Votre compte Amazon Music n'est actuellement associé à aucun pays. Pour profiter de la musique Premium, allez sur votre Bibliothèque musicale et transférez votre compte à Amazon.fr (FR).
  
Acheter d'occasion
EUR 12,36
+ EUR 2,49 (livraison)
D'occasion: Très bon | Détails
Vendu par tousbouquins
État: D'occasion: Très bon
Commentaire: Expédié par avion depuis Londres; prévoir une livraison entre 8 à 10 jours ouvrables. Satisfait ou remboursé
Vous l'avez déjà ? Vendez sur Amazon
Egalement disponible en MP3
Album MP3 à EUR 5,94

The Shape Of Jazz To Come

4.8 étoiles sur 5 4 commentaires client

2 neufs à partir de EUR 21,66 3 d'occasion à partir de EUR 12,35

Vous cherchez un CD ou Vinyle ?

CD à petits prix et en promotion
Retrouvez nos promotions et CD à petits prix.

Offres spéciales et liens associés


Page Artiste Ornette Coleman


Détails sur le produit

  • CD (2 juillet 1998)
  • Nombre de disques: 1
  • Label: Rhino Record
  • ASIN : B000026GV5
  • Autres éditions : CD  |  Cassette  |  Album vinyle  |  Téléchargement MP3
  • Moyenne des commentaires client : 4.8 étoiles sur 5 4 commentaires client
  • Classement des meilleures ventes d'Amazon: 22.618 en Musique (Voir les 100 premiers en Musique)
  •  Voulez-vous mettre à jour des informations sur le produit, faire un commentaire sur des images ou nous signaler un prix inférieur?

  • Ecouter les extraits (Extrait)
1
30
5:01
Ecouter le titre Acheter : EUR 0,99
 
2
30
4:22
Ecouter le titre Acheter : EUR 0,99
 
3
30
9:02
Ecouter le titre Acheter : EUR 0,99
 
4
30
6:50
Ecouter le titre Acheter : EUR 0,99
 
5
30
6:47
Ecouter le titre Acheter : EUR 0,99
 
6
30
6:04
Ecouter le titre Acheter : EUR 0,99
 

Descriptions du produit

THE SHAPE OF JAZZ TO COME - DIGIPACK


Quels sont les autres articles que les clients achètent après avoir regardé cet article?

Commentaires en ligne

4.8 étoiles sur 5
5 étoiles
3
4 étoiles
1
3 étoiles
0
2 étoiles
0
1 étoiles
0
Voir les 4 commentaires client
Partagez votre opinion avec les autres clients

