Ornette Coleman Shape Of Jazz To Come Atlantic Stereo SEALED

Greetings Everyone…..We are returning from a long hiatus from record purveying and will be listing thousands of truly wonderful records  from a number of high profile New York City Estate Collections--FEEL FREE TO BOOKMARK US AS THIS WILL BE  A MOMENTOUS RUN OF AUCTIONS… -these are among the finest copies one will ever encounter. The  first of these Collections will include:: The Larry Brill/Paulette Weiss Estate.  Paulette was Pop Music Editor with Stereo Review(60's-80's) , Larry Brill, legendary NYC Music/Art Industry Designer. PLEASE CHECK THEIR BRIEF BIO'S AT BOTTOM OF PAGE. 

The first of these auctions will include hundreds of sealed original  promos(including original master recordings)of jazz, pop, rock, latin,psych, blues, folk, oddball, celebrity, spoken word etc….a dazzling array of vinyl..PLEASE NOTE--Our item descriptions  and grading have always been and will remain accurate to the tee as customer satisfaction is our top priority..we will also be offering a  volume discount plan which will make it even more fun to be a part of these events as they unfold.. ..we look forward to reconnecting with all our old friends and  satisfied customers thru-out the world..Enjoy and Good Luck, Jim

PLEASE NOTE-SEALED ITEMS ARE RETURNABLE ONLY IF UNOPENED. 

Here is SEALED "Shape of Jazz To Come'" by Ornette Coleman on Atlantic 1317..This appears to be an early stereo version of this session..Indicators include stiff less flexable vinyl….the rear panel address and heavy cardboard…what can we say about Ornette?…who was one of Coltane's key contemporary inspirations…moving past chords into the harmolodic is either an aurally enriching experience or downright chaotic…we'll vote for the former…pure genius..

Rarely does a musician emerge who dramatically changes the way we listen to music, but such a man is Ornette Coleman. Ever since the late 1950's when he burst on the New York scene, his artistic vision has helped to expand contemporary musical boundries. Most people think of Ornette Coleman as the revolutionary saxophonist who created "free jazz", but in truth, his music and his approach to making music have always defied simple categorization.

Born in Fort Worth, Texas in 1930, Ornette Coleman bought his first saxophone at the age of 14. Having taught himself how to play the instrument, he performed with various rhythm and blues bands and by the time he was nineteen he left Fort Worth to hook up with Silas Green's traveling minstrel show. It was not until Coleman joined Pee Wee Crayton's band that he was able to make it out of the honky-tonks and blues bars of the South. Apparently, even then, the young saxophonist style was controversial, and rumor has it that by the time the band reached Los Angeles, Crayton was paying Coleman not to solo. Bebop ruled jazz in the 1950's and initially while in Los Angeles, Coleman, like everybody else, playing bebop at jam sessions. "I could play and sound like Charlie Parker note-for-note, but I was only playing it from method. So I tried to figure out where to go from there," Coleman said.

As he started exploring musical possibilities of extending and fusing elements of honky-tonk, blues, funk, and bebop, Coleman created personal musical vocabulary free from the prevailing conventions of harmonic, rhythmic, and melodic structures. Coleman's musical style so alienated him from the jazz community that musicians literally walked off stage whenever Coleman showed up to play. In retrospect, Coleman's innovations, later to be known as "harmolodics", not only helped to revitalize jazz by pointing a new direction away from the rigid role of harmony in bebop, but also established his place in a select group of major 20th Century American composers, such as Charlie Parker, Harry Partch, Charles Ives and John Cage.

In Los Angeles during the early 50's Coleman had to support himself with menial jobs. However, he was fortunate enough to find a core of talented musicians, trumpeters Don Cherry and Bobby Bradford, drummers Ed Blackwell and Billy Higgins, and bassist Charlie Haden, who embraced his musical concepts. Although the musicians rarely found opportunities to perform the music, they spent a great deal of time improvising and rehearsing.

Things changed dramatically for Coleman in 1958 with the release his debut album, Something Else, and while he could still be scorned, he could not be ignored. One year later a second album, Tomorrow is the Question, was released and the original quartet was firmly established: Coleman on alto sax, Don Cherry on trumpet, Billy Higgins on drums, and Charlie Haden on bass.

