Matt Just a trio is used with this 1966 session on Blue Note with this being Ornette Coleman's first studio session in four years and not only that at this juncture in time he had commenced playing the violin and trumpet with his usual alto saxophone and the first appearance of these two new instruments were played by him on his live session recorded (1965) and released as Blue Note's, "At The Golden Circle, Stockholm Vol 2" with the actual track being the beautiful "Snowflakes and Sunshine" but for the trio in this effort David Izenzon and Charles Moffat are not present but Ornette's old stalwart is back on bass to support him being Charlie Haden. The drummer is Ornette's son, Ornette Denardo Coleman who still plays with his dad today and he would be approx 55 years of age currently but at this time in 1966 he was just 10. He had been playing since he was six with this album being his recording debut and for a ten year old he is a terrific drummer , would leave the others his age in his wake so to speak but still he needed further practice before recording which is apparent at times during the production as he was too young through no fault of his own but today he has developed into a great proffesional drummer and still plays backing his father primarily. The drumming does drag the album down but that is where one needs to listen because Charlie Haden on bass shows us why he is regarded at the top of his game due to the fact when things seem to be getting a little astray for Ornette's son Charlie even if doing a solo will dive in and keep the time and provide support for the young boy with of course his father assisting at times as well. Timing though was not the major issue although at times he is not quite there, it his technique due to the fact he hits the kit with seemingly the same constant volume throughout the various compositions and had not quite learned to hit the kit either hard or soft for various beats in his drum patterns to give it some points with also the problem being in his cymbal work which could or should have been a little more interspersed within the the drum patterns. There is no cowbell used and often in this style of Avante Jazz they are great to give the music that special texture for this style of jazz. He actually has put lead in the albums saddle bags and put in under a handicap which actually is where the charm lays due to the fact that the two senior trio members are spot on and credit must go to Charlie Haden on bass who really does hold the album together. Ornette Coleman composed every tune for this album "The Empty Foxhole" which is more from a middle period for him as he had left Atlantic although things do sound similar to a degree he commenced to use the violin and trumpet with no training at all but Ornette's thoughts were that it was there for harmonics and texture within the composition and not for beauty although many of us fans will say that beauty is there with his grasp on Jazz which although being Avante Garde sprung from Blues roots with Ornette Coleman keeping that melody always present.

"Good Old Days' is the album opener with Ornette on alto in this mid tempo number with all those stabs that Ornette used within his playing and Charlie as usual is one tremendous motor underneath. Ornette's son plays a solo on drums which is quite remarkable for his age although when one listens to the tune towards the end as with the following track being the title, "The Empty Foxhole" the patterns are kept fairly simple for him but Ornette is still great on trumpet for this one giving the slow tune great effect and when listening to "The Empty Foxhole" I really can hear the influence that Ornette put into European Jazz. "Sound Gravitations" is where Ornette is on violin and he is a hack but this is for tone and colour within the composition with Charlie Haden playing as if the tune is up tempo in his machine gun manner which I love hearing him play as if in counter-point. Ornette has the violin screeching and whining throughout the composition with all in Vienna most likely appalled but for this old Avante fan it is perfect. The trumpet is back for "Freeway Express" which is another wonderful composition in the album and the drumming is good at the intro on this fairly up-tempo tune and Ornette gets off to a great start on trumpet which he keeps up for the majority of his in-put and Charlie Haden is still machine gunning on bass backing it all up and even though I did mention that young Ornette on drums was not the best I do not mind at all how he tackles this one on drums as with the first "Good Old Days" as he just about gets there which is fabulous at his age. The last two numbers have Ornette on alto saxophone only, with "Faithful" a beautifully placed tune to follow with Ornette playing the closest he gets to a ballad and love him or hate him this tune is beautiful with that sound he created and an atmosphere is made that only this style of Jazz generates. The closer "Zig Zag" has the blues Ornette Coleman style with Charlie still holding his grasp within the rythmn section and if you just like to hear Ornette play his stabs and changes with his tone this is the albums tune for you and a nice little finisher.

Great compositions, great interplay from the two main band members at the time but there is a bit of lead within the album but if you are a fan of Ornette Coleman's take on Jazz as this reviewer himself is, you will still enjoy it due to the added addition of Ornette on violin and trumpet and it is a worthwhile pick up to own. One other note is the painting on the cover is by Ornette Coleman and of course it is abstract.