Ornette Coleman
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You are currently reading a thread in /mu/ - Music
You are currently reading a thread in /mu/ - Music
'The Shape of Jazz to come' is one of my most enjoyed recordings, but did Ornette live up to the album's title?
Working through this collection his delivery gets very similar. The patterns of notes becomes repetitive.
He'll usually introduce a run with two short notes bap - bap - go on a meander, ba ba ba baa bap baa
maybe end with an inquisitive tone. baaaaAAAAaa
I don't mean to be down on him for his style, but it is definitely there.
>>61594896
>>61594797
Bump
Yeah pretty much. Big one for avant and free jazz. Doesn't sound like most avant and free jazz, but their beginnings come from the way the members are formatted on TSoJtC and Ornette's approach towards what should be played. So I guess one can put it that this album helped out avant and free jazz a lot from an idealistic standpoint. No harmonic stuff, just straight up improvised melodies one after the other.
>>61594896
This is not him at all on Free Jazz though maybe you haven't reached there yet. The key with listening to Ornette is that there's a particular belief by him behind repetition: "jazz is the only music in which the same note can be played night after night, but differently each time". Same stuff, different context thus not really same stuff that's what he means. His own little way of fucking around with microtonal music I guess.
it was certainly an influential album in the avant-garde jazz that emerged in the 60's so I think it was aptly titled even though jazz would evolve in other directions in the 60's and 70's as well
>>61596754
>This is not him at all on Free Jazz
I'll have to go back to Free Jazz but, on This is our Music and Change of the Century I think there's definitely an 'Ornette' sound, as I say a way of delivery.
Free Jazz was interesting but 'This is our Music' and 'Change of the Century' I don't think hit the high of The Shape,
Was Jazz dead by the 70s?
>>61596892
one of my ideas on the history of jazz is that one arc of jazz relating to the pursuance of freedom of black america ends in the 70's with black jazz musicians not only attaining freedom in music, but also independence in publishing the music with musician run indie labels like Strata-East after major labels mostly abandon jazz for more financially lucrative rock and performance with stuff like the loft scene in New York that let musicians control how the music is presented and performed instead of club owners
this complete freedom the musicians have found is financially impossible to sustain and this arc of jazz dies by the late 70's as a living culture with it's memory being kept alive in institutions with the story of african-american music moving on to disco, r&b and hip-hop and creative improvised music emerging in new forms and fusions
>>61597016
you wasted your time on your theory since jazz is certainly not dead at all by any means and you're just too lazy/plebby to find the good stuff
I enjoyed Ayler's Spiritual Unity more than I did The Shape of Jazz to Come.
Does this mean I'm a pleb?
>>61597184
I listen to a lot of contemporary jazz, I buy about a hundred new jazz releases every year, and improvised music that draws on the tradition of jazz is certainly alive - I'm just talking here about the first arc of jazz as the story of black musicians gaining freedom of expression.
I think there's something poetic about attaining the freedom and independence being the death of a movement.
>>61597258
I enjoyed it more too :\
>>61597184
He's right, music does seem to travel in waves of 8-10 years. My jazz teacher will swear (actually swear) he saw his fellow players all go out of business in the late 60s. Much like now we're seeing the death of the CD and the album.
(but you said pleb which sorta gives you away)
