#pee dating Prince Albert

[cosmicdahlias]

🌶️ford x reader headcanons🌶️

part 3

minors dni

• one time when bill possessed him he made him get a prince albert

• loves thigh fucking

• has very sensitive nipples, moans excessively when you bite them

• created a really powerful aphrodisiac once. you were all over each other for hours

• before you dated and you were just his assistant, working with you drove him crazy. all he could think about when he looked at you was bending you over the lab bench and fucking the daylights out of you. had to excuse himself to rub one out just so he could focus

• REALLY into roleplay like the nerd he is. may or may not have had you both roleplay as your dd&md characters

• loves to muffle your moans with kisses

• whispers some the most dirty things you’ve ever heard in your ear when you’re in public just to get you worked up

• growls a lot. it makes you incredibly feral

• kisses and bites your neck

• stan walked in on you guys once. he did not make eye contact with either of you for a week

• incredibly handsy when he’s drunk. starts putting his hands underneath your shirt

• thinks foreplay is very important

• hairy, has a very defined happy trail and you think it’s so hot

• will spend all day between your thighs if you let him

• loves it when you grind on his lap while making out

• not really into quickies, prefers to take his time and savor every moment

• very good with his fingers

• always makes sure you pee after sex, he’s not about to let you get a uti

• loves when you leave scratches down his back

• loses it when you moan his name

• his hands tend to wander when he gives you massages. they don’t stay massages for long

• loves morning sex, best way to start the day

• if he’s had a particularly rough day he’ll pin you down and pound you into the mattress

• sometimes forgets how old he is and throws out his back

• the sound of his belt hitting the floor is like music to your ears

• gets off on pleasuring you

• the first time you had sex he thought it felt like pure euphoria. no one had ever made him feel like that

• if you’re bent over a table working he can’t resist coming over and feeling up your ass. you do this on purpose

• when he cums he holds you close and doesn’t want to let go

[bunny-j3st3r]

Ahem- pee pee poo poo. That be you you.

Thank U mags kissing u on the lips rn

N/s/f/w

First Hyacinth defo has one of his nipples pierced, he prolly wears a hoop on it often but prolly a bar when he's working or something.

Man's works out with his shirt off so defo has it full on show for whoever walks into the gym at that time huhehe.

His ears are pierced with two metal cattle piercings. One has has "cattle" number when he was in the fighting ring and the other has auction lot number. That has long been scratched of though and instead has the date he joined at Rose's side carved into it.

Now for his dick :)

He has along either side of his shaft pierced in a row upwards with a barbell type piercing.

He also has the tip pierced with a prince Albert also with barbell.

And for extra pleasure for himself he defo has his ball sack pierced with either a hoop or another barbell

[alsjeblieft-zeg]

348 of 2023

Never Have I Ever BUT WITH SEX STUFF pt 2

Bold what you DID.

Never have I ever owned edible underwear. Never have I ever had anal sex. Never have I ever tried urethral sounding. Never have I ever had sex on a train. Never have I ever used a mascara or lipstick vibrator. Never have I ever had sex with a dude that had a Prince Albert piercing. Never have I ever been kink shamed. Never have I ever had someone use a sex toy on me. Never have I ever had sex in the ocean. Never have I ever cheated on someone I was dating. Never have I ever had sex in a movie theater. Never have I ever snowballed someone intentionally. Never have I ever accidentally farted during intercourse. Never have I ever been caught masturbating. Never have I ever taken someone's virginity. Never have I ever had sex in a pool. Never have I ever done pee play. Never have I ever done it in a house alone. Never have I ever given road head. Never have I ever had anyone give me road head. Never have I ever owned sex toys. Never have I ever had a guy cum in my butt. Never have I ever fluidly rolled a condom down a dick with my mouth. Never have I ever had sex without talking to the other person at all during. Never have I ever had sex in a public bathroom. Never have I ever had sex with someone whose name i didn’t know/ remember. Never have I ever had sex with a minor. Never have I ever regretted having sex with someone. Never have I ever had sex in a sleeping bag. Never have I ever been on a leash. Never have I ever been collared. Never have I ever done drugs during sex. Never have I ever paid for sex. Never have I ever been paid for sex. Never have I ever had sex with my best friend. Never have I ever been choked during sex. Never have I ever gone to a strip club. Never have a ever hooked up with someone 10+ years older than me. Never have I ever had sex on a boat. Never have I ever had a genital piercing. Never have I ever tried bdsm practices. Never have I ever cried during sex. Never have I ever bought a sex swing. Never have I roleplayed in the bedroom. Never have I ever slept with a married man. Never have I ever been squirted on. Never have I ever done pet play. Never have I ever been bitten during sex. Never have I ever dommed someone. Never have I ever used an app-controlled vibrator. Never have I ever laughed so hard during sex. Never have I ever used a strap on. Never have I ever done electric play. Never have I ever had sex with food. Never have I ever been with two women at once. Never have I ever puked from giving a blow job/gag reflex. Never have I ever done a school girl roleplay. Never have I ever been ball gagged. Never have I ever came from being fingered. Never have I ever squirted/made a partner squirt. Never have I ever torn off my partner's shirt so the buttons go flying like they do in movie sex scenes. Never have I ever fantasized about a teacher. Never have I ever gotten in trouble for having sex (by parents, by police in public, etc.). Never have I ever performed sex on video. Never have I ever used toys on a partner. Never have I ever enjoyed high budget straight porn. Never have I ever had sex with someone I felt was physically repulsive. Never have I ever licked someones feet/sucked on toes. Never have I ever had anyone lick my feet. Never have I ever looked for a fanfic to masturbate to but just ended up laughing at how cursed it was. Never have I ever done sex stuff with a blood relative. Never have I ever licked someones booty. Never have I ever been in a M/M/F threesome. Never have I ever made a sex playlist. Never have I ever got hickeys on something other than the neck. Never have I ever had sex with two different people on the same day (separate times). Never have I ever licked semen off a person it didn't come out of. Never have I ever touched someone's asshole on purpose. Never have I ever had sex standing up.

[weirdbooksifoundatwork]

New Year’s Update

On New Year's 2015-2016, I made a resolution which I have re-made every year since: to

1) Read as many books as possible throughout the year, with the ultimate goal of (1a) reading at least 52 books (1/week) in one year, and

2) Keep an accurate and up-to-date list of all the books I'd read, so that I'd never forget.