Meilleurs commentaires des clients

Format: CD
Ce disque est un chef d'oeuvre du Free Jazz.
C'est le premier disque que Ornette signe pour Atlantic et c'est sans doute la pièce maîtresse de son esthétique bien particulière.
Ornette invente l'improvisation harmolodique qui offre une grande liberté aux musiciens et donne à la mélodie une place importante.
La musique qui en résulte est loin d'être cérébral, elle exprime au contraire la jubilation et l'innocence.
On notera en outre la présence du jeune Don Cherry, splendide messager des conceptions d' Ornette.
Un disque indispensable pour tout jazz-fan.
Remarque sur ce commentaire 8 sur 9 ont trouvé cela utile. Avez-vous trouvé ce commentaire utile ? Oui Non Commentaire en cours d'envoi...
Merci pour votre commentaire.
Désolé, nous n'avons pas réussi à enregistrer votre vote. Veuillez réessayer
Signaler un abus
Par STEFAN COMMENTATEUR DU HALL D'HONNEURTOP 50 COMMENTATEURS le 12 mars 2015
Format: CD
Un saxophone en plastique (!), un trio de lieutenants aussi furieux que lui et, évidemment, un vorace appétit à révolutionner un idiome ancien, c'est The Shape of Jazz to Come d'Ornette Coleman, un album qui porte merveilleusement son titre parce que, franchement, s'il y a un album de jazz de cette fin des années cinquante qui chamboule tout, c'est bien celui-ci.
Il fallait bien un agitateur comme Coleman pour parvenir à ce haut fait, qui devait s'appeler Congeniality (comme la chanson) avant que le boss d'Atlantic, Ahmet Ertegun, ne le renomme ô combien à raison, pour confectionner ce jazz chaotique et barré, sans compromis on peut le dire, qui n'en finit pas de faire des petits, d'influencer de jeunes pousses (même dans le rock !). Evidemment, contrairement à quelques autres grands albums de l'an, on pense évidemment à la référence ultime, le Kind of Blue de Miles Davis, il faut un estomac bien accroché voire une éducation auditive poussée pour "comprendre" tout ce qui s'y passe mais, vraiment, une fois passé l'obligatoire délai d'adaptation à la folie furieuse du présent quatuor où chacun brille et fait briller son voisin (et quels voisins avec le fameux cornettiste, et trompettiste mais pas ici, Don Cherry, le contrebassiste Charlie Haden qui nous a récemment quitté, RIP, et le spectaculaire batteur qu'est Billy Higgins, le moins connu du lot et c'est injuste !), ce n'est que du bonheur, si un bonheur, ne le nions pas, un poil masochiste.
Lire la suite ›
Remarque sur ce commentaire 1 sur 1 ont trouvé cela utile. Avez-vous trouvé ce commentaire utile ? Oui Non Commentaire en cours d'envoi...
Merci pour votre commentaire.
Désolé, nous n'avons pas réussi à enregistrer votre vote. Veuillez réessayer
Signaler un abus
Format: CD
Sons dégoulinant de sueur créatrice, Haden joue de façon sublime sur "Peace". Don Cherry s'excite sur sa pocket trumpet et Ornette fait d'un saxo en plastique de merde un objet d'art et d'innovation, un instrument de pur feeling qui dégage des sensations remuées par le souffle de la liberté expressive. "Shape" est donc un album expressioniste, délirant, mais possédant une poésie intérieure très forte, dotée de sensibilité: car dans ces envolées de sons violentes et parfois dérangeantes se cache une douceur innée, un sens très humain du langage.

"The Shape of Jazz" est bien un album sur le langage, et peut-être le seul, avec peut-être quelques oeuvres de Mingus, à traiter ce sujet et à la faire ressortir. C'est une recherche: à la quête d'une nouvelle façon de prononcer les choses. Jamais un disque m'a autant parlé avec des sons.

Et j'avoue, je répèterai jusqu'à la mort que "Lonely Woman" est le plus beau morceau d'Ornette Coleman et la plus belle plainte amoureuse de l'histoire de la musique.
Remarque sur ce commentaire 10 sur 13 ont trouvé cela utile. Avez-vous trouvé ce commentaire utile ? Oui Non Commentaire en cours d'envoi...
Merci pour votre commentaire.
Désolé, nous n'avons pas réussi à enregistrer votre vote. Veuillez réessayer
Signaler un abus
Format: CD
Un disque violent, un disque émouvant, un disque sur la liberté. Liberté d'aimer, liberté de jouer, liberté d'improviser.

« Lonely Woman » est déchirante. Cette complainte amoureuse me fend le cœur, comme on dit dans le Sud. Elle transpire de sueur et de frissons ; Elle me perturbe profondément à chaque écoute. Un splendide titre, poignant et éternel. C'est ça le jazz, mon jazz...
1 commentaire 6 sur 8 ont trouvé cela utile. Avez-vous trouvé ce commentaire utile ? Oui Non Commentaire en cours d'envoi...
Merci pour votre commentaire.
Désolé, nous n'avons pas réussi à enregistrer votre vote. Veuillez réessayer
Signaler un abus

Commentaires client les plus utiles sur Amazon.com (beta)

