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'!2G00BJ-Hbgage! Mentalists Just Love the Frenetic “Cry” and the Intentionally “Imprecise” Interplay

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'!2G00BJ-Hbgage! Mentalists Just Love the Frenetic “Cry” and the Intentionally “Imprecise” Interplay The Shape Of Jazz To Come Atlantic SD 1317 Ornette Coleman personnel Ornette Coleman (as); Don Cherry (crt); Charlie Haden (b); Billy Higgins (dr) tracks Lonely Woman; Eventually; Peace; Focus On Sanity; Congeniality; C h r o n o l o g y It was John Lewis, pianist of the Modern Jazz Quartet, who brought Ornette Coleman to the renowned Atlantic label, having heard him play in Los Angeles. »Ornette Cole- man is doing the only really new thing in jazz …« he reportedly said. The present initial catalogue # Atlantic album was released just in time to coincide with the New York debut of the 1317 Coleman Quartet in November 1959. Lewis was sure that Coleman would open up new paths for jazz, and his opinion is reflected in the title of the album – The Shape Of Jazz set contents 1 LP / standard sleeve To Come. After the rather worn-out hard bop routine of the past years, this music was like a breath of fresh air. The fast numbers (Eventuality, Chronology) remind one of pricecode wildly hyped-up bebop. Other numbers (Congeniality, Focus On Sanity) juggle with SC01 catchy, almost folk like short motifs. This album contains two of Coleman’s most release date beautiful compositions: Peace and Lonely Woman, which was later given lyrics and April 2021 often heard in its vocal version. The Mulligan-Baker Quartet provided the model for barcode the pianoless quartet – and when the band swings along once in a while with a mod- erato tempo, it is truly reminiscent of cool jazz. Be that as it may, the two wind instru- '!2G00BJ-hbgage! mentalists just love the frenetic “cry” and the intentionally “imprecise” interplay. Clearly defined stanzas or traditional harmonic forms were not for them. The jazz mu- original recording sicologist Peter N. Wilson wrote: »A record, which is not unjustifiably so entitled« May 1959 at Radio Recorders, about this LP which was given 5 stars by the magazine Rolling Stone. Hollywood, CA, by Bones Howe original production Nesuhi Ertegun Es war John Lewis, der Pianist vom Modern Jazz Quartet, der Ornette Coleman an das ratings (max. 5 stars) renommierte Label Atlantic vermittelte. »Ornette Coleman ist der Einzige, der etwas AllMusic: 5 Discogs: 4,49 Rolling Stone: 5 Neues im Jazz macht«, schrieb er damals. Rechtzeitig zum New Yorker Debüt des Co- leman-Quartetts im November 1959 erschien dieses erste Atlantic-Album. Dass Cole- man »der Zukunft des Jazz neue Wege eröffne« (so Lewis), behauptet auch der Album- titel, zu Deutsch: “Der Umriss des kommenden Jazz“. Nach der etwas müde geworde- nen Hardbop-Routine der vorangegangenen Jahre blies diese Musik wie ein kräftiger Windstoß über die Szene. Die schnellen Stücke (Eventuality, Chronology) lassen an einen wild überdrehten Bebop denken. Andere Themen (Congeniality, Focus On Sani- ty) jonglieren mit eingängigen, fast folklorehaften Kurzmotiven. Mit Peace und Lonely Woman, das später auch betextet und vielfach gesungen wurde, enthält das Album zwei von Colemans schönsten Kompositionen. Vorbild für die Quartettbesetzung ohne Klavier war das Mulligan-Baker-Quartett – und wenn die Band einmal im Midtempo dahinswingt, erinnert sie wirklich an Cool Jazz. Allerdings lieben die beiden Bläser den ungebändigten “Cry“ und das bewusst “ungenaue“ Zusammenspiel. Klar definierte Strophenformen oder Harmoniefolgen brauchen sie nicht. »Eine Platte, die ihren großmäuligen Titel nicht zu Unrecht trägt«, schrieb der Jazzforscher Peter N. Wilson über diese vom Rolling Stone mit 5 Sternen bewertete Platte. WWW.SPEAKERSCORNERRECORDS.COM | [email protected].
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