Editing Ornette Coleman (section)

=== 1960s: ''Free Jazz'' and Blue Note===
In 1960, Coleman recorded ''[[Free Jazz: A Collective Improvisation]]'', which featured a double quartet, including Don Cherry and [[Freddie Hubbard]] on trumpet, [[Eric Dolphy]] on bass clarinet, Haden and LaFaro on bass, and both Higgins and Blackwell on drums.<ref name="rhino">{{cite web|title=Happy 55th: Ornette Coleman, Free Jazz: A Collective Improvisation|url=https://www.rhino.com/article/happy-55th-ornette-coleman-free-jazz-a-collective-improvisation|work=[[Rhino Entertainment|Rhino Records]]|date=December 21, 2015|access-date=November 17, 2019}}</ref> The album was recorded in stereo, with a reed/brass/bass/drums quartet isolated in each stereo channel. ''Free Jazz'' was, at 37 minutes, the longest recorded continuous jazz performance at the time<ref>{{cite news|last=Hewett|first=Ivan|title=Ornette Coleman: the godfather of free jazz|url=https://www.telegraph.co.uk/culture/music/worldfolkandjazz/11668275/Ornette-Coleman-the-godfather-of-free-jazz.html |archive-url=https://ghostarchive.org/archive/20220112/https://www.telegraph.co.uk/culture/music/worldfolkandjazz/11668275/Ornette-Coleman-the-godfather-of-free-jazz.html |archive-date=January 12, 2022 |url-access=subscription |url-status=live|work=[[The Daily Telegraph|The Telegraph]]|date=June 11, 2015|access-date=November 17, 2019}}{{cbignore}}</ref> and was one of Coleman's most controversial albums.<ref>{{cite web|last=Bailey|first=C. Michael|title=Ornette Coleman: Free Jazz |url=https://www.allaboutjazz.com/free-jazz-by-c-michael-bailey.php|work=[[All About Jazz]]|date=September 30, 2011|access-date=November 17, 2019}}</ref> In the January 18, 1962, issue of ''[[DownBeat|Down Beat]]'' magazine, Pete Welding gave the album five stars while John A. Tynan rated it zero stars.<ref name="Welding">{{cite journal |last1=Welding |first1=Pete |title=Double View of a Double Quartet |journal=DownBeat |date=January 18, 1962 |volume=29 |issue=2}}</ref>

While Coleman had intended "free jazz" as simply an album title, [[free jazz]] was soon considered a new genre; Coleman expressed discomfort with the term.<ref name="Reich2010">{{cite book|author=Howard Reich |title=Let Freedom Swing: Collected Writings on Jazz, Blues, and Gospel |url=https://books.google.com/books?id=z6hAiX1i5jEC&pg=PA333 |date=September 30, 2010 |publisher=Northwestern University Press |isbn=978-0-8101-2705-0 |pages=333–}}</ref>

After the Atlantic period, Coleman's music became more angular and engaged with the [[avant-garde jazz]] which had developed in part around his innovations.<ref name="Yanow" /> After his quartet disbanded, he formed a trio with [[David Izenzon]] on bass and [[Charles Moffett]] on drums, and began playing trumpet and violin in addition to the saxophone. His friendship with [[Albert Ayler]] influenced his development on trumpet and violin. Charlie Haden sometimes joined this trio to form a two-bass quartet.

In 1966, Coleman signed with [[Blue Note Records|Blue Note]] and released the two-volume live album ''[[At the "Golden Circle" Stockholm]]'', featuring Izenzon and Moffett.<ref name="Freeman">{{cite web |last1=Freeman |first1=Phil |title=Good Old Days: Ornette Coleman On Blue Note |url=http://www.bluenote.com/spotlight/good-old-days-ornette-coleman-on-blue-note |website=Blue Note Records |access-date=August 14, 2018 |date=December 18, 2012}}</ref> Later that year, he recorded ''[[The Empty Foxhole]]'' with his ten year-old son [[Denardo Coleman]] and Haden;<ref name="The New York Times 2015">{{cite news| title=Remembering What Made Ornette Coleman a Jazz Visionary | first=Andrew R.|last=Chow|newspaper=The New York Times | date=June 28, 2015 | url=https://www.nytimes.com/2015/06/28/arts/music/remembering-what-made-ornette-coleman-a-jazz-visionary.html | access-date=April 25, 2021}}</ref> [[Freddie Hubbard]] and [[Shelly Manne]] regarded Denardo's appearance on the album as an ill-advised piece of publicity.<ref name="Gabel">{{cite web |last1=Gabel |first1=J. C. |title=Making Knowledge Out of Sound |url=http://www.stopsmilingonline.com/twitter/SS-Ornette.pdf |website=stopsmilingonline.com |access-date=August 14, 2018 }}</ref><ref name="Spencer">{{cite web |last1=Spencer |first1=Robert |title=Ornette Coleman: The Empty Foxhole |url=https://www.allaboutjazz.com/the-empty-foxhole-ornette-coleman-blue-note-records-review-by-robert-spencer.php?width=1680 |website=All About Jazz |access-date=August 14, 2018 |date=April 1, 1997}}</ref> Denardo later became his father's primary drummer in the late 1970s.

Coleman formed another quartet. Haden, Garrison, and [[Elvin Jones]] appeared, and [[Dewey Redman]] joined the group, usually on tenor saxophone. On February 29, 1968, Coleman's quartet performed live with [[Yoko Ono]] at the [[Royal Albert Hall]], and a recording from their rehearsal was subsequently included on Ono's 1970 album ''[[Yoko Ono/Plastic Ono Band]]'' as the track "AOS".<ref name="Chrispell">{{cite web |last1=Chrispell |first1=James |title=Yoko Ono/Plastic Ono Band |url=https://www.allmusic.com/album/yoko-ono-plastic-ono-band-mw0000026229 |website=AllMusic |access-date=August 14, 2018}}</ref>

He explored his interest in string textures on ''[[Town Hall, 1962]]'', culminating in the 1972 album ''[[Skies of America]]'' with the [[London Symphony Orchestra]].