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Music CD - Ornette Coleman: The Shape of Jazz to Come
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Music CD: The Shape of Jazz to Come
Artist: Ornette Coleman
List Price: $11.98
Our Price: $7.40
Your Save: $ 4.58 ( 38% )
Availability: Usually ships in 24 hours
Manufacturer: Atlantic / Wea
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Average Customer Rating:  
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Tracks:
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1. Lonely Woman
2. Eventually
3. Peace
4. Focus On Sanity
5. Congeniality
6. Chronology
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Binding: Audio CD
EAN: 0075678133923
Label: Atlantic / Wea
Manufacturer: Atlantic / Wea
Number Of Discs: 1
Publisher: Atlantic / Wea
Release Date: 1990-10-25
Studio: Atlantic / Wea
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Spotlight customer reviews:
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Customer Rating: 
Summary: Sorry But I Didn't Dig This At All
Comment: Ornette Coleman is a revoluationary musician. I do not like his approach to music. I do not like the way he plays the saxophone nor do I dig his tone. There is one thing I do respect about him: he opened the doors for many musicians and sparked an evolution in this music we call jazz. He opened many people's ears to start exploring.
"The Shape Of Jazz To Come" isn't my kind of jazz album. I came to the music with no pre-conceived notions and a clear and open mind, but yet I still couldn't get the vibe. For one thing, I like chords. I like to hear harmony. This recording just didn't really draw me in. I love horn players and a great rhythm section, but I would have liked to hear chords being played by a pianist or guitarist.
Free jazz is something that always bothered me, because the music itself is chaotic. It's not very interesting or melodic. It doesn't have anything a listener or even musician can grab onto. It's just totally "up in the air" so to speak. You can't make heads or tails out of it. It's something that just hasn't ever appealed to me. I have listened to Coleman, Cecil Taylor, John Zorn (he's actually done some good music), Coltrane's free period, Derek Bailey, Evan Parker, Anthony Braxton, etc. I'm sorry but this music just doesn't do anything for me.
"The Shape Of Jazz To Come" was a milestone in the beginnings of free jazz, but I have yet to hear a single free jazz recording that makes me want to keep listening.
I would only buy this album for its historical purposes. I'll always listen to Miles, Monk, Blakey, Clifford Brown, Gillespie, etc, because their art is timeless and can be enjoyed by everyone.
Customer Rating:
Summary: 10 Most Dangerous Albums of All Time (Entry Four)
Comment: 1959 is to jazz what 1977 is to punk rock: glorious. John Coltrane's Giant Steps. Miles Davis recording Kind of Blue. Charles Mingus and his eponymous Mingus Ah Um. And my personal favorite, Time Out by the Dave Brubeck Quartet. 1959 also introduced one man whose debut album shook the foundations of jazz and introduced a shift in jazz music that is still felt today.
The young man with the plastic horn. Unprecedented.
Ornette Coleman's The Shape of Jazz to Come
Jazz had not seen anything like it. It would be safe to assume that no one thought anything of this caliber would be possible. With its apparent lack of chords, its atonality, and its complete disregard for traditional jazz conventions, Ornette Coleman's debut album angered many. It was easily dismissed as junk, noise, garbage. This isn't music, many said. For them, this wasn't jazz.
But it was. And is.
The Shape of Jazz to Come is prophetic in its title. This album would immensely influence John Coltrane, Eric Dolphy and countless other musicians, both within and outside of jazz. And its verberations can still be felt in jazz. John Zorn has taken much from Coleman. Pat Methany has worked alongside Coleman.
With this debut, Coleman paved the way not just for avant-garde jazz, but for free jazz as well. Such a possibility must have been unforeseeable in 1959. The Shape of Jazz to Come established a path for those seeking a new take on jazz to follow. In this way, the album served as an exodus, the music contained within serving as aural guideposts to jazz's new land.
There is a story that details how Ornette Coleman performed a show in front of a crowd to whom he was a relative unknown. Halfway through Coleman's performance, the crowd, unable to process the new jazz they were listening to, chased Coleman off the stage, seized his plastic horn, and destroyed it. I imagine The Shape of Jazz to Come elicited the same dangerous reaction from others.
