AAA 100% Analogue This LP was Remastered using Pure Analogue Components Only from the Master Tapes through to the Cutting Head

ORG Music - ORGM-1081 - 180 Gram Virgin Vinyl 

AAA 100% Analogue - 45RPM - Two Disc - Atlantic 1317

Mastered By Bernie Grundman from the Original Master Tapes

Limited Edition - Pressed at Pallas Germany

100 Recommended All-Analog LP Reissues Worth Owning - Michael Fremer  Analogplanet.

Stereophile Magazine Record to Die For! 

1959’s landscape-shifting The Shape of Jazz to Come is true to its title. Switching from tenor to alto sax, Ornette Colemancreates free jazz, a language where chords structures are absent and harmony gives way to improvisational whims. 

Ranked by Rolling Stone in the top 250 of its 500 Greatest Albums of All Time, the Atlantic set finds Coleman collaborating with Don Cherry, Charlie Haden, and Billy Higgins in making a masterful work free of any identifiable chord structures. Nonetheless, melodies remain, as do engrossing repetitions of main themes.

ORG  brings the breakthrough arrangements and magnificent colors to life in a way no one’s experienced since the LP was recorded. 

Mastered from the original analog tapes by Bernie Grundman, this life-changing music has never sounded so alive and dynamic. 

This is a must.

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.

Coleman caused a stir in the late 1950s when he began to play what has come to be known as free jazz Hoping to free himself of the restrictions of chord progressions and song structures, he simply played melodies and gestures. Recorded in 1959, The Shape of Jazz to Come is a rather conservative experiment with such concepts, and the average listener may not notice much is different, but Ornette and a multitude of musicians since have used the idea of "free" playing as a springboard into a vast musical realm.

Ornette Coleman The Shape of Jazz to Come

1. Lonely Woman
2. Eventually
3. Peace
4. Focus on Sanity
5. Congeniality
6. Chronology