ORNETTE COLEMAN "Shape Of Jazz To Come" ATLANTIC '59 Stereo Orig. N-MINT GEM

$

169

DESCRIPTION:
A hugely influential recording, "The Shape Of Jazz To Come" by saxophonist Ornette Coleman helped to found the Free Jazz movement. Features Don Cherry on cornet, Charlie Haden on bass and Billy Higgins on drums. Cool front cover portrait by jazz photographer William Claxton and liner notes by Martin Williams. Original true stereo VERY FIRST pressing from 1959 in superb condition with original loose baggy. Has the rare original "bullseye" Atlantic labels used on stereo pressings for only a very short time. An incredible archival copy of this landmark avant-jazz LP!

COVER:
Mint with no ring wear, marks, tears, stains, writing, stickers, splits, bumps, flaking, warping, fading, discoloring or other defects of any kind. Looks absolutely NEW with perfect spine and seams, glossy laminated front, snow-white back and razor-sharp corners.

DISC:
Near Mint with no wear, dirt, scratches, scuffs, spots, fingerprints, warping or other defects of any kind. Plays perfectly flat and centered. Looks like NEW and sounds GREAT. Mirror-like surface in dead-wax and full gloss in the grooves. No more than one or two extremely faint inaudible marks on each side. Rich, dynamic sound with almost NO surface noise--amazing sound! Plays VERY QUIET for an early Atlantic release.

MATRIX INFO:
Side 1: "AVCO" "ST-A-59176" (all hand-etched)
Side 2: "AVCO" "ST-A-59175" (all hand-etched)

LABELS:
Near Mint with no wear, tears, writing, stickers, fingerprints or other defects of any kind. A few small and very faint spindle marks are barely visible on each side. DEEP GROOVE labels are bright, clean and new-looking.

INNER SLEEVE:
Newer poly-lined protective inner sleeve provided in addition to original plain paper sleeve.

OUTER BAG:
Excellent with only minor wear and crinkles. Very rare to find the original loose baggy still included (shrink wrap was not yet in use at the time.) This bag with original price sticker from Donaldson's department store in Minneapolis has kept the cover in absolutely new condition for 55 years!

REVIEWS:
"Ornette Coleman's Atlantic debut, The Shape of Jazz to Come, was a watershed event in the genesis of avant-garde jazz, profoundly steering its future course and throwing down a gauntlet that some still haven't come to grips with. The record shattered traditional concepts of harmony in jazz, getting rid of not only the piano player but the whole idea of concretely outlined chord changes. The pieces here follow almost no predetermined harmonic structure, which allows Coleman and partner Don Cherry an unprecedented freedom to take the melodies of their solo lines wherever they felt like going in the moment, regardless of what the piece's tonal center had seemed to be. Plus, this was the first time Coleman recorded with a rhythm section -- bassist Charlie Haden and drummer Billy Higgins-- that was loose and open-eared enough to follow his already controversial conception. Coleman's ideals of freedom in jazz made him a feared radical in some quarters; there was much carping about his music flying off in all directions, with little direct relation to the original theme statements. If only those critics could have known how far out things would get in just a few short years; in hindsight, it's hard to see just what the fuss was about, since this is an accessible, frequently swinging record. It's true that Coleman's piercing, wailing alto squeals and vocalized effects weren't much beholden to conventional technique, and that his themes often followed unpredictable courses, and that the group's improvisations were very free-associative. But at this point, Coleman's desire for freedom was directly related to his sense of melody -- which was free-flowing, yes, but still very melodic. Of the individual pieces, the haunting "Lonely Woman" is a stone-cold classic, and "Congeniality" and "Peace" aren't far behind. Any understanding of jazz's avant-garde should begin here." - All Music Guide

TERMS AND CONDITIONS:
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