Ornette Coleman

Skies of America

★★★

I've only heard two opinions on this record: one is that it's one of Ornette's best works and one of the best examples of Third Stream music to exist, the other is just meh. And not to oversimplify it all but I'm part of that second crowd. Sure this is a politically and personally motivated album by Ornette, and this makes it interesting in many ways. Yet I can't shake off the real disinterest or sameness a lot of this album makes me feel. There definitely is the aura of the great American plains and music from another time, a soundtrack to the wayward travelers to the West and their dreams. As well as all the pain and genocide they caused along the way, a destruction of an entire way of life. This isn't forgotten by Ornette and his ability as a composer is pretty significant of course. There is a bit of Stravinsky and the likes mixed in and that's to be expected of most Third Stream, or composers of the time. His quartet isn't playing here, or anyone else for that matter, it's simply him over the London Symphony Orchestra's playing. And he is only on half of the tracks, or about half the whole piece. 

I think that the recording is a bit off too, it's a lot more flat than I would expect it to be. And even with headphones that seemed to be the case, making the LSO sound like a one dimensional plane of sound that is very shallow. And it takes up to ten tracks to get Ornette to finally show up on his alto on the segment, "The Artist in America". There are some motifs and themes on here that appear elsewhere, such as "The Good Life" which transforms into the main theme of the album Dancing in Your Head. The playing by Ornette is great and stands out, but in a very awkward fashion over the playing of the orchestra. It's obvious in many ways that it's been recorded over, much like a fan recording over his favorite record and making it a tape. 

Maybe that's a bit harsh but that's the level of amateurism you can feel on this recording. Ornette finally gets a complete solo on "The Men Who Live in the White House", and it's pretty and stands out as a memorable moment. While the whole record has a soundtrack vibe of a spaghetti western or sometimes even a noir feel, Ornette makes it as lyrical as possible and it's those moments that make it somewhat memorable. It's a shame that there were disputes between the LSO and Ornette, making it impossible for his band to play; that certainly would've been more interesting and quite an adventurous record. I've given this many listens by now and it does kind of grow on you, but not enough for it to be a mainstay on Ornette's bountiful and glorious discography. It's a one-off and I think even Ornette knew that when making it. 

There's a real 70s look and feel to it all; from the cover art to the LSO and it all being recorded at Abbey Road Studios. Ornette's reach and ambition has always been far and great, but never really to a fault. Even here it can take care of itself, even if it's a bit muffled throughout. It's just another example of Ornette exploring different concepts, even if he's unable to take it all the way to where he wants. And I really don't think I've said this before, but it would probably have been better if this Ornette concept had stayed just that; a concept. 

Favorite Song: The Artist in America