Ornette Coleman, alto saxophone; Don Cherry, cornet; Billy Higgins, drums; Charlie Haden, bass.
The drummer (Higgins) begin quietly tapping out a short motive. On bass, Haden joins in with a resonant double-stop (playing two strings at the same time).
Higgins switches to a rapid accompaniment. As if in a slower rhythmic space, Haden simultaneously holds down a pedal tone with one string while soloing with the other.
Coleman and Cherry enter, playing the arching melody to "Lonely Woman" in octaves. Like the bass line, the melody floats rhythmically above the drum accompaniment.
Coleman plays a short, plaintive reply. The bass falls to the dominant.
The two horns harmonize in parallel intervals.
On the upper string of the bass, Haden temporarily changes the harmony from minor to major. The mode changes back to minor when the horns reenter.
Coleman and Cherry repeat the melody.
As Coleman plays his plaintive reply, Haden doubles him on the bass.
On the last phrase, Coleman rises to a bluesy wail.
Over a new harmony, Coleman repeats a riff-like phrase. Behind him, Cherry and Haden creep upward chromatically, their background line accentuated by drum strokes.
Underneath Coleman's last phrase, the drum plays with richer timbres while the bass shifts to the dominant.
A drum stroke signals the return to the tonic harmony and to the free-floating melody.
A (indeterminate length)
Coleman plays simple, bluesy phrases, unaffected by the rising chromatic line Haden suggests behind him.
As his emotional temperature begins to rise, Coleman's tone becomes rough and uneven.
Coleman moves to a harder-swinging rhythmic feeling, evoking a cry of "whoo!" from one of the musicians.
The bridge is signaled by the return of the rising chromatic line in the trumpet, doubled erratically by the bass.
At the end of the bridge, the harmony and the soloist's line focus on the dominant.
With a dramatic return to the tonic, Coleman leads the group back to the A section. Haden, playing double stops, holds the bottom note in a pedal point while moving the upper voice up and down chromatically.
Rising in intensity, Coleman's line reaches its climax.
The two horns return to the melody in octaves.
Cherry hits high notes, followed by quick, descending blurs.
At one point, Cherry inadvertently hits the wrong pitch.
The two horns combine to play bluesy wails.
Coleman holds out his last note; underneath, Cherry adds low, breathy comments.
The bass continues playing his double stops, rising chromatically until finally reaching the upper octave (at 4:42); he continues to play until the drums finally stop.