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Paul Bley
Ornette Coleman
Charlie Haden
DON CHERRY
Live At The Hilcrest Club 1958

jazz/impro
Doxy, 2025

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vinyl:37,98€
in stock
cat. no: ACVDLP4001
EAN: 0889397040017
colour : transparent
format : 2x12"LP
number of discs : 2
packaging : singlefold
weight : 140 gramm


no. title play mp3
  Side A
1 Klactoveesedstene 12:04
2 I Remember Harlem 3:48
Side B
1 The Blessing 9:35
2 Free 5:39
Side C
1 When Will The Blues Leave 14:30
2 How Deep Is The Ocean 4:36
Side D
1 Ramblin' 14:07
2 Crossroads 1:55


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https://youtube.com/playlist?list=OLAK5uy_kWDZFX3R_PR2ajE8XibmsYlLP_uLj9ZPw

muzycy:
Paul Bley: piano
Ornette Coleman: alto saxophone
Don Cherry: cornet
Charlie Haden: bass
Billy Higgins: drums


Live at the Hilcrest Club 1958 (originally released in 1970 by America Records as The Fabulous Paul Bley Quintet) is a live album by pianist Paul Bley, saxophonist Ornette Coleman, trumpeter Don Cherry, drummer Billy Higgins and bassist Charlie Haden recorded in California in 1958 and released on the Inner City label in 1976.
This record marks a turning point in jazz history. It may be the earliest recorded example of what Ornette Coleman later called "free jazz," and it represents the first rumblings of the revolutionary movement which eventually shifted jazz thinking away from bebop.
The album was the first live recording of Ornette Coleman, made shortly after he recorded his first album, Something Else!!!! and featuring the group (without Bley) that would soon record the Atlantic albums The Shape of Jazz to Come (1959) and Change of the Century (1960).

Village Voice critic Robert Christgau rated the album an "A" on its release observing: "I have the feeling when I want people to understand what free jazz meant, this is what I'll play".
The Allmusic reviewer wrote: "The recording quality is decent for the period, and avant-garde collectors will want to search for this pioneering effort".
According to The Penguin Guide to Jazz: "This is clearly an important record and, technical difficulties aside, it should be in all modern collections. However, it isn't central to Bley's recorded output".

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