What Ornette Coleman Taught Me

I was out of the country yesterday when I learned that Ornette Coleman passed away at 85. Anything I could possibly say about his influence upon saxophonists, jazz musicians, composers, and the whole-of-music would be an understatement, but I want to share a brief story about the way in which an introduction to Mr. Coleman’s music changed my life and the odd way his art directed me to the path I chose.

After two years of boredom in a public school in Central New York, I attended an all-boys boarding school near Philadelphia for two years. I was 16 and had been playing guitar for a few years, and was pretty arrogant about it in a place where it really didn’t matter if you played guitar unless you also played squash or lacrosse. I didn’t do either of those things, so I could have been Eddie Van Halen and still no one would have been impressed because I was also not a virtuoso lacrosse player.

I wanted to join the Jazz Band, which was run by Anthony Branker, a new teacher, but upperclassmen with swanky instruments already comprised the rhythm section. The only musical fulfillment I could get was by joining an old-school Glee Club, run by an old-school Yalie called Mr. Tuttle, who was the school organist. We sang barbershop arrangements, Randall Thompson charts, politically incorrect songs from WWII, and Gilbert and Sullivan. We also led hymns at the daily Anglican Chapel services.

At the end of my first semester, I learned that the guitarist and bassist of the Jazz Band were expelled from school for some silly thing, so when I returned from Christmas/New Years break, I approached Mr. Branker about joining the Jazz Band, as their new guitarist. I could read music, but never really applied that to guitar in the same way that I did on piano, trombone and violin. He told me, though, that what the Band really needed was a bass player. The school had a cheap, short-scale electric bass that I took back to my dorm room along with parts for arrangements of Milestones, Freddie Hubbard’s Red Clay, and some of Mr. Branker’s original music.

I basically taught myself to play bass that semester by reading charts and playing with this group of inexperienced boys who, like me, never really listened to real jazz before. I was so worried about getting my fingers in the right places that I didn’t process much of what Mr. Branker tried to teach me about interacting with the drummer or the soloist. It was also great that he played with us; he was an amazing trumpet player, who graduated from Princeton in 1980. His senior project there was an actual record called For the Children, that consisted of Mr. Branker’s original music and featured Stanley Jordan on guitar.

Somehow, after only 3 months of playing bass, I landed a gig playing in the pit for the summer-stock season at the Merry-Go-Round Playhouse in Auburn, NY. This was a nightly gig and once again, I continued to learn to play by reading music.

I returned to boarding school the next year excited to study Jazz Composition with Teach. (That’s what I call Mr. Branker now.) I was one of only two students in this class. He taught us basics of jazz harmony and form through example, aural training and listening to recordings. I composed my first music for this class, and had access to the Jazz Band as sort of a lab.

Anyway, every recording he played for us was new – not necessarily new as in recent, but new as in new to me. We talked about music from blues to bop to fusion and then ONE AFTERNOON he pulled out Ornette Coleman’s landmark album Free Jazz, placed it on the spindle, dropped the needle and we listened.

I am not going to say that I liked it immediately, and I certainly didn’t get what was really happening, but I was open-minded enough at 16 to be curious. I immediately misunderstood that Free Jazz was just a bunch of people playing stuff near each other. Admittedly, my mistakenly over-simplified conceptual understanding did put me off not a little (Keep in mind, that my musical experience until that point in my life was basically limited to Neil Young and musical theatre.), but I was fascinated that this noise was on a record.

So I asked Tony, why anyone would record group free improvisation. Isn’t that contrary to the purpose? It seemed to me at the time that philosophically, this event is something that should only be experienced once. (Take that as you will: At the time, I certainly was not convinced that I needed to experience Free Jazz again.) He let me borrow the record, which I took back to my dorm and happily annoyed everyone in my hall. But I did listen repeatedly – and seriously – and I discovered that there was form, interaction, lyricism, and harmony. And structure. And Energy. And I discovered that IT WAS GOOD MUSIC. And more importantly, I discovered I didn’t have to experience immediate aesthetic euphoria to appreciate the value of good music – or any art for that matter.

