ORNETTE COLEMAN jazz LP ATLANTIC “Ornette on Tenor” MONO orig ‘62 NICE

$

35

Artist:   ORNETTE COLEMAN

Title:   “Ornette on Tenor”

Label:   ATLANTIC.  Monaural pressing on medium weight vinyl.  Labels are red & purple with black text.  Catalog number is SD 1394.

Personnel:  

Ornette Coleman – tenor sax

Don Cherry – pocket trumpet

Jimmy Garrison – bass

Ed Blackwell - drums. 

Condition: 

DISC:  Vinyl is nice EXCELLENT with full original gloss.  Has been played a small number of times and handled with care.  Side One is gorgeous NEAR MINT; Side Two has one light mark across part of both tracks.  No serious or audible marks or problems.  Plays beautifully with superb fidelity.  Labels are clean. 

JACKET:   Jacket is nice VG++.  Laminated front artwork is clean and bright.  Nice seams and spine.  Light wear at corner tips.  Reverse has light razor mark down the center; otherwise is clean with no writing or stickers.  Small drill hole at upper right corner, indicating that the album was originally sold as a cutout.  Overall a very nice jacket to accompany the beautiful disc.    

Disc is neatly enclosed in original paper inner sleeve from ATLANTIC RECORDS.   

Track Listing: 

Side One:

• Cross Breeding
• Mapa  

Side Two:

• Enfant
• Eos
• Ecars

Review:

“It's an understatement to say that Ornette Coleman's stint with Atlantic altered the jazz world forever, and Ornette on Tenor was the last of his six LPs (not counting outtakes compilations) for the label, wrapping up one of the most controversial and free-thinking series of recordings in jazz history.  Actually, it's probably his least stunning Atlantic, not quite as revolutionary or memorable as many of its predecessors, but still far ahead of its time.  Coleman hadn't played much tenor since a group of Louisiana thugs beat him and destroyed his instrument, but he hadn't lost his affection for the tenor's soulful, expressive honk and the ease with which people connected with it.  That rationale might suggest a more musically accessible session, but that isn't the case.  Ornette on Tenor is just as challenging and harmonically advanced as any of his previous Atlantics.  In fact, it's arguably more so, since there aren't really any memorable themes to return to.  That means there are fewer opportunities for Coleman and Don Cherry to interact and harmonize, which puts the focus mainly on Coleman's return to tenor playing.  And, actually, it isn't tremendously different from his alto playing. 

There are a few traces of Coleman's early Texas gutbucket R&B days, plus a few spots where he explores a breathier tone, but for the most part his spiraling solo lines are very similar to his other Atlantic albums, and his upper-register sound is often a dead ringer for his plaintive alto cries.  With Coleman ostensibly exploring new territory, it's hard not to be a little disappointed that Ornette on Tenor doesn't have the boundary-shattering impact of his previous work -- but then again, it's probably asking too much to expect a revolution every time out.”

(courtesy Steve Huey, allmusic.com.) 

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