Transferred from original analog tapes
Contains all original artwork and packaging
NO digital copy included
Audio Quality: 4.5/5
Song Quality: 4.25/5
Packaging: 4.5/5
Ok. To kick off this entry, I have two confessions to make. #1: I'm generally not a big fan of jazz. #2: I'm writing this review as part of a contest wherein I can win a cool $100 from The Bad Plus. Yes, I think this might be the first time in history that someone moved from rock to jazz for the money. I'm a whole new breed of sellout, internet. Someone get started on the Wikipedia entry.
So before I discuss this album specifically, I do feel the need to discuss jazz in general. Because I've got some shit to say. Hear me out, you guys. I'm absolutely certain that, as human beings, we all have one type of music that resonates with us more powerfully than the others. Though trained ears can find plenty to love in every musical genre and sub-genre, there's always one that can elicit the most powerful emotional response and connection with the listener.
Some people get this out of rock and roll, some get it from hip-hop, some get it from jazz, and so on. For me, there's no question that it's pop. No, I don't just mean mainstream corporate teen pop and the like
... though I do enjoy more of that than I'm comfortable admitting in detail. I mean that a song with a great pop melody, with that instantly unforgettable chorus hook, is the greatest thing in the world to me. Nothing beats it. Though I have found many pieces of jazz music that I find phenomenal, not ONE has ever left an impact on me as profound as when I first heard The Magnetic Fields' "Take Ecstasy With Me." Now I'm sure that just about all of the new readers I've temporarily acquired from my post of this review at thebadplus.typepad.com are probably cringing at that statement, and for that I apologize. I most definitely don't want this post to come off as being insulting to jazz and it's absolutely invaluable contributions to the progress of music as we know it. Some people live and breathe jazz, and if that's the music gives them that otherworldly connection to the notes and rhythms that, for just a few minutes, allows the whole world to somehow make sense, then I think that's the greatest. All I'd ask is that I get the same respect for the music I love in return.However, herein lies a problem I've had with jazz for most of my life. It's not about the music, it's about the people. As a former college music student (dropped out after 3 semesters to join a band), I've had my fair share of being mocked by pretentious jazz snobs (for lack of a better term) for my passion for an "inferior" genre. This, naturally, breeds an overall distaste for the fans, the culture, and eventually the music itself. This is unfair, but also inevitable. I admit I went through an aggressively anti-jazz phase in the not-so-distant past, accusing it's fans of clinging to a dying genre and refusing to accept the natural evolution of music in society. I know, I know. That's not right, and it was an ignorant attitude on my part. Even if jazz has passed its peak in terms of cultural relevance, that does not mean that it shouldn't maintain tremendous value to musicians and music lovers young and old. I clearly see this now, but my negativity was based on an arrogant and inclusive attitude that I find to be plaguing the jazz community. No one could ever declare what the single greatest song in all of music is, and as such, no one can claim one genre of music to be superior to all the others. You can cite history and musicianship and blah blah blah, but what it really boils down to is personal taste. If I listen to a song and feel that moment of bliss that accompanies a perfect musical moment, and you listen to a completely different song and get that same feeling... is one of us right and the other wrong??? Of course not. Rather than compete, we should be celebrating together how wonderful life can be when a single song can help you make sense of it all. Hey The Bad Plus, you guys cover Rush and Nirvana and Blondie... I just know you've got my back here. In fact, if your fans are the ones reading my entry, maybe I'm just preaching to the converted right now? Sorry if that's the case, enlightened readers. Either way, you guys do the jazz thing without coming off the slightest bit pretentious or condescending to the music you reinterpret, so I appreciate that and I thank you. The jazz community needs more of that positive, progressive attitude. And that wraps up the "pandering to the judges" portion of my entry.
So, in conclusion of this lengthy introduction, though I don't know much about jazz, I've reviewed this record that my friend loaned me. My intention is to review it as an outsider, with as much open-mindedness and respect as possible. I hope I will receive that same respect back from my new jazzy readers. Because I know that none of you are the sort of pretentious jazz snobs I met in college. You are awesome, open-minded, forward-thinking individuals. Right? I knew it.
