dpGrv ORNETTE COLEMAN shape of jazz to come MONO '59 ex

$

50

a
fully play tested
lp

offered with no reserve!

~ ornette coleman ~
the shape of jazz to come

released in 1959 by the Atlantic label ~ release # 1317

this is the mono original deep groove pressing with
white labels that have multi-colored Atlantic bullseye (fan) logos
at the centers, and the cover has the 157 West 57th street,
New York 19 address

also comes with the original Atlantic printed inner-sleeve
which pictures many other period releases from this great label
including "The Clown" by Charles Mingus and Coltrane
as well as Art Blakey and others

excellent condition copy
of Ornette Coleman’s 1959 debut for
Atlantic Records


~ songs ~


LONELY WOMAN
EVENTUALLY
PEACE
FOCUS ON SANITY
CONGENIALITY
CHRONOLOGY


~ players ~


ORNETTE COLEMAN
DONALD CHERRY (don cherry)
CHARLIE HADEN
BILLY HIGGINS

recorded by Bones Howe and
features an excellent William Claxton
cover photo & cover design by
Marvin Israel


~ condition ~


the record is in excellent condition and has been fully play tested
and it sounds great with warm full tone and just mellow crackle here
and there but no skips ~ the vinyl is shiny and clean with only very
light wear & the labels are clean and wear-free although the label
on one side does have some light spotting to the background

the inner-sleeve has some wear around the edges but has
no writing or markings and is in overall nice shape

the cover is also in excellent shape with bold bright printing
and has no seam splits, writing or markings but does have a little
light soiling to the white background on the back cover

displays and plays nicely


~ matrix #'s ~


side one  :  11611    AT
side two  :  11612    AT

the above reference #'s are 'scrawled' into the dead wax


~ review ~


Ornette Coleman's Atlantic debut The Shape of Jazz to Come
was 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. The record shattered traditional concepts
of harmony in jazz, getting rid of not only the piano player but the
whole idea of concretely outlined chord changes. The pieces here follow
almost no predetermined harmonic structure, which allows Coleman
and partner Don Cherry an unprecedented freedom to take the melodies
of their solo lines wherever they felt like going in the moment, regardless
of what the piece's tonal center had seemed to be - plus, this was the
first time Coleman recorded with a rhythm section - bassist Charlie Haden
and drummer Billy Higgins - that was loose and open-eared enough to
follow his already controversial conception. Coleman's ideals of freedom in
jazz made him a feared radical in some quarters; there was much carping
about his music flying off in all directions, with little direct relation to
the original theme statements. If only those critics could have known how
far out things would get in just a few short years. In hindsight it's hard to see
just what the fuss was about, since this is an accessible, frequently swinging
record. It's true that Coleman's piercing, wailing alto squeals & vocalized
effects weren't much beholden to conventional technique, and that his themes
often followed unpredictable courses - and that the group's improvisations
were very free-associative - but at this point, Coleman's desire for freedom
was directly related to his sense of melody - which was free-flowing but
still very melodic. Of the individual pieces, the haunting "Lonely Woman"
is a stone-cold classic & "Congeniality" & "Peace" aren't far behind

any understanding of jazz's avant-garde should begin here


__
_____


~ terms ~


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