![]() ![]() His first studio recording (for Contemporary in 1958) reveals that his style and sound were, in essence, fully formed at that time. While working sporadically at the Hillcrest and elsewhere, Coleman eventually came to the attention of Red Mitchell and later Percy Heath of the Modern Jazz Quartet. Playing an as yet unacceptable form of free jazz, the group was fired soon thereafter. At some point after April 1958 Coleman and Cherry replaced Dave Pike in Paul Bley’s group (with Charlie Haden and Higgins) at the Hillcrest Club in Los Angeles a concert recording of that quintet exists from the autumn of that same year. At the same time he rehearsed with two drummers (Blackwell and Billy Higgins) and with the Jazz Messiahs, a bop group including Higgins and Don Cherry in August 1957, with James Clay as the group’s saxophonist, the Jazz Messiahs performed some of Coleman’s compositions in Vancouver. While employed as an elevator operator in Los Angeles he studied (on his own) harmony and theory textbooks and gradually evolved a radically new concept and style, seemingly from a combination of musical intuition born of southwestern country blues and folk forms and his misreadings-or highly personal interpretations-of the theoretical texts.įrom 1951 Coleman was again associated with Blackwell, and in summer 1956 the two men formed the American Jazz Quintet with the saxophonist Harold Battiste, Alvin Batiste, and Ellis Marsalis. Coleman then returned to Fort Worth, after which he went to Los Angeles with Pee Wee Crayton’s rhythm-and-blues band (late 1949). ![]() In 1949 he spent six months in New Orleans and worked mostly at nonmusical jobs while rehearsing his original new style at this time he met Ed Blackwell. While touring the Gulf Coast with a rhythm-and-blues group he played a radical solo at a dance and afterwards was assaulted his tenor saxophone was destroyed and he then acquired an alto saxophone. Wherever he tried to introduce some of his more personal and innovative ideas he met with hostility, both from audiences and from musicians. His early professional work with a variety of southwestern rhythm-and-blues and carnival bands seems to have been in a traditional idiom, but in 1948 he began to develop a style predominantly influenced by Charlie Parker. He began playing alto saxophone at the age of 14 but not long afterwards changed to the tenor instrument. ![]() Membranophones (Stretched Membrane Percussion) Music Business, Institutions and Organizations ![]()
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