The Shape of Jazz to Come (original) (raw)
简介 · · · · · ·
Of all the striking jazz innovations that coalesced in the year 1959, Ornette Coleman’s was the most radical. Miles Davis streamlined chord progressions and carved out room for melodic space on Kind of Blue. John Coltrane raised the bar on virtuosity with the relentless tempo and leaping key changes of Giant Steps. But Texas-born alto saxophonist Ornette Coleman eschewed conv... (展开全部) Of all the striking jazz innovations that coalesced in the year 1959, Ornette Coleman’s was the most radical. Miles Davis streamlined chord progressions and carved out room for melodic space on Kind of Blue. John Coltrane raised the bar on virtuosity with the relentless tempo and leaping key changes of Giant Steps. But Texas-born alto saxophonist Ornette Coleman eschewed conventional harmony and form altogether. And with The Shape of Jazz to Come, he began a stint with Atlantic Records that remains one of jazz’s grandest achievements. (The Atlantic years are compiled on Beauty Is a Rare Thing.) He also debuted one of the most expressive and atypical jazz quartets of all time, with Don Cherry on pocket trumpet, Charlie Haden on bass, and Billy Higgins on drums.
“Coleman and Cherry may relate to the emotion, the pitch, the rhythm, the melody of a theme, without relating to ‘chords’ or bar divisions,” wrote the late critic Martin Williams in his liner notes. The alert 4/4 meter and walking bass of modern mainstream jazz was still often present, but during solos there might be no form at all—just interplay and creative exchange in the moment, a modality that later came to be called “time, no changes.”
Framing these improvisations were Coleman’s inescapably singable melodies, from the captivating wail of the opening “Lonely Woman” to the quizzical calm of “Peace.” The melodies, or “heads” in jazz parlance, were usually voiced in unison: alto sax and trumpet, in the bebop manner. But the attack was rawer, the articulation more gestural and imperfect, the phrases wildly unpredictable (listen to the disorienting stop-start structures of “Focus on Sanity” and “Congeniality,” for instance).
Coleman’s music arguably sparked the “free jazz” movement (named after the title of his 1961 epic, also on Atlantic). Yet the sound, at its heart, always conveyed what Williams called “a deep and personal feeling for the blues which is unmistakable.” Indeed, in its blues flavor, even harking back to the field hollers and folklore at the root of black music, Coleman’s jazz might have been the most traditional of all. His profound impact on others, from Coltrane to Pat Metheny and countless players of today, is everywhere apparent. The Shape of Jazz to Come was a provocative title back in 1959, but Coleman more than made good on the claim.
曲目 · · · · · ·
- Lonely Woman
- Eventually
- Peace
- Focus On Sanity
- Congeniality
- Chronology
喜欢听"The Shape of Jazz to Come"的人也喜欢的唱片 · · · · · ·
有趣，尤其是第一首；但感覺聽不了太多遍
recorded May 22, 1959; released November 1959「Atlantic」
莫名其妙地感觉很对味，听得全身都舒坦了……几个月前听到free jazz还会抓狂来着。
Woc 没有听过的船新版本；Woc 好霸道
@2023-11-02 12:22:37
The Shape of Jazz to Come的乐评 · · · · · ·( 全部 2 条 )
MOMO 2008-03-07 18:31:49
The Shape of Jazz to Come
上一篇提到自由爵士派導師Ornette Coleman，雖然我個人沒有很喜歡他的作品，但是該買該聽的還是不能少！所以這篇就來簡短聊聊他的代表作"The Shape Of Jazz To Come"！ 話說柯曼先生一開始的時候音樂路途非常不順遂，他出身白人至上的德州，雖然從以前就很努力想要表現自己的才... (展开)
鸡鸭鱼肉鹅 2018-06-11 16:21:40
不够纯粹
终于还是和Ornette Coleman先生的 The Shape of Jazz to Come再次相逢了，这次是用心的聆听了，不够纯粹，就起音色和每个声音都是留在世俗的，独创性是有的，听听每首曲子，都是拥有独创性的，但是依旧是漂泊在尘世间，本人猜测也许正如专辑名字Shape所含义一样，整个乐队演奏... (展开)
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