Amazon.com: HASH(0xa21e2f8c) étoiles sur 5 64 commentaires
162 internautes sur 167 ont trouvé ce commentaire utile 
HASH(0xa2240dc8) étoiles sur 5 Still Shapely after all these years 19 janvier 2000
Par happydogpotatohead - Publié sur Amazon.com
Format: CD
A lot of people are unnecessarily afraid of Ornette Coleman because the words "free jazz" and "avante-garde" have been applied to his music. But his music is quite approachable. This album is a great place to start for people who are new to Ornette. This album caused a stir in 1959 when it was released, with jazz critics exploding in wrath. The reason for all this furor? Ornette chose not to use a chordal instrument on this music. No piano, no guitar. He and Don Cherry harmonize to imply chords, and occasionally Charlie Haden (bassist supreme!) supplies the occasional three or four note chordal riff, but mostly the music consists of melodies (and very melodic solos) played over an implied structure. Ornette's tone is sharp and lemony on the sax, while Don Cherry's cornet tone is sweeter and more rounded. They state themes and then toss melodies back and forth, while Haden and drummer Billy Higgins interject and support. The music on this album is like listening to four intelligent, funny people having a conversation. The musicians are obviously listening to each other and bouncing ideas off one another, which is exactly as it should be in jazz. The music is played with wit, soul, and emotion, and in spite of the skeleton crew instrumentation, the melodic and rhythmic ideas are of such quality that you can listen to this CD many times, and get something new out of it every time. How many records can you say that about? I wish more of the new jazz artists would base their creations on this kind of innovative, interesting music, instead of rehashing the same old swing and bop cliches as they tend to do. Ornette's "Shape of Jazz to Come" is still as relevant as ever. Listen especially closely to Charlie Haden's bass playing on this CD and note how far ahead of his time he was; there wouldn't be a more innovative jazz bassist until Jaco Pastorius came along twenty years later. This is indeed the shape of Jazz to Come; hopefully one day the rest of the music world will catch up, because I guarantee you the world will be a better place when they do.
31 internautes sur 31 ont trouvé ce commentaire utile 
HASH(0xa22521bc) étoiles sur 5 Remastered Shape 8 août 2006
Par David Conklin - Publié sur Amazon.com
Format: CD Achat vérifié
I highly recommend shelling out a few more bucks for this remastered version (Atlantic Masters, 2005)--the sound is greatly improved (higher resolution, more "information") compared to the original CD version. Sounds more like you're listening to four great musicians instead of a recording of 'em. This is a classic and beautiful album that was revolutionary at its time, and is still very appealing today. Incidentally, I noticed it's one of only a handful of Jazz albums that appears on the Rolling Stone Top 500 albums of all time list.

This is an excellent product, and should be distinguished from the original CD version.
23 internautes sur 24 ont trouvé ce commentaire utile 
HASH(0xa224d69c) étoiles sur 5 Title of this album is no mere boast. 24 janvier 2004
Par Shotgun Method - Publié sur Amazon.com
Format: CD
Ornette Coleman is a name frequently associated with the very challenging world of avante-garde jazz. But The Shape Of Jazz To Come, while certainly revolutionary and groundbreaking, is not difficult music at all to listen to. Later records such as 1960's Free Jazz would fit that bill, but this is a splendidly accessible post-bop jazz album. Even people who hate Coleman's later work and the whole concept of free jazz (I'm sort of mixed on the idea myself) will probably love this.

The main breakthrough of this album is the idea of implied chords. Rather than placing a conventional chord under each note, Coleman chooses instead to only imply the existence of the chord and in so doing leaves open many different possible melodies to improvise with. While this could seemingly invite chaotic dissonance within the framework of a quartet, the band plays with fluidity throughout. Every track is full of easy melodies, which is not something you could say for a lot of Coleman's other albums.