I left boarding school that year (not by choice) and returned to public school in my hometown. I spent that summer playing another season at that theater again, and also looking up books and recordings of music – any music I hadn’t heard before. The name John Cage popped up a few times, and in my mind, I discovered a link between Ornette Coleman and Cage philosophically, but of course with a completely different aesthetic. I am not going to say that I liked Cage immediately, but I was open-minded enough at 17 to be curious, so I listened.

I later discovered that Cage studied with a guy called Arnold Schoenberg. So I listened to Schoenberg. To my ears at the time, some of Schoenberg’s music (and Webern’s music – he came along for the ride) shared an aesthetic quality with Coleman’s free jazz, yet with a completely different philosophical basis. It was this music, however, that spoke to me immediately!

I read that Schoenberg and Stravinsky hated each other, so I just had to listen to Stravinsky. (Wow!) But Schoenberg also wrote some interesting essays about Brahms and his music, so I just had to listen to Brahms. (Brahms had a thing with Robert Schumann’s wife, so I had to listen to them, too, but Clara’s music was fairly difficult to find in the 80’s.)

And so on, and so on. In my backwards world, Brahms begat Beethoven, who begat Mozart, who begat Haydn, who begat various Bachlets, who begat J.S. Bach, who begat Vivaldi, who begat (somehow) Monteverdi, yaddayaddayadda. I also continued to listen to various types of popular music and jazz.

In any case, I totally went backwards. I can’t imagine doing it any other way, but I found solace and patience in my own personal discovery of various musics. I decided to declare a composition major in college and continued listening.

Listening still turns me on. In fact, what I discovered when listening to Ornette Coleman’s Free Jazz was the excitement in the spontaneity so inherent in the performance that so easily transferred to the recording. Even now, 28 years later, when I listen to Free Jazz (and other free jazz), I still sense that same spontaneity, no matter how many times I listen to it. Several other jazz and rock recordings (usually live recordings) do this for me as well. There are some excellent classical examples too, but they’re fewer and farther between.

My perpetual and perhaps unreasonable goal as a composer is to create music in which the spontaneous energy is so constructed within the score that it is easily communicated to the performers, who will then naturally unleash this energy upon listeners in a live setting. Of course, I want my music recorded too, and am lucky to have several commercial recordings of my music available, but nothing beats a live performance. Accuracy is important, but it is not a substitute for energy.

Capturing performance energy as an essential part of a composition is tricky, and when I am not working directly with performers, I focus on critical and comparative listening to see how this energy unfolds. A complete understanding of the circumstances surrounding a composition and the circumstances surrounding a specific performance is essential for the composer, performer and the listener.

Every time I listen to him, and even when I don’t, Ornette Coleman reminds me of this. And thanks, Teach, for playing me that record.

Buy Ornette Coleman’s Free Jazz and listen to it often!

Also, visit Anthony Branker’s website. Listen to everything he has to say, musically and otherwise!

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Donald Sinta Quartet

CAG RecordsRelease Date: June 7, 2019
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Donald Sinta Quartet performs Elegy on their debut CD from Concert Artists Guild. 

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Flex

Capitol Quartet

White Pine Records
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Flex is the highly anticipated release by the virtuosic Capitol Quartet recorded by Scott Burgess of White Pine Music. The disc features my fast, hocketing Run along with the grooving title track by Perry Goldstein and works by John Fitz Rogers, Whitney Ashe and Mark Weiser. This project was created with generous support from The Aaron Copland Fund for Music.

“I have heard a number of works by Gregory Wanamaker, who seems to specialize in high quality music for wind instruments in particular. Run is a fairly brief and very brisk run-like work that does echo Bartok and other composers whose works contain unusual meters and some polytonal harmonies. It is a fascinating work, though, that does not sound academic.”