NOW FOR THE RECORD!
It's great! Seriously, I am amazed at how much I enjoyed listening to this album. Quite possibly the most enjoyable full-length jazz record I've ever heard. When I asked my friend Phil if I could borrow a vinyl jazz reissue for the purposes of this review, I asked him to give me something I wasn't familiar with and that he thought I'd enjoy. I wound up with The Shape of Jazz to Come in my hands, and from just a few moments into "Lonely Woman," I was immediately sucked into the performances. Some jazz albums make you feel like you're just listening to a couple of guys taking turns impressing each other with solos, and I find it difficult to care about the musicianship if the song it's within isn't compelling enough. This record, however, is as compelling as jazz can get. The drum and bass rhythm section never feel like they're simply accompaniment, as their performances are captivating, incredibly innovative, and relentlessly push the song forward. I also love the lack of piano or guitar establishing chord structure, as it allows the tunes to feel like they're naturally evolving and can change in a moments notice. And as for the lead performances from Ornette on saxophone and Don Cherry on cornet, they are absolutely stellar. The two have tremendous chemistry when they play together, their tones blending as if they were one. When they're playing separately, performances never feel forced, showy, or redundant. They feel perfect. This is as passionate and emotional as any instrumental performance I've encountered. Though I'd say my favorites are "Lonely Woman," "Eventually," and "Congeniality," throughout the entire record, these 4 guys deliver absolutely stellar head-turning performances. If I had to pick a least favorite, it would have to be the lengthy "Peace," which did lose my attention more than once. But really, for the most part, this is a tremendously enjoyable record. I'd especially recommend it to those of you out there who, like me, aren't usually wowed by jazz music, because this one is most definitely a keeper. Trust.
The sound here is exceptional too. It was apparently transfered from the original analog tapes that it was recorded on way back in 1959. The pressing is crystal clear and the sound is absolutely extraordinary. The bass and drums are placed in the center towards the back of the mix, where they are providing audible accompaniment but are clearly not supposed to be the centerpiece of this recording. Be aware of this, because when "Lonely Woman" started with just drums and bass, it felt too quiet, so I cranked the volume. Then, when the horns entered the mix they almost knocked me backwards across my room. So take precaution. Speaking of which, the horn sounds on this record are absolutely stunning, and it is a great example of the sort of sonic warmth and depth you can achieve through all-analog recording. Not to mention brilliant performers. Like so many early stereo recordings, this album features hard panning, with Coleman's sax panned hard right and Cherry's cornet panned hard left. This perfectly adds to the retro feel of the record. The live nature of this recording is clear, and though the panning is a little unnatural by today's standards, it's clearly an accurate depiction of what it's like to see these 4 men perform in the room with you. If you're a fan of this record, or even if you're just looking to check it out, you can bet on the fact that this one will sound excellent on your turntable. Great work from Atlantic on this reissue.
The packaging is an exact replica of the original packaging, which I really love for reissues like this. The 180-gram album sits in a white paper sleeve inside of a single slipcase package. That's it... nothing fancy, but isn't that how you'd expect it? Also no digital download is included... but again, I shouldn't have been expecting one, should I? At the price this record runs, there's nothing I can complain about. Well done.
Alright, that about wraps up the longest Audiophinyl entry to date. For any new readers, usually my entries are about half as long as this. But, then again, usually I don't feel the need to defend my entire existence every time I write in my own blog. Jazz is a difficult and, frankly, scary genre to write about when you feel unqualified to do so. But I love to learn, so if anyone has any musical suggestions for me after reading this diatribe, I'd love to hear them. I won't even need to be bribed with $100 next time. I guess in that sense your little contest worked, guys. Well done. Thanks all, and we now return you to our regularly scheduled programming.
Buy the LP at InSound.com
Buy the LP at Nylvi.com
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