Of course, when you have a band this talented (Don Cherry on trumpet, Charlie Haden on bass, Billy Higgins on drums) it shouldn't come as too much of a surprise. Each player is among the cream of the crop on their respective instruments, and Ornette himself is no slouch either. Every track is a stone-cold classic--the elegant opener Lonely Woman, hard bop numbers like Eventually, Focus On Sanity, and Congeniality, the graceful ballad Peace, and the solid closer Chronology.

Along with other landmark jazz albums released in 1959 (Giant Steps, Kind Of Blue, Time Out etc.) this is vital to the casual listener's collection and the one Coleman disc I'd reccommend to even a novice jazzer. At the same time, if you are a fan of later Coltrane, Sun Ra, Dolphy etc. this is where it all started, so dig in and enjoy.
14 internautes sur 14 ont trouvé ce commentaire utile 
HASH(0xa224d390) étoiles sur 5 10 Most Dangerous Albums of All Time (Entry Four) 21 août 2008
Par Dr. Geek - Publié sur Amazon.com
Format: CD
1959 is to jazz what 1977 is to punk rock: glorious. John Coltrane's Giant Steps. Miles Davis recording Kind of Blue. Charles Mingus and his eponymous Mingus Ah Um. And my personal favorite, Time Out by the Dave Brubeck Quartet. 1959 also introduced one man whose debut album shook the foundations of jazz and introduced a shift in jazz music that is still felt today.

The young man with the plastic horn. Unprecedented.

Ornette Coleman's The Shape of Jazz to Come

Jazz had not seen anything like it. It would be safe to assume that no one thought anything of this caliber would be possible. With its apparent lack of chords, its atonality, and its complete disregard for traditional jazz conventions, Ornette Coleman's debut album angered many. It was easily dismissed as junk, noise, garbage. This isn't music, many said. For them, this wasn't jazz.

But it was. And is.

The Shape of Jazz to Come is prophetic in its title. This album would immensely influence John Coltrane, Eric Dolphy and countless other musicians, both within and outside of jazz. And its verberations can still be felt in jazz. John Zorn has taken much from Coleman. Pat Methany has worked alongside Coleman.

With this debut, Coleman paved the way not just for avant-garde jazz, but for free jazz as well. Such a possibility must have been unforeseeable in 1959. The Shape of Jazz to Come established a path for those seeking a new take on jazz to follow. In this way, the album served as an exodus, the music contained within serving as aural guideposts to jazz's new land.

There is a story that details how Ornette Coleman performed a show in front of a crowd to whom he was a relative unknown. Halfway through Coleman's performance, the crowd, unable to process the new jazz they were listening to, chased Coleman off the stage, seized his plastic horn, and destroyed it. I imagine The Shape of Jazz to Come elicited the same dangerous reaction from others.

A necessary reaction.
12 internautes sur 13 ont trouvé ce commentaire utile 
HASH(0xa224da2c) étoiles sur 5 A prophetically titled masterpiece. 31 août 2005
Par Michael Stack - Publié sur Amazon.com
Format: CD
In 1959, jazz was having its foundation shaken. An upstart musician, composer and theorist who recorded a couple uneven LPs in Los Angeles had moved to New York and shook the ideas upon which jazz was built-- ideas like chord changes being the framework for improvisation, ideas about how rhythm should sound, ideas about when playing in key is not good. Blowing on a white plastic alto saxophone, Ornette Coleman polarized the jazz world-- musicians, critics, fans, in a manner reminiscent to Charlie Parker's arrival on the scene. To this day, he continues to do so, particularly in the face of discussions of what is "pure" jazz, and yet the influence of Ornette Coleman is felt far and wide in the music-- certainly many contemporary jazz legends picked up pointers from him, even if they were inclined to deny it-- recordings by Sonny Rollins ("Our Man in Jazz"), John Coltrane (just about anything), Charles Mingus ("Charles Mingus Presents Charles Mingus"), and Miles Davis ("ESP", "On the Corner") in the time after Coleman's arrival all bore his unmistakable influence, and artists as diverse as Pat Metheny, Jason Moran, Branford Marsalis and John Zorn all claim him as an influence or have paid homage to him. And in many ways, it all started with this album, titled "The Shape of Jazz to Come". Truer words were rarely spoken.

