#417 of 500
· Rolling Stone
The Shape of Jazz to Come
Ornette Coleman
Year
1959
Genre
JazzLabel
Atlantic
Format
Vinyl LP
“Ornette Coleman at #417 with The Shape of Jazz to Come (1959). The back half of the RS500 is where the interesting debates live. This is jazz that doesn't just hold up — it still sounds essential. The Atlantic pressing belongs in any serious collection.”
Ornette Coleman (1930-2015) was a pioneering saxophonist and composer who fundamentally transformed jazz in the late 1950s and 1960s. Born in Fort Worth, Texas, Coleman developed an unconventional approach to improvisation that challenged bebop's harmonic structures. His albums "The Shape of Jazz to Come" (1959) and "Free Jazz" (1960) on Atlantic Records introduced listeners to his revolutionary concept of "harmolodics," allowing musicians greater freedom in harmonic movement. Throughout his career, Coleman led ensembles featuring bassist Charlie Haden and drummer Ed Blackwell, exploring everything from electric fusion to chamber music collaborations. His work earned him recognition as one of jazz's most influential and controversial figures, influencing generations of avant-garde and experimental musicians.
Style
Coleman's alto and tenor saxophone style is characterized by raw, vocally-inflected tones and unconventional phrasing that prioritizes melodic expression over strict harmonic adherence. His approach spans free jazz, fusion, and chamber music, marked by angular melodies, collective improvisation, and compositional innovation.
Significance
Ornette Coleman's records are essential holdings for serious jazz collectors, particularly his Atlantic Records catalog from the late 1950s-early 1960s. His albums represent a watershed moment in jazz history and remain highly sought-after on vinyl for their groundbreaking sound quality and historical importance to the development of free jazz and avant-garde music.
The Shape of Jazz to Come, released in 1959, represents Ornette Coleman's bold artistic statement that fundamentally challenged jazz conventions. Recorded over several sessions at the Los Angeles-based Contemporary Records label, the album features Coleman's acoustic alto saxophone alongside Don Cherry on pocket trumpet, Charlie Haden on bass, and Billy Higgins on drums. Coleman's revolutionary approach abandoned traditional chord structures and preset harmonic frameworks, instead emphasizing collective improvisation and melodic freedom. The relaxed, conversational interplay between instruments—particularly the dialogue between Coleman and Cherry—created an entirely new vocabulary for jazz discourse. Pieces like "Lonely Woman" and "Eventually" showcase Coleman's ability to generate emotional depth through harmonic abstraction, while his compositional clarity remained uncompromised by the absence of piano or guitar anchoring the harmonic foundation.
Historical Context
Released during a transformative period for jazz, The Shape of Jazz to Come arrived as bebop's conventions were being questioned by musicians seeking greater freedom. The late 1950s saw growing interest in modal and free jazz experimentation, yet Coleman's complete rejection of chord changes was genuinely radical for mainstream audiences and established critics. Initial reception was divided—some praised his visionary approach while conservative jazz establishment figures dismissed it as unmusical. However, the album became increasingly influential, effectively launching the free jazz movement and establishing Coleman as one of the most important jazz innovators of the twentieth century. By the early 1960s, his influence had reshaped contemporary jazz aesthetics.
Pressing Notes
The original Contemporary Records LP (C3551) featured a distinctive white label design and remains highly sought by collectors. Early pressings are prized for their superior audio quality and original gatefold artwork. The album has been reissued multiple times on vinyl by various labels including Original Jazz Classics and Craft Recordings. Collectors should note that different pressings may have varying sound characteristics; early stereo pressings on Contemporary are generally considered reference quality. Japanese pressings from the 1970s-80s are also valued by audiophiles. The album's cultural significance ensures consistent availability in quality reissues, making it accessible to new collectors while original pressings command premium prices.
Out to Lunch!
Eric Dolphy
Shares Ornette's free jazz approach with innovative instrumental interplay and unconventional harmonic exploration.
A Love Supreme
John Coltrane
Features spiritual, modal jazz with strong compositional vision and experimental harmonic structures similar to Ornette's boundary-pushing approach.
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