What makes the Shape of Jazz to Come so great is that Coleman casts away the piano that was so commonly used to ground the pieces so that the melodic experiments of the horns become the focus. I still consider this record to be incredibly uncompromising today, I can't imagine how ****ing crazy it would've sounded in 59. To be fair even though I was already heavy into free jazz by the time I heard it, it didn't impress me on the first listen.
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Studies show that when a given norm is changed in the face of the unchanging, the remaining contradictions will parallel the truth.
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