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Tomorrow Is The Question!

Rate It! Avg: 4.5 (116 ratings)
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Tomorrow Is The Question! album cover
01
Tomorrow Is The Question!
3:10
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02
Tears Inside
5:01
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03
Mind And Time
3:08
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04
Compassion
4:36
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05
Giggin'
3:19
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06
Rejoicing
4:00
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07
Lorraine
5:56
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08
Turnaround
7:55
 
09
Endless
5:18
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Album Information
EDITOR'S PICK

Total Tracks: 9   Total Length: 42:23

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Wondering Sound

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Britt Robson

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Britt Robson has written about jazz for Jazz Times, downbeat, the Washington Post and many other publications over the past 30 years. He currently writes regula...more »

10.14.09
Assertively amiable, this is the sound of the old guard meeting the new
2006 | Label: Fantasy Records

Don Cherry rode shotgun as Ornette stormed the gates of jazz orthodoxy. The assertive amiability with which Cherry latched on to Ornette's avant garde approach offered both encouragement and a bit of a road map for open-minded listeners. Cherry quickly proved a master of melodic snippets that could, but didn't have to be, stitched together, using his little "pocket" trumpet to create a distinctively intimate, surprisingly dynamic style.

Tomorrow is notable for the conservative, old-guard rhythm-section… read more »

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One of the best early Ornette lps

newmusicbass

I have to disagree with the assements that this is a sub-standard Ornette release. The tracks with Red Mitchell are especially great. His crisp, clear intonation and unwavering, articulate swing bring a lot to this music- not to mention his beautiful melodic and virtuoso solos. Haden was certainly an innovator, especially in terms of his ability to modulate with Ornette but Red was one of the finest double bass players that ever lived, Ornette did not get bass playing on this level until the fantastic trio with David Izenzon and Charles Moffett.

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Bad backing group

Sunshine

What the full review means about the backing group not picking up what Coleman is struggling at times to do is that this is a wrecked album. Download Tears Inside and leave the rest for better examples... like the full realization on The Shape Of Jazz To Come. Great cover art though.

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Don Cherry: Pied Piper with a Pocket Trumpet

By Kevin Whitehead, Contributor

Don Cherry began to make his mark with his first recording session, on February 10, 1958, as foil for freebopping alto saxophonist Ornette Coleman on music recorded for Something Else! Their bebop forebears Dizzy Gillespie and Charlie Parker favored rough-sounding unison melodies, a departure from the swing era's smooth blends, but the Coleman-Cherry mix was scrappier still. As soloist, Don took cues from how Ornette's solos didn't track a tune's harmonies too closely. They didn't… more »

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Icon: Ornette Coleman

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They Say All Music Guide

On his second outing for the Contemporary label, Ornette dusted the piano from the bandstand and focused instead on a quartet. For some unexplained reason, Billy Higgins was replaced by Shelly Manne; the only constants remain Coleman and Don Cherry. The focus, then, is on the interplay between the altoist and trumpeter in executing Ornette’s tunes, which were, more than on the preceding album (Something Else!, recorded a year earlier), knottier and tighter in their arrangement style. The odd-syncopation style of the front line on numbers such as “Tears Inside,” which comes out of the box wailing and then simmers down into a moody, swinging blues, was a rough transition for the rhythm section. And the more Ornette and Cherry try to open it up into something more free and less attached to the tune’s form, the more Manne and especially bassist Percy Heath hang on. Still, there are great moments here: for example, the celebratory freedom of “Giggin’,” with its wonderful trumpet solo, and “Rejoicing,” which has become one of Coleman’s classics for its elongated melody line and simple obbligato phrasing, which become part of a wonderfully complex solo that keeps the blues firmly intact. The final track, “Endless,” is pure magic. After Manne carries it in 6/8, Coleman uses a nursery rhyme to move to the solo terrain and, when he does, the solo itself becomes a part of that rhyme as even Don Cherry feels his way through it in his break. And, if anything, this is one of the things that came to define Ornette — his willingness to let simplicity and its bright colors and textures confound not only other players and listeners, but also him too. In those days, Coleman’s musical system — although worked out in detail — always left room for the unexpected and, in fact, was played as if his life depended on it. As a result, Tomorrow Is the Question! was a very literal title; who could have guessed the expansive, world-widening direction that Coleman’s system would head into next? – Thom Jurek

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