I'm happy to relate that, after three years of trying, I have successfully achieved Resolution 1a! This year I finished 79 books! In past years I’ve posted my results on Facebook, but for the first time ever I can share the results with ya’ll here.

Will Grayson, Will Grayson // John Green and David Levithan

German Men Sit Down To Pee // Niklas Frank & James Cave

The Music and Hymnody of The Methodist Hymnal // Carl F. Price

Finland and its People // Robert Medill

Faust // Johann Wolfgang von Goethe

John Quincy Adams // Harlow Giles Unger

The Oboe Concertos of Sir William Herschel // The American Philosophical Society, Edited by Wilbert Davis Jerome

Hark, A Vagrant // Kate Beaton

The Art of Castle in the Sky

R.U.R.: Rossum’s Universal Robot’s // Karel Capek

Are You My Mother? // Alison Bechdel

Music Master of the Middle West: The Story of F. Melius Christiansen and the St. Olaf Choir // Leola Nelson Bergman

The National Anthems of the World // Martin Shaw and Henry Coleman

Inventing Champagne: The Worlds of Lerner and Loewe // Gene Lees

The Complete Plays of Sophocles // Translated by Robert Bagg and James Scully

The Lapps // Björn Collinder

The Unbearable Lightness of Being // Milan Kundera

The Warlords of Appalachia // Phillip Kennedy Johnson

Batman: The Killing Joke // Alan Moore

Ragtime // E.L. Doctorow

March: Book One // Rep.John Lewis (GA-5)

March Book Two // Rep. John Lewis (GA-5)

March Book Three // Rep. John Lewis (GA-5)

Songs of Innocence and of Experience // William Blake

The Great Bridge: The Epic Story of the Building of the Brooklyn Bridge // David McCullough

The Politics of Black Women’s Hair // Althea Prince

From Memory to Memorial: Shanksville, America, and Flight 93 // J. William Thompson

Ask Me About Polyamory // Tikva Wolf

A.D.: After Death // Scott Snyder & Jeff Lemire

Silent Builder: Emily Warren Roebling and the Brooklyn Bridge // Marilyn E. Weingold

American Indians and Their Music // Frances Densmore

Missoula: Rape and the Justice System in a College Town // Jon Krakauer

Russian Regional Flags: The Flags of the Subjects of the Russian Federation // Anne M. Platoff

Saga: Volume One // Brian K. Vaughn & Fiona Staples

Saga: Volume Two // Brian K. Vaughn & Fiona Staples

Old Possum’s Book of Practical Cats // T.S. Eliot

Saga: Volume Three // Brian K. Vaughn & Fiona Staples

Saga: Volume Four // Brian K. Vaughn & Fiona Staples

Saga: Volume Five // Brian K. Vaughn & Fiona Staples

Saga: Volume Six // Brian K. Vaughn & Fiona Staples

Canadian City Flags: 100 Flags from Abbotsford to Yellowknife // NAVA

Saga: Volume Seven // Brian K. Vaughn & Fiona Staples

Saga: Volume Eight // Brian K. Vaughn & Fiona Staples

Candide // Leonard Bernstein, Hugh Wheeler, and Richard Wilbur

West Side Story // Arthur Laurents, Leonard Bernstein, Stephen Sondheim, and Jerome Robbins

A Funny Thing Happened on the Way to the Forum // Burt Shevelove, Larry Gelbart, and Stephen Sondheim

A Fiddler on the Roof // Jule Styne, Jerry Bock, and Sheldon Harnick

The Big Book of Bisexual Trials and Errors // Elizabeth Beier

She Loves Me // Joe Masteroff, Jerry Bock, and Sheldon Harnick

Funny Girl // Jule Styne, Bob Merrill, and Isobel Lennart

South Pacific // Richard Rodgers, Oscar Hammerstein II, and Joshua Logan

The King and I // Richard Rodgers and Oscar Hammerstein II

You’re A Good Man, Charlie Brown // Clark Gesner & John Gordon

A Little Night Music // Stephen Sondheim & Hugh Wheeler

Of Thee I Sing // George S. Kaufman, Morrie Ryskind, and George & Ira Gershwin

Hello, Dolly! // Jerry Herman and Michael Stewart

Great Buildings and their Constructors // Albert Kahn & Associates

History of Copper Harbor, Michigan // Clarence J. Monette

History of Jacobsville and its Sandstone Quarries // Clarence J. Monette

Two Steps Forward // Graeme Simsion and Anna Buist

Step Aside, Pops: A Hark, a Vagrant Collection // Kate Beaton

The Contract with God Trilogy: Life on Dropsie Avenue // Will Eisner

The Great Gatsby // F. Scott Fitzgerald

The Old Man and the Sea // Ernest Hemingway

Grief is the Thing with Feathers // Max Porter

An Absolutely Remarkable Thing // Hank Green

The Verge // Susan Glaspell

The Adding Machine // Elmer Rice

Wuthering Heights // Emily Brontë

Mulatto // Langston Hughes

First Ladies of the Republic: Martha Washington, Abigail Adams, Dolley Madison, and the Creation of an Iconic American Roll // Jeanna E. Abrams

A Long Day’s Journey Into Night // Eugene O’Neill

The Girl With the Dragon Tattoo // Stieg Larsson

A Wizard of Earthsea // Ursula K. LeGuin

Who’s Afraid of Virginia Woolf? // Edward Albee

Genannt Gospodin // Phillip Löhle

Fences // August Wilson

A Christmas Carol // Charles Dickens

The Tombs of Atuan // Ursula K. LeGuin 

[chicagoindiecritics]

New from Kevin Wozniak on Kevflix: What’s Streaming This Month? – September

Here are my picks for the movies coming to Netflix, Prime Video, Hulu, Disney+, Criterion Channel, and HBOMax in September.  This month offers up many unique choices, from original films to Hollywood classics.

          NETFLIX

Full list of everything coming to Netflix in September can be found here.

  THE BACK TO THE FUTURE TRILOGY (Robert Zemeckis, 1984/1989/1990)

A trilogy that is full of life, fun, and originality.

  THE DEVIL ALL THE TIME (Antonio Campo, 2020)

An all-star cast of Tom Holland, Robert Pattinson, Riley Keough, Sebastian Stan, Mia Wasikowska, Bill Skarsgård, and Jason Clarke lead Antonio Campos’ thriller about corruption and brutality in a postwar backwoods town.

  GREASE (Randal Kleiser, 1978)

A musical classic.

