Ornette Coleman stands alongside Thelonius Monk, Eric Dolphy, and Charles Mingus as a rare genius that helped to change the landscape of Jazz. This is best exemplified by his 1959 album The Shape of Jazz To Come. The album was one of the first to incorporate modal Jazz structures and straight improvisation. For this unique session, Ornette employed the talents of Don Cherry, Billy Higgins, and Charlie Haden. The result was astounding, and instrumental in launching the avant garde Jazz scene, making The Shape of Jazz To Come perhaps the most appropriately titled record of all time. The album's vast influence can be seen and heard in everything from the work of John Zorn to the title of a certain esteemed album from a certain overrated Swedish hardcore band from the '90s.
17 comments:
Hearse-approved jazz always brightens up my day!
Top drawer post. Somehow, I knew this album would pop up here eventually.
Keep the jazz posts coming, so far loved everyone.
This Is A Record That Says It All In Its Title. One More Record Later And Ornette Changed The Way For Jazz Musicians...And, Oh, I'm So Glad This One Sees An Entry In This Great Blog. For A Moment I Thought You Wouldn't Show Your Extreme Jazz Tastes. I'm Glad I Was Wrong. Thanks For This Post And The Ones To Come!!!
just because it's overrated
doesn't mean it's bad
I agree Roger, overrated does not mean bad, but I find that particular album unlistenable.
I really must disagree with you on Refused here. Mostly on calling them hardcore, I guess (especially considering the hardcore posted here on a regular basis). IMHO, they've earned their marks in that huge gap between punk and 'hipster garbage'.
A fine one. We have similar taste in jazz.
groovy.
These posts are very timely with my reading of Mingus' autobio. Thanks again.
listened to him multiple times at my work today. neat.
my nominee for "most appropriately titled record of all time" is Raw Power, but I can see how this works, too.
Love both Refused and Ornette to death.
If I remember correctly, I believe the liner notes of a 90's reissue state that the horn Ornette is holding on the album cover, is some plastic molded piece of shit that he bought right before recording this entire session. Look close at the horn. Like, he bought a trashy horn just so he could proceed to rip the shit out of it all over the album. Anyone correct me if I'm wrong, but, wowzers...
Ornette is the best. Saw him in November in Austin, and he was fantastic, even at 80.
YES! This site really is a consciousness expanding public service.
It's Saturday morning,raining,drinkin some coffee,listening to Ornette's At the Golden Circle,diggin' through Cosmic's archives,scratching the surface of jazz. Thanks.
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