Collective personnel: Ornette Coleman (as, vn); Dewey Redman (ts); Don Cherry (pocket tr); Bobby Bradford (tr); Carmine Fornarotto (tr); Gerard Schwarz (tr); Jim Hall (g); Cedar Walton (p); Charlie Haden (b); Ed Blackwell (d); Billy Higgins (d, timpani); Asha Puthli (vo); David Henderson (vo)
Science Fiction recorded on September 9, 10 & October 13, 1971; Broken Shadows recorded on September 9, 1971 and September 7 & 8, 1972
In 1972, Columbia released the first eight cuts on the first disc in this set as Science Fiction. During the same year, Columbia also released Coleman's impressive but imposing Skies of America, his orchestral work recorded with the London Symphony Orchestra and conductor David Meacham. In 1973, Columbia famously (or infamously) decided to trim its roster of jazz musicians. So they released Ornette from his contract. At the same time, they also dumped Charles Mingus, Bill Evans, and Keith Jarrett.
Obviously, Columbia's absurd decision to jettison four legendary musicians says more about commerce than it does it about music. Regardless, one of the consequences was that much of the music in this set remained unreleased for more than ten years. The third Columbia LP, Broken Shadows, didn't see the light of day until 1982. This "new" record consisted of music from the 1971 Science Fiction sessions, as well as music recorded in 1972 with a very different cast. In 2000, Sony released both albums in a two-CD set with bonus cuts and alternate takes. That's why it's titled The Complete Science Fiction Sessions.
Coleman brings new sounds to the table here, notably Indian vocalist Asha Puthli, whose unusual and compelling singing appears on two tracks, "What Reason Could I Give" and "All My Life" -- as well as poet David Henderson, whose strange recitation appears on "Science Fiction" (along with the very, very jarring and repeating sounds of a baby's cry). Coleman also introduces more variety with vocalist Webster Armstrong on two cuts (on the original Broken Shadows release), along with pianist Cedar Walton and guitarist Jim Hall.
The vocalists bring some unusual variety to the proceedings, but I think the most compelling music from this set is the purely instrumental cuts. This music features Coleman's cohorts from his early years in Texas and California, as well as members of his then-current working band. I'm especially partial to "Civilization Day," "Street Woman," and "Country Town Blues," all of which feature the ground-breaking Coleman / Cherry / Haden / Higgins line-up. That said, the contributions from Bobby Bradford, Dewey Redman, and Ed Blackwell are hardly less impressive.
Scott, I've owned this for 10 or more years but am embarrassed to say I've never really listened to it. Well, I did today. Uh, the three vocal tracks from the original album are just weird. But I gotta hand it to Ornette for the courage (or perhaps bad taste) to open the album with a vocal track that has few redeeming qualities. But the rest of the album's instrumental tracks are pretty far out and pure Ornette. In an interview with him I read today (http://thekatztapes.com/my-dinner-with-ornette/) that he admitted to dropping acid before a live performance in London (1965) as he was feeling depressed! Given the true SciFi nature of these tunes, is that what happened here? We'll never know. :–) But I'm glad I finally listened to it! Being in an altered state of consciousness might be a good approach to this inter-galactic jazz.
ReplyDeleteThe original “Science Fiction” album literally changed my life. I bought it when it came out at age 16. The second tune, “Civilization Day,” did it for me. I had no idea what was happening , but it HIT me, and I never looked back. What a beautiful door opening! Thanks for the reminder.
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