  I’M THINKING OF ENDING THINGS (Charlie Kaufman, 2020)

The latest directorial effort from the great Charlie Kaufman looks like a haunting mind-bender.

  MAGIC MIKE (Steven Soderbergh, 2012)

One of Steven Soderbergh’s best features a scene-stealing performance from Matthew McConaughey.

  NOT ANOTHER TEEN MOVIE (Joel Gallen, 2001)

This comedy satire of teen romcoms is still hilarious and has aged quite well.

  RATCHED (Evan Romansky, Ryan Murphy, 2020)

I don’t usually post about shows on here, but a prequel series looking at One Flew Over the Cuckoo’s Nest villain Nurse Ratched starring Sarah Paulson in the titular role sounds too good to ignore.

  THE SOCIAL DILEMMA (Jeff Orlowski, 2020)

I heard good buzz about this documentary out of Sundance 2020, as it looks at the power of social media and the effect it can have on the world

  WILDLIFE (Paul Dano, 2018)

Paul Dano’s directorial debut is a quiet and powerful look at a crumbling family in the 1950’s.

    PRIME VIDEO

Full list of everything coming to Prime Video in September can be found here.

    THE BIRDCAGE (Mike Nichols, 1996)

Robin Williams and Nathan Lane are marvelous in this Mike Nichols comedy.

  CASINO ROYALE (Martin Campbell, 2006)

The film that introduced Daniel Craig into the Bond franchise is also the best Bond film ever made.

  GEMINI MAN (Ang Lee, 2019)

Will Smith plays an assassin who is being hunted by a clone of his younger self in Ang Lee’s technical marvel.

  THE GRADUATE (Mike Nichols, 1967)

One of the greatest films ever made.

  JUDY (Rupert Goold, 2019)

Renee Zellweger won her second Oscar for pitch-perfect portrayal of Hollywood icon Judy Garland.

  KRAMER VS KRAMER (Robert Benton, 1979)

This Best Picture family drama features stellar work from Dustin Hoffman and Meryl Streep.

  PATRIOT’S DAY (Peter Berg, 2016)

Peter Berg’s harrowing account of the Boston Marathon bombing.

  HULU

Full list of everything coming to Hulu in September can be found here.

    ANY GIVEN SUNDAY (Oliver Stone, 1999)

Olive Stone’s aggressive, chaotic look at professional football.

  BABYTEETH (Shannon Murphy, 2020)

An emotional relationship drama with Ben Mendolsohn and Essie Davis giving two of my favorite performances of 2020.

  HAROLD AND KUMAR GO TO WHITE CASTLE/HAROLD AND KUMAR ESCAPE GUANTANAMO BAY (Danny Leiner, 2004/Jon Hurwitz, Hayden Schlossberg, 2008)

Two-thirds of a classic stoner trilogy.

  HOOSIERS (David Anspaugh, 1986)

One of the greatest sports movies ever made.

  THE LAST BOY SCOUT (Tony Scott, 1991)

It’s directed by Tony Scott, written by Shane Black, and stars Bruce Willis.  We could call this the “90’s Trifecta”.

  PEE WEE’S BIG ADVENTURE (Tim Burton, 1985)

Tim Burton’s debut film is utterly insane, yet absolutely brilliant

  PRISONERS (Denis Villeneuve, 2013)

Denis Villeneuve’s best film to date is a dark, disturbing crime thriller featuring incredible work from Hugh Jackman, Jake Gyllenhaal, and cinematographer Roger Deakins.

  THE TERMINATOR (James Cameron, 1984)

One of the greatest sci-fi movies ever made.

  THE TWILIGHT SAGA (Catherine Hardwicke, 2008/Chris Weitz, 2009/David Slade, 2010/Bill Condon, 2011/Bill Condon, 2012)

I’ve only seen one of these (I think New Moon?), but want to give them a whirl at some point.  Maybe now is the time?

    DISNEY+

Full list of everything coming to Disney+ in September can be found here.

    BEND IT LIKE BECKHAM (Gurinder Chadha, 2003)

A rousing, inspiring indie sports film.

  CHRISTOPHER ROBIN (Marc Forster, 2018)

A somber, sweet look at Winnie the Pooh and the 100 Acre Woods gang.

  D2: THE MIGHT DUCKS/D3 (Sam Weisman, 1994/Robert Lieberman, 1996)

D2 is the best of the trilogy, but D3 is pretty good and bit underrated.

  MULAN (Niki Caro, 2020)

You have to pay $30 to see this one, but I have a feeling Disney’s latest live-action feature is going to be worth is.

  NEVER BEEN KISSED (Raja Gosnell, 1999)

A classic 90’s rom-com featuring a delightful Drew Barrymore.

  THE WOLVERINE (James Mangold, 2013)

One of the best X-Men films and the BEST Wolverine movie (hot take).

    CRITERION CHANNEL

Full list of everything coming to Criterion Channel in September can be found here.

*The Criterion Channel does things a little differently than every other streaming service.  The Criterion Channel, a wonderful streaming service that focuses on independent, foreign, and under-appreciates movies, doesn’t just throw a bunch of random movies to stream.  They get more creative by having categories like “DOUBLE FEATURES” or “FILMS FROM…”, giving us curated lists of films that somehow blend together or feature a specific artist.*

    BOYHOOD (Richard Linklater, 2014)

Richard Linklater’s ambitious twelve-year project is one of the finest film accomplishments of the last decade.

  THE LOVELESS (Kathryn Bigelow, Monty Montgomery, 1981)

Kathryn Bigelow’s debut is one I have been dying to see and one I am going to check out as soon as it is available.

  THE COMPLETE FILMS OF AGNES VARDA

Agnes Varda was a true artist and Criterion has put all of her work into one comprehensive collection which features all of her feature length films as well as her short films.

  SATURDAY MATINEE

DUCK SOUP (Leo McCarey, 1933)

My favorite Marx Brothers film and one of the greatest comedies ever made.

  SATURDAY MATINEE

CHARLOTTE��S WEB (Charles A. Nichols, Iwao Takamoto, 1973)

A beautiful animated film based on the classic book.

    THREE BY ROBERT GREENE

Three provocative films from a master documentarian.

Actress (2014)

Kate Plays Christine (2016)

Bisbee ’17 (2018)

  DIRECTED BY ALBERT BROOKS

Albert Brooks is one of the greatest comedic minds we’ve ever had.  This block of films looks at his genius behind the camera.

