Ornette Coleman At The Golden Circle Stockholm LP Vol 1 M Ear Gelder 1st Rare
$
250
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Description
Ornette Coleman Trio At The Golden Circle Stockholm LP Vol 1 Mono Ear Van Gelder 1st Pressing Very Rare Orginal Inner Sleeve Archival Sleeve Very hard to find in this NM condition and Mono
Recorded at the "Gyllene Cirkeln" (Golden Circle), Stockholm, Sweden on December 3, 1965 (tracks B2) and on December 4, 1965 (tracks A1 to B1).
Blue and white with white and blue letters. "Blue Note Records Inc • New York USA" on label
P or "Ear" and VAN GELDER stamp in runouts
27 Years Blue Note inner sleeve with Larry Young (4187) pictured in column 6, row 4, used December 1965-July 1966
First catalog number on cover, second on label "Blue Note Records, Inc., 43 West 61st St, New York 23" on back cover
At the "Golden Circle" Stockholm is an avant-garde jazz live album in two volumes by the Ornette Coleman Trio, documenting concerts on the nights of December 3 and 4, 1965, at the Gyllene Cirkeln jazz club in Stockholm. Both volumes were released in early 1966. This marked the beginning of Coleman's contract with Blue Note after he left Atlantic Records. It also debuted Coleman’s usage of the trumpet and violin, instruments in which he took three years teaching himself to play after leaving Atlantic
The music has been described as "brilliant, optimistic closely unified thematic improvisations". "Snowflakes and Sunshine" marked the introduction of his unconventional violin and trumpet playing. "In Coleman's hands, both instruments are refunctioned into 'sound tools' (...) producers of sounds, rhythms and emotions." The Penguin Guide to Jazz listed both volumes as part of its "Core Collection" and gave each a four-star rating (of a possible four stars). Pitchfork ranked the album as the 156th best of the 1960s.
Randolph Denard Ornette Coleman (March 9, 1930 – June 11, 2015) was an American jazz saxophonist, trumpeter, violinist, and composer. He was best known as a principal founder of the free jazz genre, a term derived from his 1960 album Free Jazz: A Collective Improvisation. His pioneering works often abandoned the harmony-based composition, tonality, chord changes, and fixed rhythm found in earlier jazz idioms. Instead, Coleman emphasized an experimental approach to improvisation, rooted in ensemble playing and blues phrasing. AllMusic called him "one of the most beloved and polarizing figures in jazz history," noting that while "now celebrated as a fearless innovator and a genius, he was initially regarded by peers and critics as rebellious, disruptive, and even a fraud
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