Coleman's music, codefied abstractly as "harmolodics"-- a system that gets more and more difficult to understand every time Coleman discusses it-- is based on one large essential difference to most music at the time-- conceptually, the soloist determines the direction of the piece. The form relies on head-improv-head structures so common in bebop, but there are no chord changes-- if the soloist decides he wants to change keys, change tempos, wail off key, whatever, he does it. There are some rules to it, clearly, or it would sound like a disorganized mess, but rather than the structure being in place, that is improvised as well. In many ways, I've often suspected this is the reason pianos are so rarely heard in Coleman's music-- they are a chord-oriented instrument, and without changes, they'd have a much more difficult time (Coleman must have found a way to get it through to pianists though as his most recent recordings feature piano). The music is often described as difficult, but this is a bit naive-- the music is different, and certainly anyone unfamiliar with jazz will find it difficult, but the reality is, it's highly accessible, it swings, it's firmly rooted in the blues, and it even has traces of the "Spanish Tinge". What makes it seem "difficult" is the lack of piano (a touchstone of jazz) and the more open structure. But even casual listening will reveal memorable themes and great playing, certainly enough for good music. Critics dismiss his theories as having been developed simply to get around his own lack of understanding of transposition-- this may be the case, but it doesn't matter. His music is what it is, and sometimes innovation comes about because of misunderstanding.

On "The Shape of Jazz to Come", Coleman assembled a group of musicians sympathetic to his playing who would be associated with him for the remainder of their careers-- trumpeter Don Cherry, bassist Charlie Haden and drummer Billy Higgins. The band runs through six pieces composed by the leader, and in many ways this is the album Coleman's reputation is built on. All six pieces are superb-- be they mournful ballads (the superb "Lonely Woman", featuring an alto 'cry' from Coleman during the theme that could not happen playing conventionally in key), gentle, keening ballads ("Peace") or explosive pyrotechnics ("Focus on Sanity"). Throughout the playing is top notch, with Coleman soloing superbly on many pieces-- digging in and putting forth a human expression on his sax rarely heard in music (his fluid and ecstatic solo on "Eventually", passion and grace on "Peace"). For his part, Cherry offers counterpoint to his leader nicely-- his technical limitations are more than compensated for by inventiveness, lack of cliche, and cleverness in his soloing ("Chronology"), as well as the ability to pour his heart into his horn and match Coleman's grace, dignity and beauty ("Peace"). Haden and Higgins provide a sympathetic rhythm section who move with the horns and provide a tight swing-- check their playing on "Focus on Sanity" after Haden's brief, abstracted solo and underneath Coleman or on "Congeniality" and "Chronology", clearly the two of them are rooted deep in swing traditions but still find their way to sustain Coleman's viewpoint.

In reality, "The Shape of Jazz to Come" is one of those classic and essential albums of the genre. It should be in everyone's collection, even if you don't think it'll be your thing, it's worth checking out. Highly recommended.
Ces commentaires ont-ils été utiles ? Dites-le-nous

Discussions entre clients

Le forum concernant ce produit
Discussion Réponses Message le plus récent
Pas de discussions pour l'instant

Posez des questions, partagez votre opinion, gagnez en compréhension
Démarrer une nouvelle discussion
Thème:
Première publication:
Aller s'identifier
 

Rechercher parmi les discussions des clients
Rechercher dans toutes les discussions Amazon
   


Rechercher des articles similaires par rubrique


Commentaires

Souhaitez-vous compléter ou améliorer les informations sur ce produit ? Ou faire modifier les images?