In November of 1959, the quartet made its legendary New York debut at the Five Spot in Greenwich Village. The music was unlike anything ever heard before. Since neither bassist or drummer functioned in a conventionally rhythmic sense and with the absence of a pianist providing chordal harmonies, the band members were given tremendous room in which to improvise and to interact. The music, termed "free jazz", upset many musicians and deeply polarized the jazz community. But the well publicized musical feuds, (Coleman was actually physically abused by an extremely irate, but notable, musician), caught the attention of the New York intelligencia and the initial two week engagement turned into six months. On one side of the controversy, leading jazz musicians were openly hostile, calling him a charlatan, and on the other side, people like composer- conductor Leonard Bernstein, composer Virgil Thompson and numerous writers and painters were heralding the artistic impact of his arrival. 

By 1960, the quartet recorded two more albums, Free Jazz and The Shape of Jazz to Come, but by the mid 1960's, Atlantic Records decided to severe its contract with Coleman and he withdrew from the public eye. During this period, aside from teaching himself to play the trumpet and the violin, Coleman turned his attention to composing in different musical forms. He wrote several string quartets, woodwind quintets and symphonic works, and like George Gershwin, Duke Ellington and Charles Mingus, Ornette Coleman helped to break down the bountries between "modern jazz" and "serious concert" music. 

Larry/Paulette Bios

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Larry Brill is a jazz aficionado and a madman collector who has researched and purchased thousands of vinyl discs over several decades. His love of jazz began at Far Rockaway High School, where he was influenced by his English teacher, Harry Colomby, who led a double life, molding teenage minds by day and managing the great Thelonious Monk by night. With Colomby as mentor, Brill frequented the legendary Five Spot, soaking up the sounds of Monk, Coltrane, Rollins, Griffin, Young, Kirk and Coleman. His own artwork graced the club's walls (Brill is now a successful graphic designer and president of his own design firm, B&W Creative Group.) Later. his jazz haunts included the Jazz Gallery, the Vanguard, and the Half Note, where he became acquainted with Tristano, Konitz and Marsh. Today Brill concentrates on his massive art collection, and is featured in a new book, "The Art of Collecting" by Diane McJanus Jensen, along with fellow collectors David Rockefeller and Alan Dershowitz. He is married to Paulette Weiss, and their combined collections total 25,000 discs. He parts with his vinyl with great reluctance, and hopes that all those jazz instrumentals, vocals, soundtracks, celebrity discs and rarities wind up with collectors who love them as he did.

Paulette Weiss was Popular Music Editor of Stereo Review magazine and a Certified Audio Consultant for over a decade. She is still in possession of the Dynaco receiver she built from a kit when she was just a pup. For many years, Weiss provided an annual analysis of the year's events in popular music and audio technology for the Encyclopedia Americana and was a contributing editor with Audio magazine. She survived the disco era by chronicling the club scene and its music for the New York Post. Weiss witnessed the birth of cassettes, MTV, video discs and the CD. Over two decades, thousands of vinyl LPs crossed her desk. Along with current albums for review came rare promotional discs and posters, picture discs, original master recordings and many recordings never made available to the general public. Genres include rock, pop, jazz, and spoken word. With her passionate love of the music and hoarder's nature, she collected thousands of these. Many are unplayed and still in their original shrink wrap, others gently spun and lovingly preserved. She is married to Larry Brill, and their combined collections total 25,000 discs.

SCondition Notes:

Records are generally graded on visual inspection.
SEALED record, never played.
NM: Near Mint. An unsealed record that looks as good as new.
VG++: Excellent. Light cosmetic flaws that should not affect the sound.
VG+: May have cosmetic flaws, mild surface noise or short patches of ticking, but should sound fine overall.
VG: May have moderate noise throughout or one or two bad patches from scratches. Still fine for general listening.
Good: Noisy, but plays through. I will only sell very rare or unusual items in this condition.

Please contact me for a refund if a record plays worse than described.HIPPING RATES

Domestic Media-4.50

Domestic Priority-8.00

International-15.00

Shipping :
We are happy to ship international as well as domestic. Shipping discounts are available. The first album is at the standard flat rate to your zip code or country and then 1.00 for each additional domestic purchase and $2.00 for each additional international purchase.

DISCOUNTS

200.00--300.00-5%

300.00--500.00-8%

500.00+  -10%