The Shape of Jazz to Come is the third album by jazz musician Ornette Coleman. Released on Atlantic Records in 1959, it was his debut on the label and his first album featuring the working quartet including himself, trumpeter Don Cherry, bassist Charlie Haden, and drummer Billy Higgins. The recording session for the album took place on May 22, 1959, at Radio Recorders in Hollywood, California. Although Coleman initially wished for the album to be titled Focus on Sanity after the LP's fourth track, Atlantic producer Nesuhi Ertegun suggested the final title, feeling that it would give consumers "an idea about the uniqueness of the LP."
In 2012, the Library of Congress added the album to the National Recording Registry. The album was included in the Rolling Stone list of the 500 greatest albums of all time. AllMusic called it one of the 20 essential free jazz albums. The album was inducted into the Grammy Hall of Fame in 2015.
Background
From 1948 to 1958, Coleman moved between New Orleans, Fort Worth, and Los Angeles, working various jobs and developing his own unique sound that was often met with hostility. His unique approach to jazz initially made it difficult to make ends meet by playing music. While employed as an elevator operator in Los Angeles, he studied music theory and harmony and developed an idiosyncratic take on country blues and folk forms.
Coleman's big break came in Los Angeles when he caught the attention of bassist Percy Heath and pianist John Lewis of the Modern Jazz Quartet. Lewis encouraged Coleman and his trumpeter Don Cherry to attend the Lenox School of Jazz (a seminal summer jazz education program) in Massachusetts in 1959, at which Lewis was the director. Lewis also secured Coleman a deal with Atlantic Records, who paid his tuition at the Lenox School of Jazz. Though both Coleman and Cherry were already rather accomplished by this point in their careers, Lewis wanted to use their attendance at the Lenox School of Jazz to generate buzz amongst jazz circles. Their presence at the school was not without friction amongst students and faculty alike, but in the end, their attending the school accomplished what Lewis hoped to achieve. After his stint at the Lenox School of Jazz, Coleman was booked by Lewis to play at the 1959 Monterey Jazz Festival in California.
These were all pivotal events in Coleman's career, who in June 1959 suggested to Nesuhi Ertegun, who handled Atlantic's jazz recordings, that he was considering abandoning music in order to study religion. Ertegun, confident of Coleman's potential, urged him to reconsider.
Content
Coleman's quartet, like Gerry Mulligan's, was unusual in that it did not employ a chordal instrument such as a piano or guitar. Each composition contains a brief thematic statement, then several minutes of free improvisation, followed by a repetition of the main theme. While this resembles the conventional head-solo-head structure of bebop, it abandons the use of chord structures. The Shape of Jazz to Come found Coleman and his quartet elaborating on the sound and themes he had been developing throughout his career.
One prominent feature of Coleman's signature sound was that he played a plastic Grafton saxophone, which some feel contributed to the harshness of his timbre. He coined the term "harmolodic", a combination of harmony, movement, and melody, to describe his philosophy of improvisation which heavily emphasized melody rather than harmony. It was early in his career, in an attempt to further emphasize focus on melody over harmony, that he stopped including a piano as a part of his ensembles.
Coleman continues with this tradition on The Shape of Jazz to Come, dispensing with harmonic accompaniment and focusing solely on improvised melodies and variations on themes and motifs. Coleman had a unique approach to pitch as well. His use of microtonal intervals was central to his sound, and he even went as far as to suggest that the same pitch should sound different when played in different contexts, stating that "jazz is the only music in which the same note can be played night after night, but differently each time". The album was a breakthrough and helped to establish the free jazz movement. Later avant-garde jazz was often very different from this, but the work helped to lay the foundation upon which much subsequent avant-garde and free jazz would be built.
"Lonely Woman"