Real Life (1979)

Modern Romance (1981)

Lost in America (1985)

Defending Your Life (1991)

Mother (1996)

  DOUBLE FEATURE: TEARS OF THE CLOWN

LENNY (Bob Fosse, 1974)

JO JO DANCER, YOUR LIFE IS CALLING (Richard Pryor, 1986)

Two unflinching films delve into the self-destructive dark sides of a pair of comedy legends. Lenny features Dustin Hoffman in a jagged portrait of Lenny Bruce.  In Jo Jo Dancer, Your Life is Calling, Richard Pryor draws on his own personal demons in the only narrative feature written and directed by the comedy legend.

  BY THE BOOK

A slew of films based on legendary books, from Great Expectations to The Hours and many, many more.

The Count of Monte Cristo (Rowland V. Lee, 1934)

The 39 Steps (Alfred Hitchcock, 1935)

La bête humaine (Jean Renoir, 1938)

Of Mice and Men (Lewis Milestone, 1939)

Great Expectations (David Lean, 1946)

The Killers (Robert Siodmak, 1946)

Anna Karenina (Julien Duvivier, 1948)

Oliver Twist (David Lean, 1948)

The Heiress (William Wyler, 1949)

The Passionate Friends (David Lean, 1949)

The Idiot (Akira Kurosawa, 1951)

The Life of Oharu (Kenji Mizoguchi, 1952)

Robinson Crusoe (Luis Buñuel, 1954)

Senso (Luchino Visconti, 1954)

Pather Panchali (Satyajit Ray, 1955)

Aparajito (Satyajit Ray, 1956)

The Burmese Harp (Kon Ichikawa, 1956)

Apur Sansar (Satyajit Ray, 1959)

The Cloud-Capped Star (Ritwik Ghatak, 1960)

Purple Noon (René Clément, 1960)

Zazie dans le métro (Louis Malle, 1960)

Divorce Italian Style (Pietro Germi, 1961)

Lord of the Flies (Peter Brook, 1963)

Tom Jones (Tony Richardson, 1963)

Charulata (Satyajit Ray, 1964)

Woman in the Dunes (Hiroshi Teshigahara, 1964)

Closely Watched Trains (Jirí Menzel, 1966)

War and Peace (Sergei Bondarchuk, 1966)

Memories of Underdevelopment (Tomás Gutiérrez Alea, 1968)

The Angel Levine (Ján Kadár, 1970)

Dodes���ka-den (Akira Kurosawa, 1970)

The Phantom Tollbooth (Chuck Jones, Abe Levitow, and Dave Monahan, 1970)

The Little Prince (Stanley Donen, 1974)

Picnic at Hanging Rock (Peter Weir, 1975)

The American Friend (Wim Wenders, 1977)

The Ascent (Larisa Shepitko, 1977)

The Getting Of Wisdom (Bruce Beresford, 1977)

Empire of Passion (Nagisa Oshima, 1978)

Watership Down (Martin Rosen, 1978)

My Brilliant Career (Gillian Armstrong, 1979)

Stalker (Andrei Tarkovsky, 1979)

The Tin Drum (Volker Schlöndorff, 1979)

Wise Blood (John Huston, 1979)

You Are Not I (Sara Driver, 1981)

Under the Volcano (John Huston, 1984)

Mishima: A Life in Four Chapters (Paul Schrader, 1985)

My Life as a Dog (Lasse Hallström, 1985)

Betty Blue (Jean-Jacques Beineix, 1986)

An Angel at My Table (Jane Campion, 1990)

The Comfort of Strangers (Paul Schrader, 1990)

Europa Europa (Agnieszka Holland, 1990)

The Handmaid’s Tale (Volker Schlöndorff, 1990)

Emily Brontë’s Wuthering Heights (Peter Kosminsky, 1992)

The Castle (Michael Haneke, 1997)

The Sweet Hereafter (Atom Egoyan, 1997)

The Virgin Suicides (Sofia Coppola, 1999)

The Piano Teacher (Michael Haneke, 2001)

The Hours (Stephen Daldry, 2002)

Gomorrah (Matteo Garrone, 2008)

Almayer’s Folly (Chantal Akerman, 2011)

45 Years (Andrew Haigh, 2015)

Certain Women (Kelly Reichardt, 2016)

Zama (Lucrecia Martel, 2017)

    HBOMAX

Full list of everything coming to HBOMax in August can be found here.

  CLERKS (Kevin Smith, 1994)

Kevin Smith’s indie sensation is a masterclass in microbudget cinema.

  THE CONVERSATION (Francis Ford Coppola, 1974)

In-between The Godfather and The Godfather II, Francis Ford Coppola made this Palme d’Or winning thriller about a surveillance expert (a brilliant Gene Hackman) who has a crisis of conscience when he suspects that the couple he is spying on will be murdered.

  THE CURIOUS CASE OF BENJAMIN BUTTON (David Fincher, 2008)

David Fincher’s gorgeous film about a man who ages backwards.

  DOG DAY AFTERNOON (Sidney Lumet, 1975)

Sidney Lumet’s best film features masterful work from Al Pacino and John Cazzalle.

  THE INVISIBLE MAN (Leigh Whannel, 2020)

Elisabeth Moss gives one of the best performances of 2020 in Leigh Whannel’s chilling remake of the Universal classic.

  JFK (Oliver Stone, 1991)

Oliver Stone’s brilliant account of the assassination of John F. Kennedy and the conspiracy behind it.

  JUST MERCY (Destin Daniel Cretton, 2019)

An inspiring film with excellent performances from Michael B. Jordan and Jamie Foxx.

  MIDNIGHT RUN (Martin Brest, 1988)

This crime-buddy-road movie is an absolute blast and features one of Robert De Niro’s most underrated performances.

  POINT BREAK (Kathryn Bigelow, 1991)

Kathryn Bigelow’s surfing-cop thriller is one of the best action movies of the 90’s.

  SNAKES ON A PLANE (David R. Ellis, 2006)

An iconic B-movie featuring a truly great Samuel L. Jackson performance.

              Follow Kevflix on Twitter and Instagram, @kevflix, and on Facebook by searching Kevflix.

          The post What’s Streaming This Month? – September appeared first on Kevflix.

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[blackkudos]

Ornette Coleman

Randolph Denard Ornette Coleman (March 9, 1930 – June 11, 2015) was an American jazz saxophonist, violinist, trumpeter, and composer. He was one of the major innovators of the free jazz movement of the 1960s, a term he invented with the name of a 1961 album. His "Broadway Blues" has become a standard and has been cited as a key work in the free jazz movement. He was awarded a MacArthur Fellowship in 1994. His album Sound Grammar received the 2007 Pulitzer Prize for music.

