 85.
Nationality and Profession(s)
Ornette Coleman was an American jazz saxophonist, composer, and violinist. He is widely regarded as one of the most innovative and influential musicians of the 20th century.
Early Life and Background
Growing up in a musical family, Ornette Coleman began playing the saxophone at the age of four. His early influences included blues, swing, and country music. After serving in the US Army, Coleman moved to Los Angeles in the late 1940s, where he became involved in the city's thriving jazz scene.
Major Accomplishments
Ornette Coleman's groundbreaking contributions to jazz began with his debut album, _The Shape of Jazz to Come_ (1959). This album, which featured Coleman on alto saxophone and trumpet, piano, bass, and drums, marked a radical departure from traditional jazz. Its innovative approach, characterized by free improvisation and tonal experimentation, sparked controversy but also garnered widespread critical acclaim.
Throughout his career, Ornette Coleman continued to push the boundaries of jazz, incorporating elements of blues, rock, and classical music into his work. He formed The Double Quartet in 1960, which featured two saxophonists, two trumpeters, piano, bass, drums, and percussion. This ensemble allowed for even greater freedom and experimentation within the group.
Notable Works or Actions
Ornette Coleman's notable works include:
_The Shape of Jazz to Come_ (1959)
_Change of the Century_ (1960)
_Free Jazz: A Collective Improvisation_ (1960)
_Tone Dialing_ (1974)
Impact and Legacy
Ornette Coleman's influence on jazz and music at large is immeasurable. His pioneering work in free improvisation and tonal experimentation paved the way for future generations of musicians, including John Coltrane, Albert Ayler, and Cecil Taylor.
Coleman's commitment to artistic freedom and innovation has inspired countless musicians, while his refusal to compromise his vision has made him a revered figure among jazz purists. His legacy extends beyond music as well; Coleman was also an advocate for social justice, using his platform to speak out against racism and inequality.
Why They Are Widely Quoted or Remembered
Ornette Coleman is widely quoted or remembered for his innovative spirit, unwavering commitment to artistic freedom, and influential contributions to jazz. His quotes often reflect his focus on the importance of individuality, creativity, and social responsibility in art.
Quotes by Ornette Coleman
Ornette Coleman's insights on:
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Originally, I wanted to be a composer. I always tell people, 'I think of myself as a composer.'
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After I left Texas and went to California, I had a hard time getting anyone to play anything that I was writing, so I had to end up playing them myself. And that’s how I ended up just being a saxophone player.
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That’s what I was trying to say when we were talking about sound. I think that every person, whether they play music or don’t play music, has a sound – their own sound, that thing that you’re talking about.
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You’ve got to realize. In the western world, regardless of what color you are, what title the music is, it’s all played by the same notes.
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I don’t really live like a musician myself. I think music is just something that I do, but I’d like to be doing lots of other things. I like to cure all kinds of illness.
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I asked my mother could I have an instrument. She said, ‘Well if you go out and save your money.’ So I went and got – I made me a shine box. I went out and started shining shoes, and I’d bring whatever I made.
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Even when you write it, someone’s got to play it. So if you can play it and bypass all the rest of the things, you’re still doing as great as someone that has spent forty years trying to find out how to do that. I’m really pro-human beings, pro-expression of everything.
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I’ve never had a relationship with a record executive. I always went to the record company by someone that liked my playing. Then they would get fired, and I’d be left with the record company. And then – because they got fired – the record company wouldn’t do anything for me.
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It seems the activity of expressing sound to do with music has just started blooming – and because of that, the beginners feel like they’re professionals, and the professionals feel like they are beginners, which is very healthy.
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