JazzTimes (12/94, pp.117-118) - "...a signal statement....reveals a reenergized Ornette, who reprises both his early bouyancy...and smoldering lyricism...on alto while breaking new, if questionably fertile, soil on trumpet and violin..."
Vibe (12/95-1/96, p.144) - "...What young Denardo lacked in muscle control he made up for in combustible spontaneity and a spacious approach to accompaniement....re [Ornette's] violin work, you've never heard a bow wreck up the strings for the sheer string-magling joy of it..."
THE EMPTY FOXHOLE features the recording debut of Ornette's ten-year old son Denardo on drums.
Personnel: Ornette Coleman (alto saxophone, trumpet, violin); Charlie Haden (acoustic bass); Denardo Coleman (drums).
Recorded at the Van Gelder Studio, Englewood Cliffs, New Jersey on September 9, 1966. Originally released on Blue Note (4246). Includes liner notes by Ornette Coleman.
This is part of Blue Note's Limited Edition Connoisseur series.
Ornette Coleman's brief tenure at Blue Note was neither as seminal as his Atlantic output nor as brazenly ambitious as his early-'70s work for Columbia and later with Prime Time. Still, the period did produce some quality music, and The Empty Foxhole is one of his most intriguing efforts. Coleman hadn't entered a recording studio in over four years when he returned -- with his ten-year-old son Denardo on drums. Coleman says in the liner notes that Denardo was ready to make a record the previous year, and he's not overestimating; Denardo's percussive coloring and shading never sounds lost or confused, and his stream-of-consciousness flow of ideas keeps up surprisingly well with his father and bassist Charlie Haden. The communal energy keeps flowing throughout the session, and the trio members play off of each other with an easygoing enthusiasm, even on the less memorable themes. Most evocative are the funereal military march of the title track, where Ornette's mournful trumpet plays off of Denardo's deliberate cadence, and "Sound Gravitation," a feature for Coleman's scratchy, percussive violin. Of the alto-driven pieces, "Good Old Days" has the fieriest flow of ideas, but he seems energized by his son's presence, and his playing is fairly exciting throughout. On balance, the music may not be among Coleman's most exceptional efforts, but there's something inspiring about the fact that The Empty Foxhole is as good as it is. ~ Steve Huey