Biography

Early life

Coleman was born in 1930 in Fort Worth, Texas, where he was also raised. He attended I.M. Terrell High School, where he participated in band until he was dismissed for improvising during "The Washington Post." He began performing R&B and bebop initially on tenor saxophone, and started a band, the Jam Jivers, with some fellow students including Prince Lasha and Charles Moffett. Seeking a way to work his way out of his home town, he took a job in 1949 with a Silas Green from New Orleans traveling show and then with touring rhythm and blues shows. After a show in Baton Rouge, Louisiana, he was assaulted and his saxophone was destroyed.

He switched to alto saxophone, which remained his primary instrument, first playing it in New Orleans after the Baton Rouge incident. He then joined the band of Pee Wee Crayton and travelled with them to Los Angeles. He worked at various jobs, including as an elevator operator, while continuing to pursue his musical career.

From the beginning of his career, Coleman's music and playing were in many ways unorthodox. His approach to harmony and chord progression was far less rigid than that of bebop performers; he was increasingly interested in playing what he heard rather than fitting it into predetermined chorus-structures and harmonies. His raw, highly vocalized sound and penchant for playing "in the cracks" of the scale led many Los Angeles jazz musicians to regard Coleman's playing as out-of-tune. He sometimes had difficulty finding like-minded musicians with whom to perform. Nevertheless, pianist Paul Bley was an early supporter and musical collaborator.

In 1958, Coleman led his first recording session for Contemporary, Something Else!!!!: The Music of Ornette Coleman. The session also featured trumpeter Don Cherry, drummer Billy Higgins, bassist Don Payne and Walter Norris on piano.

The Shape of Jazz to Come

1959 was a notably productive year for Coleman. His last release on Contemporary was Tomorrow Is the Question!, a quartet album, with Shelly Manne on drums, and excluding the piano, which he would not use again until the 1990s. Next Coleman brought double bassist Charlie Haden – one of a handful of his most important collaborators – into a regular group with Cherry and Higgins. (All four had played with Paul Bley the previous year.) He signed a multi-album contract with Atlantic Records, who released The Shape of Jazz to Come in 1959. It was, according to critic Steve Huey, "a watershed event in the genesis of avant-garde jazz, profoundly steering its future course and throwing down a gauntlet that some still haven't come to grips with." While definitely – if somewhat loosely – blues-based and often quite melodic, the album's compositions were considered at that time harmonically unusual and unstructured. Some musicians and critics saw Coleman as an iconoclast; others, including conductor Leonard Bernstein and composer Virgil Thomson regarded him as a genius and an innovator." Jazzwise listed it #3 on their list of the 100 best jazz albums of all time.

Coleman's quartet received a lengthy – and sometimes controversial – engagement at New York City's famed Five Spot jazz club. Such notable figures as the Modern Jazz Quartet, Leonard Bernstein and Lionel Hampton were favorably impressed, and offered encouragement. (Hampton was so impressed he reportedly asked to perform with the quartet; Bernstein later helped Haden obtain a composition grant from the John Simon Guggenheim Memorial Foundation.) Opinion was, however, divided. Trumpeter Miles Davis famously declared Coleman was "all screwed up inside", although Davis later recanted this comment and became a proponent of Coleman's musical innovations. Roy Eldridge stated, "I'd listened to him all kinds of ways. I listened to him high and I listened to him cold sober. I even played with him. I think he's jiving baby."

Coleman's unique early sound was due in part to his use of a plastic saxophone. He had first bought a plastic horn in Los Angeles in 1954 because he was unable to afford a metal saxophone, though he didn't like the sound of the plastic instrument at first. Coleman later claimed that it sounded drier, without the pinging sound of metal. In later years, he played a metal saxophone.

On the Atlantic recordings, Coleman's sidemen in the quartet are Cherry on cornet or pocket trumpet, Haden, Scott LaFaro, and then Jimmy Garrison on bass, and Higgins or his replacement Ed Blackwell on drums. The complete released recordings for the label were collected on the box set Beauty Is a Rare Thing.

Free Jazz

In 1960, Coleman recorded Free Jazz: A Collective Improvisation, which featured a double quartet, including Cherry and Freddie Hubbard on trumpet, Eric Dolphy on bass clarinet, Haden and LaFaro on bass, and both Higgins and Blackwell on drums. The record was recorded in stereo, with a reed/brass/bass/drums quartet isolated in each stereo channel. Free Jazz was, at nearly 40 minutes, the lengthiest recorded continuous jazz performance to date, and was instantly one of Coleman's most controversial albums. The music features a regular but complex pulse, one drummer playing "straight" while the other played double-time; the thematic material is a series of brief, dissonant fanfares. As is conventional in jazz, there are a series of solo features for each member of the band, but the other soloists are free to chime in as they wish, producing some extraordinary passages of collective improvisation by the full octet. In the January 18, 1962 issue of Down Beat magazine, in a special review titled "Double View of a Double Quartet," Pete Welding awarded the album Five Stars while John A. Tynan rated it No Stars.

Coleman originally intended "Free Jazz" as simply an album title, but his growing reputation placed him at the forefront of jazz innovation, and free jazz was soon considered a new genre, though Coleman has expressed discomfort with the term. Among the reasons Coleman may not have entirely approved of the term 'free jazz' is that his music contains a considerable amount of composition. His melodic material, although skeletal, strongly recalls the melodies that Charlie Parker wrote over standard harmonies, and in general the music is closer to the bebop that came before it than is sometimes popularly imagined. (Several early tunes of his, for instance, are clearly based on favorite bop chord changes like "Out of Nowhere" and "I Got Rhythm".) Coleman very rarely played standards, concentrating on his own compositions, of which there seemed to be an endless flow. There are exceptions, though, including a classic reading (virtually a recomposition) of "Embraceable You" for Atlantic, and an improvisation on Thelonious Monk's "Criss-Cross" recorded with Gunther Schuller.

1960s

After the Atlantic period and into the early part of the 1970s, Coleman's music became more angular and engaged fully with the jazz avant-garde which had developed in part around his innovations.

His quartet dissolved, and Coleman formed a new trio with David Izenzon on bass, and Charles Moffett on drums. Coleman began to extend the sound-range of his music, introducing accompanying string players (though far from the territory of Charlie Parker with Strings) and playing trumpet and violin (which he played left-handed) himself. He initially had little conventional musical technique and used the instruments to make large, unrestrained gestures. His friendship with Albert Ayler influenced his development on trumpet and violin. Haden would later sometimes join this trio to form a two-bass quartet.

