{"id":6709,"date":"2015-06-11T23:10:15","date_gmt":"2015-06-12T06:10:15","guid":{"rendered":"http:\/\/www.artsjournal.com\/rifftides\/?p=6709"},"modified":"2015-06-12T00:28:12","modified_gmt":"2015-06-12T07:28:12","slug":"ornette-coleman-1930-2015","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/rifftides\/2015\/06\/ornette-coleman-1930-2015\/","title":{"rendered":"Ornette Coleman, 1930-2015"},"content":{"rendered":"<p>[contextly_auto_sidebar id=&#8221;RAkMOKggCsqJaveaQ0tpCZBCIwqtagjw&#8221;]<\/p>\n<p><a href=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2015\/06\/Ornette-Coleman.jpg\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2015\/06\/Ornette-Coleman.jpg\" alt=\"Ornette Coleman\" width=\"200\" height=\"259\" class=\"alignleft size-full wp-image-6710\" \/><\/a>Ornette Coleman, whose forthrightness and conviction helped change the course of jazz, died today in New York. He was 85. To many, the alto saxophonist, composer and bandleader seemed to have come from nowhere, or outer space, when his first albums appeared in the late 1950s. In fact, his style&#151;inevitably called \u00e2\u20ac\u009diconoclastic\u00e2\u20ac\u009d by his early critics, often with a sneer&#151;grew out of Charlie Parker and Texas rhythm and blues. His music fell on some musicians\u00e2\u20ac\u2122 closed ears, but to others it was a searchlight that showed the way to new possibilities of openness and freedom. Here is one of Coleman\u00e2\u20ac\u2122s earliest and most enduring compositions, \u00e2\u20ac\u0153Lonely Woman,\u00e2\u20ac\u009d played  in 1959 by his quartet with trumpeter Don Cherry, bassist Charlie Haden and drummer Billy Higgins.<\/p>\n<div align=\"center\"><iframe loading=\"lazy\" width=\"480\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/DNbD1JIH344?rel=0\" frameborder=\"0\" allowfullscreen><\/iframe><\/div>\n<p><p>There will be dozens of Coleman obituaries in the morning papers. For one that is thoroughly researched, see Ben Ratliff in <a href=\"http:\/\/www.nytimes.com\/2015\/06\/12\/arts\/music\/ornette-coleman-jazz-saxophonist-dies-at-85-obituary.html?_r=0\"target=\"_blank\"><em>The New York Times<\/em><\/a>. Richard Brody\u00e2\u20ac\u2122s analysis and appreciation of Coleman appears in <a href=\"http:\/\/www.newyorker.com\/culture\/richard-brody\/ornette-colemans-revolution\"target=\"_blank\"><em>The New Yorker<\/em> online<\/a>. <\/p>\n","protected":false},"excerpt":{"rendered":"<p>[contextly_auto_sidebar id=&#8221;RAkMOKggCsqJaveaQ0tpCZBCIwqtagjw&#8221;] Ornette Coleman, whose forthrightness and conviction helped change the course of jazz, died today in New York. He was 85. To many, the alto saxophonist, composer and bandleader seemed to have come from nowhere, or outer space, when his first albums appeared in the late 1950s. In fact, his style&#151;inevitably called \u00e2\u20ac\u009diconoclastic\u00e2\u20ac\u009d by [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[4],"tags":[],"class_list":{"0":"post-6709","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-main","7":"entry","8":"has-post-thumbnail"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/6709","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/comments?post=6709"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/6709\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media?parent=6709"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/categories?post=6709"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/tags?post=6709"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}