Daniel Coombs, Audiophile Audition, February 2, 2014

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Hybrid

Robert Young

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the space between us

Akropolis Reed Quintet

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Adirondack Songs

The Crane Chorus and Wind Ensemble

Mark RecordsRelease Date: February 10, 2015 – Catalog#: 51320-MCD
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Brian Doyle conducts The Crane Chorus and Wind Ensemble in the world premiere recording of my collaboration with Garth Bardsley, Adirondack Songs. The work was commissioned for the 40th anniversary of Crane Youth Music. This great disc also features works by Scott Lindroth and Chen Yi.
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Citizens of Nowhere

Jan Berry Baker and Kenneth Long

Albany RecordsRelease Date: September 1, 2013
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Citizens of Nowhere is the new album from saxophonist Jan Berry Baker and clarinetist Kenneth Long. This album features a beautiful performance of my Duo Sonata alongside brand new works by Perry Goldstein, Nikitas Demos, and others. This recording is not to be missed! 

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Clarikinetics

Deborah Bish

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Clarikinetics contains Deborah Bish’s recordings of many of my clarinet works including my Sonata for clarinet and pianoclarikineticsDuo Sonata, and Mid-Winter Waking. Released on MarkCustom Records, this CD features performances by Deborah Bish as a soloist and in collaboration with pianist Valerie Trujillo, saxophonist Patrick Meighan and mezzo-soprano Wanda Brister.

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Crosscurrents

Noah Getz and Jeffrey Chappell

Albany Records
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Crosscurrents is a collection of recordings from saxophonist Noah Getz and pianist Jeffrey Chappell for Albany Records. Featuring new works inspired by jazz, blues and world musics, Crosscurrentscontains a very creative interpretation of my Sonata deus sax machina.

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Dedication

PRISM Quartet

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PRISM Quartet’s Dedication was released on Innova Records on May 31. Along with my speed metal organum blues, Dedication features 23 short works composed in 2004 in celebration of the Quartet’s 20th anniversary. Music by Tim Berne, William Bolcom, Zack Browning, Robert Capanna, Donnacha Dennehy, Dennis DeSantis, Nick Didkovsky, Jason Eckardt, Roshanne Etezady, Reneé Favand-See, Perry Goldstein, Jennifer Higdon, Libby Larsen, Matthew Levy, Keith Moore, Greg Osby, Frank J. Oteri, James Primosch, Tim Ries, Adam Silverman, Ken Ueno, Gregory Wanamaker, and Chen Yi.

“Consider the controlled violence in a work like Gregory Wanamaker’s speed metal organum blues (which sounds just about like you might expect from the title), the peppy cross rhythms of Jennifer Higdon’s Bop, the humor of Frank J. Oteri’s four-movement Fair and Balanced?, and the lyricism of Adam B. Silverman’s Just a Minute, Chopin, for starters: all of these little works receive committed, precise performances, and there really are few dull moments on the entire 26-item program.”

James Manheim, AllMusic

“From the frantic, florid playing required by Gregory Wanamaker’s speed metal organum blues to the melancholy of Renée Favand-See’s isolation, this set of birthday dedications offers a kaleidoscopic portrait of one of the essential contemporary music groups of our time.”

One Sheet Text, Innova Records website

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EOS Sextet

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Eos Sextet, from Phoenix Arizona, recorded Counterpunch as a loud concert opener or closer. Dig their new digital album Eos!

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Five New Works for Cello

Mathias Wexler

Albany RecordsRelease Date: March 1, 2009
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Five New Works for Cello was released March 1, 2009 on the Albany Records label. Orginally an independent release performed and produced by cellist Mathias Wexler, it was recorded at the Crane School of Music in 2002 by John Jungklaus. This disc features my virtuoso cello work Metallicellissimo.

“…Wanamaker’s Metallicellissimo comes out of the energy and virtuosity of heavy metal guitar solos. It makes fearsome demands of its soloist, challenges that only seem to inspire Wexler.”

Colin Clarke, Fanfare, June 11, 2009

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Flux

Velocity2

Centaur Records
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The Arizona-based duo Velocity2‘s debut album Flux contains the fifth commercial recording of my Duo Sonata. Clarinetist John Masserini and saxophonist Jonathan Bergeron give a beautifully sensitive reading of the second movement, Elegy. This disc also includes Marcus Maroney’s excellent Chameleon II, and other works.