Between 1965 and 1967 Coleman signed with Blue Note Records and released a number of recordings starting with the influential recordings of the trio At the Golden Circle Stockholm.

In 1966, Coleman was criticized for recording The Empty Foxhole, a trio with Haden, and Coleman's son Denardo Coleman – who was ten years old. Some regarded this as perhaps an ill-advised piece of publicity on Coleman's part and judged the move a mistake. Others, however, noted that despite his youth, Denardo had studied drumming for several years. His technique – which, though unrefined, was respectable and enthusiastic – owed more to pulse-oriented free jazz drummers like Sunny Murray than to bebop drumming. Denardo has matured into a respected musician, and has been his father's primary drummer since the late 1970s.

Coleman formed another quartet. A number of bassists and drummers (including Haden, Garrison and Elvin Jones) appeared, and Dewey Redman joined the group, usually on tenor saxophone.

He also continued to explore his interest in string textures – from Town Hall, 1962, culminating in Skies of America in 1972. (Sometimes this had a practical value, as it facilitated his group's appearance in the UK in 1965, where jazz musicians were under a quota arrangement but classical performers were exempt.)

In 1969, Coleman was inducted into the Down Beat Jazz Hall of Fame.

Later career

Coleman, like Miles Davis before him, took to playing with electrified instruments. Albums like Virgin Beauty and Of Human Feelings used rock and funk rhythms, sometimes called free funk. The 1976 album Dancing in Your Head, Coleman's first recording with the group which later became known as Prime Time, prominently featured electric guitars. While this marked a stylistic departure for Coleman, the music maintained certain similarilties to his earlier work. These performances had the same angular melodies and simultaneous group improvisations – what Joe Zawinul referred to as "nobody solos, everybody solos" and what Coleman called harmolodics – and although the nature of the pulse was altered, Coleman's own rhythmic approach did not.

Jerry Garcia played guitar on three tracks from Coleman's 1988 album Virgin Beauty: "Three Wishes", "Singing in the Shower", and "Desert Players". Coleman joined the Grateful Dead on stage once in 1993 during "Space", and stayed for "The Other One", "Stella Blue", Bobby Bland's "Turn on Your Lovelight", and the encore "Brokedown Palace". Another collaboration was with guitarist Pat Metheny, with whom Coleman recorded Song X (1985); though released under Metheny's name, Coleman was essentially co-leader (contributing all the compositions).

In 1990, the city of Reggio Emilia in Italy held a three-day "Portrait of the Artist" featuring a Coleman quartet with Cherry, Haden and Higgins. The festival also presented performances of his chamber music and the symphonic Skies of America.

In 1991, Coleman played on the soundtrack for David Cronenberg's Naked Lunch; the orchestra was conducted by Howard Shore. It is notable among other things for including a rare sighting of Coleman playing a jazz standard: Thelonious Monk's blues line "Misterioso". Two 1972 (pre-electric) Coleman recordings, "Happy House" and "Foreigner in a Free Land" were used in Gus Van Sant's 2000 Finding Forrester.

The mid-1990s saw a flurry of activity from Coleman: he released four records in 1995 and 1996, and for the first time in many years worked regularly with piano players (either Geri Allen or Joachim Kühn). He was awarded a MacArthur Fellowship (genius grant) in 1994.

2000s

In 2001 Coleman was awarded a Praemium Imperial (World Culture Prize in Memory of His Imperial Highness Prince Takamatsu), an international art prize by the imperial family of Japan on behalf of the Japan Art Association. The prize recognises outstanding contributions in the development, promotion and progress of the arts in the fields of painting, sculpture, architecture, music, and theatre/film—arguably one of the most prestigious art prizes in the world. Coleman was the second and latest jazz musician to receive the Praemium Imperial, after Oscar Peterson in 1999.

In 2004 Coleman was awarded the Dorothy and Lillian Gish Prize, one of the richest prizes in the arts, given annually to "a man or woman who has made an outstanding contribution to the beauty of the world and to mankind's enjoyment and understanding of life."

In September 2006 he released a live album titled Sound Grammar with his newest quartet (Denardo drumming and two bassists, Gregory Cohen and Tony Falanga). This was his first album of new material in ten years, and was recorded in Germany in 2005. It won the 2007 Pulitzer Prize for music, Coleman being only the second jazz artist to win the prize.

On February 11, 2007, Coleman was honored with a Grammy award for lifetime achievement, in recognition of this legacy.

On July 9, 2009, Coleman received the Miles Davis Award, a recognition given by the Festival International de Jazz de Montréal to musicians who have contributed to continuing the tradition of jazz.

On May 1, 2010, he was awarded an honorary doctorate in music from the University of Michigan for his musical contributions.

Jazz pianist Joanne Brackeen (who had only briefly studied music as a child) stated in an interview with Marian McPartland that Coleman had been mentoring her and giving her semi-formal music lessons in recent years.

Coleman continued to push himself into unusual playing situations, often with much younger musicians or musicians from radically different musical cultures. An increasing number of his compositions, while not ubiquitous, have become minor jazz standards, including "Lonely Woman", "Peace", "Turnaround", "When Will the Blues Leave?", "The Blessing", "Law Years", "What Reason Could I Give" and "I've Waited All My Life". He has influenced virtually every saxophonist of a modern disposition, and nearly every such jazz musician, of the generation that followed him. His songs have proven endlessly malleable: pianists such as Paul Bley and Paul Plimley have managed to turn them to their purposes; John Zorn recorded Spy vs Spy (1989), an album of extremely loud, fast, and abrupt versions of Coleman songs. Finnish jazz singer Carola covered Coleman's "Lonely Woman" and there have even been progressive bluegrass versions of Coleman tunes (by Richard Greene).

Personal life and death

Coleman married poet Jayne Cortez in 1954. The couple divorced in 1964. They had one son, Denardo, born in 1956, who became a notable jazz drummer in his own right.

Coleman died of a cardiac arrest at the age of 85 in New York City on June 11, 2015. His funeral was a three-hour event with performances and speeches by several of his collaborators and contemporaries.

