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Ornette Coleman Tickets
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All Ornette Coleman sales are final. No refunds or exchanges
will be honored. Be sure to order only what you need. Upgrades are available
for a premium.
In the event that a Ornette Coleman event cancels a refund will be given.
If a new date is scheduled there will be no refunds. Usually the event will
reschedule and your tickets will be good for the new date. If an event
cancels 30 days will be given before refunds begin to see if a new date is
announced. If no new Ornette Coleman event is rescheduled a full refund
at this point is given.
If you have any questions about a refund feel free to call 281-447-1579. If
for some reason you can not make the new date, Northsidetickets.com will
offer to resell your tickets. Northsidetickets does not accept
responsability of paying for these tickets until they have resold.
Northsidetickets offers this service to help keep our customers happy.
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Ornette Coleman (born March 19, 1930) is an American jazz saxophonist and composer. He was one of the major innovators of the free jazz movement of the 1960s, and one of the most notable figures in jazz history.Coleman was born and raised in Fort Worth, Texas, where he began performing R&B and bebop initially on tenor saxophone. He later switched to alto, which has remained his primary instrument. Coleman's timbre is perhaps one of the most easily recognized in jazz: his keening, crying sound draws heavily on blues music. Part of the uniqueness of his sound came from his use of a plastic saxophone on his classic early recordings (Coleman claimed that it sounded drier, without the pinging sound of metal), though in more recent years he has played a metal saxophone.//Coleman moved to Los Angeles in the early 1950s. He worked at various jobs, including as an elevator operator, while pursuing his musical career.Even from the beginning of Coleman's career, his music and playing were, in many ways rather unorthodox: Coleman was more concerned with relative pitch than with "proper" equal temperament; his sense of harmony and chord progression are not as rigid as most swing music or bebop performers', and were easily changed and often implied. Many Los Angeles jazz musicians regarded Coleman's playing as out-of-tune, and he sometimes had difficulty finding like-minded musicians with whom to perform. Pianist Paul Bley was an early supporter
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