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yes, with a BANG!

Arizona State University Saxophones

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yes, with a BANG! was commissioned by Christopher Creviston and Arizona State University for the Arizona State University Saxophones.

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Glint

Timothy McAllister

Innova Records
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Timothy McAllister’s new album Glint contains the definitive new recording of my Duo Sonata featuring clarinet virtuoso Robert Spring. It is now available at Amazon and other fine dealers. Glint also contains works by Kati Agocs, Daniel Asia, Caleb Burhans, Roshanne Etezady, Philippe Hurel, Kristin Kuster and Peter Terry.

“Duo Sonata for sax and, its brother, the clarinet (Robert Spring) is by Gregory Wanamaker. The two instruments are Icarus twins. They fill in each others notes, fly in aerobatic formation, encourage contemplation and indulge in jazz-jamming and minimalist caprice in the Blues finale.”

Rob Barnett, MusicWeb-International

“Fellow single-reed dynamo Robert Spring joins in on the action in a pair of awe-inspiring alto saxophone/clarinet duets – Gregory Wanamaker’s Duo Sonata and Etezady’s Glint. These two pieces stretch the upper sonic limits, leave the listener gasping for air with endless circular breathing, and display a blitzkrieg of notes only the most daring of performers would attempt.”

One Sheet Text, Innova Records website

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In Transit

Timothy McAllister

Innova Records
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In Transit features the definitive recording of Sonata deus sax machina, and other virtuoso performances by saxophonist Timothy McAllister and pianist Kathryn Goodson. Released on the Innova label, In Transit is currently available in fine stores everywhere.

“Wanamaker’s brief, energetic sonata (commissioned by McAllister) explores different types of motion and energy (moto perpetuo, stasis, and ‘rondo psycho’), themes that run through the entire program.”

American Record Guide Jan/Feb 2007

“Wanamaker takes the sax into uncharted mechanical terrain…”

One Sheet Text, Innova Records website

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inbox

Ensemble Radieuse

KCM Recordings – Release Date: May, 2003 – Catalog#: KCM 1001 – Out of Print
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Inbox is the premiere CD of Ensemble Radieuse. Released in May 2003, Inbox features new music for flute, oboe, and piano including my work Triaria as well as pieces by Scott Robbins, Marc Satterwhite, Joseph Schwantner, Robert Beaser, and others.

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Music Here & Now

Society for New Music

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The Society for New Music commissioned Carrie Mae Weems and me to create A Story Within A Story in 2011. Music Here and Now features the complete score for this multimedia work conducted by Cynthia Johnson Turner as part of a 2 CD album of music from the Heart of New York.

Music by composers Rob Deemer, Ricardo Zohn-Muldoon, Zhou Tian, Jorge Villavicencio Grossman, ‘Doctuh’ Mike Woods, and Mark Olivieri is also featured.

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Oncoming Traffic

Robert Spring

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Robert Spring’s sensational new disc Oncoming Traffic has been released on Summit Records. Featuring Spring’s definitive recording of my Duo Sonatawith saxophonist Timothy McAllister, this long awaited cd also contains works by John Mackey, Roshanne Etezady, and Scott McAllister.

“Gregory Wanamaker’s Duo Sonata was, for me, another high point. This is another amazing piece for clarinet and saxophone and another attention getting performance by Spring and McAllister. The Wanamaker exists in four movements, each of which explores the range, color and expressive qualities of the clarinet and saxophone separately and almost as one unified timbre. The Elegy (second movement) is a very poignant departure in tone from almost everything else on this album, having been written in response to the 9-11 tragedy. A very compelling work.”

Daniel Coombs, Audiophile Audition

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Red

Elysian Quartet

Blue Griffin RecordsCatalog#: BGR 491
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Elysian Quartet’s debut album, Red, opens with a spirited performance of my speed metal organum blues, and features music by Joel Love, Marc Mellits, Guillermo Lago, Thierry Escaich, and Antonio Vivaldi.