Wikipedia

[blackkudos]

Ornette Coleman

Randolph Denard Ornette Coleman (March 9, 1930 – June 11, 2015) was an American jazz saxophonist, violinist, trumpeter, and composer. He was one of the major innovators of the free jazz movement of the 1960s, a term he invented with the name of a 1961 album. His "Broadway Blues" has become a standard and has been cited as a key work in the free jazz movement. He was awarded a MacArthur Fellowship in 1994. His album Sound Grammar received the 2007 Pulitzer Prize for music.

Biography

Early life

Coleman was born in 1930 in Fort Worth, Texas, where he was also raised. He attended I.M. Terrell High School, where he participated in band until he was dismissed for improvising during "The Washington Post." He began performing R&B and bebop initially on tenor saxophone, and started a band, the Jam Jivers, with some fellow students including Prince Lasha and Charles Moffett. Seeking a way to work his way out of his home town, he took a job in 1949 with a Silas Green from New Orleans traveling show and then with touring rhythm and blues shows. After a show in Baton Rouge, Louisiana, he was assaulted and his saxophone was destroyed.

He switched to alto saxophone, which remained his primary instrument, first playing it in New Orleans after the Baton Rouge incident. He then joined the band of Pee Wee Crayton and travelled with them to Los Angeles. He worked at various jobs, including as an elevator operator, while continuing to pursue his musical career.

From the beginning of his career, Coleman's music and playing were in many ways unorthodox. His approach to harmony and chord progression was far less rigid than that of bebop performers; he was increasingly interested in playing what he heard rather than fitting it into predetermined chorus-structures and harmonies. His raw, highly vocalized sound and penchant for playing "in the cracks" of the scale led many Los Angeles jazz musicians to regard Coleman's playing as out-of-tune. He sometimes had difficulty finding like-minded musicians with whom to perform. Nevertheless, pianist Paul Bley was an early supporter and musical collaborator.

In 1958, Coleman led his first recording session for Contemporary, Something Else!!!!: The Music of Ornette Coleman. The session also featured trumpeter Don Cherry, drummer Billy Higgins, bassist Don Payne and Walter Norris on piano.

The Shape of Jazz to Come

1959 was a notably productive year for Coleman. His last release on Contemporary was Tomorrow Is the Question!, a quartet album, with Shelly Manne on drums, and excluding the piano, which he would not use again until the 1990s. Next Coleman brought double bassist Charlie Haden – one of a handful of his most important collaborators – into a regular group with Cherry and Higgins. (All four had played with Paul Bley the previous year.) He signed a multi-album contract with Atlantic Records, who released The Shape of Jazz to Come in 1959. It was, according to critic Steve Huey, "a watershed event in the genesis of avant-garde jazz, profoundly steering its future course and throwing down a gauntlet that some still haven't come to grips with." While definitely – if somewhat loosely – blues-based and often quite melodic, the album's compositions were considered at that time harmonically unusual and unstructured. Some musicians and critics saw Coleman as an iconoclast; others, including conductor Leonard Bernstein and composer Virgil Thomson regarded him as a genius and an innovator." Jazzwise listed it #3 on their list of the 100 best jazz albums of all time.

Coleman's quartet received a lengthy – and sometimes controversial – engagement at New York City's famed Five Spot jazz club. Such notable figures as the Modern Jazz Quartet, Leonard Bernstein and Lionel Hampton were favorably impressed, and offered encouragement. (Hampton was so impressed he reportedly asked to perform with the quartet; Bernstein later helped Haden obtain a composition grant from the John Simon Guggenheim Memorial Foundation.) Opinion was, however, divided. Trumpeter Miles Davis famously declared Coleman was "all screwed up inside", although Davis later recanted this comment and became a proponent of Coleman's musical innovations. Roy Eldridge stated, "I'd listened to him all kinds of ways. I listened to him high and I listened to him cold sober. I even played with him. I think he's jiving baby."

Coleman's unique early sound was due in part to his use of a plastic saxophone. He had first bought a plastic horn in Los Angeles in 1954 because he was unable to afford a metal saxophone, though he didn't like the sound of the plastic instrument at first. Coleman later claimed that it sounded drier, without the pinging sound of metal. In later years, he played a metal saxophone.

On the Atlantic recordings, Coleman's sidemen in the quartet are Cherry on cornet or pocket trumpet, Haden, Scott LaFaro, and then Jimmy Garrison on bass, and Higgins or his replacement Ed Blackwell on drums. The complete released recordings for the label were collected on the box set Beauty Is a Rare Thing.

Free Jazz

In 1960, Coleman recorded Free Jazz: A Collective Improvisation, which featured a double quartet, including Cherry and Freddie Hubbard on trumpet, Eric Dolphy on bass clarinet, Haden and LaFaro on bass, and both Higgins and Blackwell on drums. The record was recorded in stereo, with a reed/brass/bass/drums quartet isolated in each stereo channel. Free Jazz was, at nearly 40 minutes, the lengthiest recorded continuous jazz performance to date, and was instantly one of Coleman's most controversial albums. The music features a regular but complex pulse, one drummer playing "straight" while the other played double-time; the thematic material is a series of brief, dissonant fanfares. As is conventional in jazz, there are a series of solo features for each member of the band, but the other soloists are free to chime in as they wish, producing some extraordinary passages of collective improvisation by the full octet. In the January 18, 1962 issue of Down Beat magazine, in a special review titled "Double View of a Double Quartet," Pete Welding awarded the album Five Stars while John A. Tynan rated it No Stars.

Coleman originally intended "Free Jazz" as simply an album title, but his growing reputation placed him at the forefront of jazz innovation, and free jazz was soon considered a new genre, though Coleman has expressed discomfort with the term. Among the reasons Coleman may not have entirely approved of the term 'free jazz' is that his music contains a considerable amount of composition. His melodic material, although skeletal, strongly recalls the melodies that Charlie Parker wrote over standard harmonies, and in general the music is closer to the bebop that came before it than is sometimes popularly imagined. (Several early tunes of his, for instance, are clearly based on favorite bop chord changes like "Out of Nowhere" and "I Got Rhythm".) Coleman very rarely played standards, concentrating on his own compositions, of which there seemed to be an endless flow. There are exceptions, though, including a classic reading (virtually a recomposition) of "Embraceable You" for Atlantic, and an improvisation on Thelonious Monk's "Criss-Cross" recorded with Gunther Schuller.

1960s

After the Atlantic period and into the early part of the 1970s, Coleman's music became more angular and engaged fully with the jazz avant-garde which had developed in part around his innovations.

