1959 MONO ATLANTIC 1317 ORNETTE COLEMAN THE SHAPE OF JAZZ TO COME FINE LP ALBUM
  $   135

 


$ 135 Sold For
Mar 23, 2018 Sold Date
Mar 13, 2018 Start Date
$   98 Start price
5   Number Of Bids
  USA Country Of Seller
eBay Auctioned at
 
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Description

Thank you very much for looking,  here we have a near mint 1959 Mono Release of the historically significant and iconic  "The Shape Of Jazz To Come"  .
Atlantic 1317 Mono , high gloss, no seam splits , inner sleeve, all as pictured.
Highly desirable mono pressing which was inducted into the Library of Congress "National Recording Registry" in 2012.  Additional pictures available.
*We are selling a good quantity of vintage vinyl Jazz LP's from a notable collection and will be listing more , please check back or send any requests...  We will always combine shipping for savings.
 Thank you very much for considering and please email any questions.  Enjoy!
“The Shape of Jazz to Come,” Ornette Coleman (1959)
On his debut album for Atlantic Records, Ornette Coleman pushed the boundaries of jazz even further into the unknown than he had on his earlier efforts for Contemporary Records. Critic Ralph J. Gleason observed that “the musical and critical world [was] split neatly in two” by Coleman’s willingness to abandon bebop’s harmonic structure and timing when his music required it. What Coleman never abandoned was the centrality of improvisation to jazz. In this effort he is ably assisted by Don Cherry on cornet, Charlie Haden on bass and Billy Higgins on drums—all musicians with whom he had played intermittently for several years. Cherry and Coleman achieve a close interaction on several tracks, particularly in their speedy unison playing at the beginning of “Eventually” and “Congeniality.” Haden not only accompanies the other musicians, but also stretches the melodic potential of his instrument, particularly in his solo on “Focus on Sanity.” For all the record’s iconoclasm, it swings and even Coleman’s more outrageous timbral experimentation can be understood as rooted in the expressiveness of the blues.


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