"At The Golden Circle, Stockholm - Volume One" is the first installment in a two-volume set featuring The Ornette Coleman Trio performing at the Gyllene Cirkeln club in Stockholm. The two-night event features Ornette Coleman (alto sax), David Izenzon (bass) and Charles Moffett (drums). The ensemble delivers thrilling performances of “Faces And Places,” “Dawn” and “European Echoes.” The Penguin Guide To Jazz included both volumes as part of its “Core Collection” and gave both four star reviews.

"At The Golden Circle, Stockholm - Volume Two" is the second installment in a two-volume set featuring The Ornette Coleman Trio performing at the Gyllene Cirkeln club in Stockholm. The two-night event features Ornette Coleman (alto sax), David Izenzon (bass) and Charles Moffett (drums). The ensemble performs with exhilarating synergy on tunes including “Snowflakes And Sunshine,” “The Riddle” and “Antiques.” The Penguin Guide To Jazz included both volumes as part of its “Core Collection” and gave both four star reviews (of a possible four stars). These recordings marked the beginning of Ornette Coleman's contract with Blue Note.

"New York Is Now!" can be described musically as being more modally driven rather than harmonically so. Somewhat out of his element, Coleman rises to the occasion, taking the rest of the band along for the ride.

Skies of America is the 17th album by jazz saxophonist Ornette Coleman, released on Columbia Records in 1972. It consists of one long composition by Coleman taking up both sides of the album, played by the London Symphony Orchestra and conducted by David Measham. Coleman himself only plays on a few segments, and there is no other jazz instrumentation.

Ornette Coleman's Atlantic debut, The Shape of Jazz to Come, was a watershed event in the genesis of avant-garde jazz, profoundly steering its future course and throwing down a gauntlet that some still haven't come to grips with. The record shattered traditional concepts of harmony in jazz, getting rid of not only the piano player but the whole idea of concretely outlined chord changes.

The debut by alto saxophonist Ornette Coleman revolutionized the jazz world and quickly earned a reputation as one of the most important and controversial recordings of the era. Credited as a crucial work of early "free jazz", the album featured a lineup of then up-and-coming jazz stars: trumpeter Don Cherry, pianist Walter Norris, bassist Don Payne, and drummer Billy Higgins.

1959's landscape-shifting "The Shape of Jazz to Come" is true to its title. Switching from tenor to alto sax, Coleman creates free jazz, a language where chords structures are absent and harmony gives way to improvisational whims. Ranked by Rolling Stone in the top 250 Greatest Albums of All Time, the Atlantic set finds Coleman collaborating with Don Cherry, Charlie Haden, and Billy Higgins in making a masterful work free of any identifiable chord structures. Nonetheless, melodies remain, as do engrossing repetitions of main themes.

Miles Davis had publicly called him a madman. Leonard Bernstein found him, for his part, completely awesome. Few were those that didn’t have a definitive opinion on Ornette Coleman. Some kind of outlaw who preferred playing his own compositions rather than jazz classics, the American saxophonist also developed harmolodics, a theory uniting harmonics and melody. This box of ten discs compiles one of the most important era in the career of his author. Between 1959 and 1961, he released six studio albums for the Atlantic label. Six albums that are present here and spiced up with alternative takes and various bonuses, all of this of course impeccably remastered by John Webber. Albums included: The Shape Of Jazz To Come (1959), Change Of The Century (1959), This Is Our Music (1960), Free Jazz: A Collective Improvisation (1960), Ornette! (1961) and Ornette On Tenor (1961), and the compilations The Art Of Improvisers (1970), Twins (1971), To Whom Who Keeps A Record (1975) and The Ornette Coleman Legacy (1993).