Details to come!

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Saxophone Sonatas

Brandon Jinwoo Choi and Hyun Ji Oh

Oikos Records
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signals cross

Three Reeds Duo

Blue Griffin Records

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This duo, formed in 2005, has begun building a repertoire ranging from baroque and classical transcriptions to contemporary concert literature. Three Reeds has performed in a variety of venues throughout the country, from collegiate recitals, to conferences, to wedding ceremonies. In 2011, the Three Reeds Duo was awarded the Donald Derby Professorship at Northwestern State University, where they are both professors on their respective instruments. Through this grant, Three Reeds commissioned four new works for oboe/saxophone duo and premiered these works at the 2012 NASA Conference in Arizona and the World Saxophone Congress in Scotland. In 2015, Three Reeds Duo was the winner of the Alford Professorship at Northwestern State University allowing them to record their debut CD, signals cross. To their knowledge, this is the first CD ever recorded of oboe/saxophone duos.

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Skyline

Iridium Quartet

Blue Griffin Records – Catalog#: BGR 481
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Iridium Quartet’s second release, Skylines, closes with the debut recording of the saxophone quartet version of my Elegy, and features music by Peter Lieuwen, Steve Daniel, Carl Schimmel, and David Rakowski.

The Iridium Quartet has been called a “superb group” by Fanfare Magazine and praised by Pulitzer Prize-winning composer Michael Colgrass as giving “a stunning performance … with elegance and grace.” Composers and audiences have commented “displaying an impressive balance of intense control and abandon with tremendous precision.” The quartet draws upon a rich history of over ten years of collaboration between saxophonists Paul Nolen, Marcos Colón, Paul Forsyth, and Eric Lau.

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Thrash

Creviston-Fader Duo

White Pine RecordsCatalog#: WPM232 – Format: Digital and CD
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Thrash is the debut album by the Creviston-Fader Duo. Featuring my Three Episodes, this disc features music for saxophone and electric guitar by Whitney Ashe, Dorothy Chang, David Claman, Brian Coughlin, Michael Djupstrom, John Anthony Lennon and a blistering performance of the title track by Eric Schwartz. Engineered by Scott Burgess for White Pine Music, this project was created with generous support from The Aaron Copland Fund for Music.

“On the quieter side, Three Episodes by Greg Wanamaker has a playful, jazzy feel to it that I admired, as do a lot of Wanamaker’s works…”

Daniel Coombs, Audiophile Audition, February 20, 2014

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Light and Shadows, Waves and Time

Various Artists

Navona RecordsRelease Date: April 13, 2018 – Catalog#: NV6154 – Format: Digital and CD
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1. DES ONDES ET LES TEMPS
Casey Grev, Tenor Saxophone

2.  …UNSETTLED, UNPHASED…
Robert Young, Tenor Saxophone – M. Maxwell Howard, Piano – John Geggie, Double Bass – Tim Sullivan, Drumset & Percussion

3. ELEGY 
Akropolis Reed Quintet
Tim Gocklin, Oboe – Kari Landry, Clarinet – Matt Landry, Alto Saxophone – Ryan Reynolds, Bassoon – Andrew Koeppe – Bass Clarinet

4. RAGAHORO BREAKDOWN
Duo Entre-Nous
Jackie Glazier, Clarinet – Don-Paul Kahl, Alto Saxophone

OF LIGHT AND SHADOWS
5. I. Luminant Shadows
6. II. Flickering Beams, Perpetual Wind
Stephen Page, Alto Saxophone – Liz Ames, Piano

7. OUT OF MIND, INTO BODY 
John Friedrichs, Bass Clarinet

8. COUNTERPUNCH 
Eos Sextet
Sam Detweiler, Soprano Saxophone – Curren Myers, Alto Saxophone – Fangyi Niu, Alto Saxophone – Grace Chen, Tenor Saxophone – Andrew Lammly, Tenor Saxophone – Justin Rollefson, Baritone Saxophone

9. DES ONDES ET LES TEMPS (REMIX)
Casey Grev, Tenor Saxophone

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