Ornette Coleman • The Empty Foxhole

 

Review
by Steve Huey  
Ornette Coleman's brief tenure at Blue Note was neither as seminal as his Atlantic output nor as brazenly ambitious as his early-'70s work for Columbia and later with Prime Time. Still, the period did produce some quality music, and The Empty Foxhole is one of his most intriguing efforts. Coleman hadn't entered a recording studio in over four years when he returned -- with his ten-year-old son Denardo on drums. Coleman says in the liner notes that Denardo was ready to make a record the previous year, and he's not overestimating; Denardo's percussive coloring and shading never sounds lost or confused, and his stream-of-consciousness flow of ideas keeps up surprisingly well with his father and bassist Charlie Haden. The communal energy keeps flowing throughout the session, and the trio members play off of each other with an easygoing enthusiasm, even on the less memorable themes. Most evocative are the funereal military march of the title track, where Ornette's mournful trumpet plays off of Denardo's deliberate cadence, and "Sound Gravitation," a feature for Coleman's scratchy, percussive violin. Of the alto-driven pieces, "Good Old Days" has the fieriest flow of ideas, but he seems energized by his son's presence, and his playing is fairly exciting throughout. On balance, the music may not be among Coleman's most exceptional efforts, but there's something inspiring about the fact that The Empty Foxhole is as good as it is.
https://www.allmusic.com/album/the-empty-foxhole-mw0000112982

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Reseña
por Steve Huey  
La breve etapa de Ornette Coleman en Blue Note no fue tan seminal como su producción para Atlantic ni tan descaradamente ambiciosa como su trabajo de principios de los 70 para Columbia y más tarde con Prime Time. Aún así, el periodo produjo música de calidad, y The Empty Foxhole es uno de sus esfuerzos más intrigantes. Coleman llevaba más de cuatro años sin entrar en un estudio de grabación cuando regresó, con su hijo de diez años Denardo a la batería. Coleman dice en las notas que Denardo estaba listo para grabar un disco el año anterior, y no está exagerando; el colorido y los matices de la percusión de Denardo nunca suenan perdidos o confusos, y su flujo de ideas sorprendentemente bien con su padre y el bajista Charlie Haden. La energía comunitaria fluye a lo largo de toda la sesión, y los miembros del trío se complementan con un entusiasmo despreocupado, incluso en los temas menos memorables. Los más evocadores son la fúnebre marcha militar del tema que da título al disco, donde la lúgubre trompeta de Ornette juega con la deliberada cadencia de Denardo, y "Sound Gravitation", un tema para el violín rasposo y percusivo de Coleman. De las piezas para contralto, "Good Old Days" tiene el flujo de ideas más feroz, pero parece animado por la presencia de su hijo, y su interpretación es bastante emocionante en todo momento. En conjunto, la música puede no estar entre los esfuerzos más excepcionales de Coleman, pero hay algo inspirador en el hecho de que The Empty Foxhole sea tan bueno como es.
https://www.allmusic.com/album/the-empty-foxhole-mw0000112982


www.ornettecoleman.com ...

Tracks:
1 - Good Old Days - 6:45
2 - The Empty Foxhole - 3:15
3 - Sound Gravitation - 7:15
4 - Freeway Express - 8:15
5 - Faithful - 7:00
6 - Zig Zag - 5:55


Credits:
    Alto Saxophone, Trumpet, Violin, Liner Notes, Composed By – Ornette Coleman
    Bass – Charles Haden
    Design [Cover] – Bob Fuentes
    Design [Re-issue] – Patrick Roques
    Drums – Ornette Denardo Coleman
    Mastered By – Larry Walsh
    Painting [Cover] – Ornette Coleman
    Producer, Photography By [Cover Photo] – Francis Wolff
    Reissue Producer [Produced For Release By] – Michael Cuscuna

Note:
Recorded on September 9, 1966 at the Van Gelder Studio, Englewood Cliffs, New Jersey.
Recorded By – Rudy Van Gelder

Label:    Blue Note – BLP 4246
Country:    US
Released:    1966
Genre:    Jazz
Style:    Free Jazz
https://www.discogs.com/release/1930610-Ornette-Coleman-The-Empty-Foxhole

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