A necessary reaction.
Customer Rating:
Summary: Diametrically Opposed Forces
Comment: Two of the albums most influential to my understanding of jazz both came in 1959. Bill Evans masteripiece Portrait in Jazz and Ornette Coleman's The Shape of Jazz to Come. Bill defined the piano as the well-spring of jazz, Ornette thought the piano was the whole problem. Ornette's frentic solos were a stark contrast Bill's cyborg-like restraint. For all their differences, one thing on which the could agree was that traditional chord voicing had to go. These are both great ablums in their own right, but its all the more exciting to listen to them in context with full knowelge of all that they would inspire in other artists. To be sure, there are a great number of other highly influential albums of that time, but for me, these two stand apart from the pack.
Customer Rating:
Summary: SNAFS thinks of Coleman's early detractors *snickers*
Comment: I think a lynching (at least verbal) would be appropriate for the people who said he should be burned and destroyed for messing with the precious jazz formula. I think the risks Ornette Coleman took are VERY appropriate. Besides, unpredictability can be fun, and Ornette Coleman demonstrates this with glee. He does know too much is just _________ annoying and it doesn't sound daring or challenging, it just sounds bad, or _____. Unlike his most famous album (maybe, Free jazz, there isn't two seperate quartets for each channel. There are also only four members. The sound is very clean on this album, but there is a sense of adventure on this album.
Whenever I listen to it, there's always something to listen to. This is one of those albums like that, but this album really is just FUN. Now, introspection is awesome. But I appreciate music on pretty much all of it's fronts, those deep meanings, those messages, the dancing, or just plain on listening how people use their voices as instruments. Such as this. Don Cherry and Ornette Coleman do that, but they really just seem to have fun. The drums and bass are focused and run like the wind. Only in Lonely and Lonely Women are they toned down to beauty and melancholy, respectfully. The rest just rip, glide, and go insane.
Ornette Coleman and company deliver a well rounded, excellent, focused jazz album, not bound by any scales or time signatures. They build on the bebop/hardbop and modal jazz and add a bit of raw, addicting dissonants, and a great sense of freedom. That's my favorite thing about this album, is that it has plenty of that, but there is a great sense of freedom and very tuneful.
It's really not just a great way to slowly get into the world of free jazz and noisy music (everything from later Coleman to John Zorn's Naked City). Besides, it's not one album you'll forget after using as a stepping stone. It's not really a stepping stone, it's just an album that happens to be a good introduction for some people. I don't care what your excuse is (as long as it's not to be "cool". If so, your a _________ moron), get it.
9/10
Customer Rating:
Summary: Consider the Remastered Version
Comment: I expect that enough has already been said about this music and its importance in the development of jazz. Chances are you'll either love it (like me) or hate it. If you're planning to buy this recording, I'd highly recommend getting the 2005 remastered version, in the Atlantic Masters series. The sound quality is noticeably better than in this older version--it's not "enhanced," there's just more information. Sort of like the difference between regular TV and HDTV. Last time I checked, it was only 3 or 4 bucks more than this one--and well worth it. (If you upgrade, like I did, I can almost guarantee you'll be delighted.) Unfortunately this item doesn't show up under Ornette Coleman, but it comes up when you type in Shape of Jazz to Come. Coleman's CHANGE OF THE CENTURY is also available in this remastered series, and it also sounds wonderful.
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Editorial Reviews:
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On this highly influential 1959 album, Ornette Coleman's unique writing style and idiosyncratic solo language forever changed the jazz landscape. On classics such as "Lonely Woman," "Congeniality," and "Focus on Sanity," Coleman used the tunes' moods and melodic contours, rather than their chords, as a basis for his improvisations. In so doing, he opened up jazz soloing immensely and ushered in new freedoms--both individually and collectively. Lest these innovations sound too dry or abstract, it must be noted that both Coleman and trumpeter Don Cherry play with a deep-felt emotion and joy that is as infectious today as it was then. This is truly an essential jazz recording, marking the end of one era, providing the blueprint for the next. --Wally Shoup
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