Categories:
Cart 0

Your cart is empty

Ornette Coleman - The Shape of Jazz To Come (Mono)

Mes favoris

Cet élément a bien été ajouté / retiré de vos favoris.

The Shape of Jazz To Come (Mono)

Ornette Coleman

Available in
logo Hi-Res
24-Bit 96.0 kHz - Stereo

Unlimited Streaming

Listen to this album in high quality now on our apps

Start my trial period and start listening to this album

Enjoy this album on Qobuz apps with your subscription

Subscribe

Enjoy this album on Qobuz apps with your subscription

Digital Download

Select Audio Quality

To be elegible for this price, subscribe to Sublime+

This album belongs to a time when jazz record executives slapped broad boasts and proclamations onto their products. These usually celebrated the prowess of the artist (Sonny Rollins' Saxophone Colossus) or the potency of the sounds (the Count Basie Orchestra's Atomic Basie). The Shape of Jazz To Come takes that hype up a notch, promoting alto saxophonist Ornette Coleman as no less than the future of the art.

As prophecy goes, the title is spot on. This record introduced Coleman's daring approach to harmony (which he called "harmelodics"), and showed how it stretched common wisdom about consonance and dissonance, structure and openness, hard swing and tempoless contemplation. Coleman and his three agile musicians—trumpeter Don Cherry, bassist Charlie Haden, drummer Billy Higgins; note the absence of a harmony instrument like piano or guitar—engage in a series of squabbling conversations loosely shaped (and occasionally punctuated) by recurring melodic fragments. The ad-libbed motifs dart around corners rapidly; sometimes they bloom and then disappear immediately, sometimes they hang around and mutate as they're volleyed between instrumentalists.

The most famous of these is "Lonely Woman," a sullen Coleman original that's easily his most ubiquitous tune. Following a deliberative bass opening from Haden, Coleman renders it as a study in hanging questions and unresolved mysteries. Other tunes, including "Focus On Sanity" (Coleman's choice for the album title), summon the frenetic energy and taunting fury that soon came to be associated with free jazz. Indeed, it contains maps to the terrain of the future: Historians generally mark this work, which was enshrined in the Library of Congress' National Recording Registry in 2012, as the foundation of the entire jazz avant garde movement. And though the music quickly sprouted more strident modes of expression, this album's forward-hurtling spirit still delivers on the claim of the title. © Tom Moon/Qobuz

More info

The Shape of Jazz To Come (Mono)

Ornette Coleman

launch qobuz app I already downloaded Qobuz for Windows / MacOS Open

download qobuz app I have not downloaded Qobuz for Windows / MacOS yet Download the Qobuz app

Copy the following link to share it

You are currently listening to samples.

Listen to over 60 million songs with an unlimited streaming plan.

Listen to this album and more than 60 million songs with your unlimited streaming plans.

1
Lonely Woman
00:05:01

Nesuhi Ertegun, Producer - Billy Higgins, Drums - Ornette Coleman, Composer, Alto Saxophone, MainArtist - Charlie Haden, Double Bass - Don Cherry, Cornet

1959 Atlantic Records 1959 Atlantic Records

2
Eventually
00:04:22

Nesuhi Ertegun, Producer - Billy Higgins, Drums - Ornette Coleman, Composer, Alto Saxophone, MainArtist - Charlie Haden, Double Bass - Don Cherry, Cornet

1959 Atlantic Records 1959 Atlantic Records

3
Peace
00:09:02

Nesuhi Ertegun, Producer - Billy Higgins, Drums - Ornette Coleman, Composer, Alto Saxophone, MainArtist - Charlie Haden, Double Bass - Don Cherry, Cornet

1959 Atlantic Records 1959 Atlantic Records

4
Focus on Sanity
00:06:52

Nesuhi Ertegun, Producer - Billy Higgins, Drums - Ornette Coleman, Composer, Alto Saxophone, MainArtist - Charlie Haden, Double Bass - Don Cherry, Cornet

1959 Atlantic Records 1959 Atlantic Records

5
Congeniality
00:06:47

Nesuhi Ertegun, Producer - Billy Higgins, Drums - Ornette Coleman, Composer, Alto Saxophone, MainArtist - Charlie Haden, Double Bass - Don Cherry, Cornet

1959 Atlantic Records 1959 Atlantic Records

6
Chronology
00:06:04

Nesuhi Ertegun, Producer - Billy Higgins, Drums - Ornette Coleman, Composer, Alto Saxophone, Vocals, MainArtist - Charlie Haden, Double Bass - Don Cherry, Cornet

1959 Atlantic Records 1959 Atlantic Records

Album Description

This album belongs to a time when jazz record executives slapped broad boasts and proclamations onto their products. These usually celebrated the prowess of the artist (Sonny Rollins' Saxophone Colossus) or the potency of the sounds (the Count Basie Orchestra's Atomic Basie). The Shape of Jazz To Come takes that hype up a notch, promoting alto saxophonist Ornette Coleman as no less than the future of the art.

As prophecy goes, the title is spot on. This record introduced Coleman's daring approach to harmony (which he called "harmelodics"), and showed how it stretched common wisdom about consonance and dissonance, structure and openness, hard swing and tempoless contemplation. Coleman and his three agile musicians—trumpeter Don Cherry, bassist Charlie Haden, drummer Billy Higgins; note the absence of a harmony instrument like piano or guitar—engage in a series of squabbling conversations loosely shaped (and occasionally punctuated) by recurring melodic fragments. The ad-libbed motifs dart around corners rapidly; sometimes they bloom and then disappear immediately, sometimes they hang around and mutate as they're volleyed between instrumentalists.

The most famous of these is "Lonely Woman," a sullen Coleman original that's easily his most ubiquitous tune. Following a deliberative bass opening from Haden, Coleman renders it as a study in hanging questions and unresolved mysteries. Other tunes, including "Focus On Sanity" (Coleman's choice for the album title), summon the frenetic energy and taunting fury that soon came to be associated with free jazz. Indeed, it contains maps to the terrain of the future: Historians generally mark this work, which was enshrined in the Library of Congress' National Recording Registry in 2012, as the foundation of the entire jazz avant garde movement. And though the music quickly sprouted more strident modes of expression, this album's forward-hurtling spirit still delivers on the claim of the title. © Tom Moon/Qobuz

About the album

Distinctions:

Improve this page

Qobuz logo Why buy on Qobuz...

On sale now...
More on Qobuz
By Ornette Coleman

Playlists

You may also like...
In your panoramas...
Keith Jarrett’s American Quartet

At the start of his busy career Keith Jarrett spent seven years carrying out all manner of crazy experiments with his American Quartet. Between the years of 1971 and 1976, the pianist, alongside Charlie Haden, Paul Motian and Dewey Redman ran some kind of mad laboratory in which the genres of hard bop, free-jazz, world and avant-garde would all come together. A spontaneous and interesting time worth rediscovering.

Miles Davis, Fingers in The Plug Socket

In 1968, Miles Davis succumbed to the charm of the electricity fairy. Bewitched by the psychedelic and funky revolutions of Jimi Hendrix and Sly Stone, the trumpet player made a radical change and, in passing, changed jazz too.

Chris Connor, a Forgotten Voice

What if she really was the greatest cool jazz singer of them all? Almost a decade after she passed away, Chris Connor remains one of the most sensual voices of her generation. After all, there's more to life than Anita O'Day and June Christy...

In the news...