From there, I may look at the instrumentation and rhythmic structure, the mixing and production, the atmosphere and attitude, and maybe some of the cultural significance.Įach time I get a jazz album, it presents a great challenge. I often give most attention to the lyrics and chord progressions. Writing about them forces me to think further about what I’ve heard from a more technical standpoint. My main purpose is to broaden my horizons and improve my own songwriting, performance, recording and production. There is a noteworthy absence of piano or guitar.Įach week, I devote time to a different album widely considered to be one of the greatest albums of all time. Billy Higgins plays drums, Charlie Haden plays bass, Don Cherry plays a pocket trumpet, and Coleman plays a plastic saxophone. Coleman’s quartet take a major shift from convention by lacking any instruments capable of voicing chords. Free Jazz intentionally resists established conventions of jazz music, while further embracing the jazz’s improvisational aspects. The producer suggested the title “The Shape of Jazz to Come,” because of the innovative nature of the compositions and performances. This release receives credit for creating the genre of free-jazz. I’ve been listening to Ornette Coleman’s third album “The Shape of Jazz to Come” from 1959.
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