His quartet dissolved, and Coleman formed a new trio with David Izenzon on bass, and Charles Moffett on drums. Coleman began to extend the sound-range of his music, introducing accompanying string players (though far from the territory of Charlie Parker with Strings) and playing trumpet and violin (which he played left-handed) himself. He initially had little conventional musical technique and used the instruments to make large, unrestrained gestures. His friendship with Albert Ayler influenced his development on trumpet and violin. Haden would later sometimes join this trio to form a two-bass quartet.

Between 1965 and 1967 Coleman signed with Blue Note Records and released a number of recordings starting with the influential recordings of the trio At the Golden Circle Stockholm.

In 1966, Coleman was criticized for recording The Empty Foxhole, a trio with Haden, and Coleman's son Denardo Coleman – who was ten years old. Some regarded this as perhaps an ill-advised piece of publicity on Coleman's part and judged the move a mistake. Others, however, noted that despite his youth, Denardo had studied drumming for several years. His technique – which, though unrefined, was respectable and enthusiastic – owed more to pulse-oriented free jazz drummers like Sunny Murray than to bebop drumming. Denardo has matured into a respected musician, and has been his father's primary drummer since the late 1970s.

Coleman formed another quartet. A number of bassists and drummers (including Haden, Garrison and Elvin Jones) appeared, and Dewey Redman joined the group, usually on tenor saxophone.

He also continued to explore his interest in string textures – from Town Hall, 1962, culminating in Skies of America in 1972. (Sometimes this had a practical value, as it facilitated his group's appearance in the UK in 1965, where jazz musicians were under a quota arrangement but classical performers were exempt.)

In 1969, Coleman was inducted into the Down Beat Jazz Hall of Fame.

Later career

Coleman, like Miles Davis before him, took to playing with electrified instruments. Albums like Virgin Beauty and Of Human Feelings used rock and funk rhythms, sometimes called free funk. The 1976 album Dancing in Your Head, Coleman's first recording with the group which later became known as Prime Time, prominently featured electric guitars. While this marked a stylistic departure for Coleman, the music maintained certain similarilties to his earlier work. These performances had the same angular melodies and simultaneous group improvisations – what Joe Zawinul referred to as "nobody solos, everybody solos" and what Coleman called harmolodics – and although the nature of the pulse was altered, Coleman's own rhythmic approach did not.

Jerry Garcia played guitar on three tracks from Coleman's 1988 album Virgin Beauty: "Three Wishes", "Singing in the Shower", and "Desert Players". Coleman joined the Grateful Dead on stage once in 1993 during "Space", and stayed for "The Other One", "Stella Blue", Bobby Bland's "Turn on Your Lovelight", and the encore "Brokedown Palace". Another collaboration was with guitarist Pat Metheny, with whom Coleman recorded Song X (1985); though released under Metheny's name, Coleman was essentially co-leader (contributing all the compositions).

In 1990, the city of Reggio Emilia in Italy held a three-day "Portrait of the Artist" featuring a Coleman quartet with Cherry, Haden and Higgins. The festival also presented performances of his chamber music and the symphonic Skies of America.

In 1991, Coleman played on the soundtrack for David Cronenberg's Naked Lunch; the orchestra was conducted by Howard Shore. It is notable among other things for including a rare sighting of Coleman playing a jazz standard: Thelonious Monk's blues line "Misterioso". Two 1972 (pre-electric) Coleman recordings, "Happy House" and "Foreigner in a Free Land" were used in Gus Van Sant's 2000 Finding Forrester.

The mid-1990s saw a flurry of activity from Coleman: he released four records in 1995 and 1996, and for the first time in many years worked regularly with piano players (either Geri Allen or Joachim Kühn). He was awarded a MacArthur Fellowship (genius grant) in 1994.

2000s

In 2001 Coleman was awarded a Praemium Imperial (World Culture Prize in Memory of His Imperial Highness Prince Takamatsu), an international art prize by the imperial family of Japan on behalf of the Japan Art Association. The prize recognises outstanding contributions in the development, promotion and progress of the arts in the fields of painting, sculpture, architecture, music, and theatre/film—arguably one of the most prestigious art prizes in the world. Coleman was the second and latest jazz musician to receive the Praemium Imperial, after Oscar Peterson in 1999.

In 2004 Coleman was awarded the Dorothy and Lillian Gish Prize, one of the richest prizes in the arts, given annually to "a man or woman who has made an outstanding contribution to the beauty of the world and to mankind's enjoyment and understanding of life."

In September 2006 he released a live album titled Sound Grammar with his newest quartet (Denardo drumming and two bassists, Gregory Cohen and Tony Falanga). This was his first album of new material in ten years, and was recorded in Germany in 2005. It won the 2007 Pulitzer Prize for music, Coleman being only the second jazz artist to win the prize.

On February 11, 2007, Coleman was honored with a Grammy award for lifetime achievement, in recognition of this legacy.

On July 9, 2009, Coleman received the Miles Davis Award, a recognition given by the Festival International de Jazz de Montréal to musicians who have contributed to continuing the tradition of jazz.

On May 1, 2010, he was awarded an honorary doctorate in music from the University of Michigan for his musical contributions.

Jazz pianist Joanne Brackeen (who had only briefly studied music as a child) stated in an interview with Marian McPartland that Coleman had been mentoring her and giving her semi-formal music lessons in recent years.

Coleman continued to push himself into unusual playing situations, often with much younger musicians or musicians from radically different musical cultures. An increasing number of his compositions, while not ubiquitous, have become minor jazz standards, including "Lonely Woman", "Peace", "Turnaround", "When Will the Blues Leave?", "The Blessing", "Law Years", "What Reason Could I Give" and "I've Waited All My Life". He has influenced virtually every saxophonist of a modern disposition, and nearly every such jazz musician, of the generation that followed him. His songs have proven endlessly malleable: pianists such as Paul Bley and Paul Plimley have managed to turn them to their purposes; John Zorn recorded Spy vs Spy (1989), an album of extremely loud, fast, and abrupt versions of Coleman songs. Finnish jazz singer Carola covered Coleman's "Lonely Woman" and there have even been progressive bluegrass versions of Coleman tunes (by Richard Greene).

Personal life and death

Coleman married poet Jayne Cortez in 1954. The couple divorced in 1964. They had one son, Denardo, born in 1956, who became a notable jazz drummer in his own right.

Coleman died of a cardiac arrest at the age of 85 in New York City on June 11, 2015. His funeral was a three-hour event with performances and speeches by several of his collaborators and contemporaries.

Wikipedia