ORNETTE COLEMAN SHAPE OF JAZZ TO COME INSANELY RARE'59 ATLANTIC TEST PRESSING LP

$

154

WE CURRENTLY HAVE  NEARLY 500  LISTED ITEMS

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·       ORNETTE COLEMAN with DON CHERRY, CHARLIE HADEN AND BILLY HIGGINS– SHAPE OF JAZZ TO COME – 1959 ATLANTIC RECORDS STEREO LP SD-1317 (NO NUMBER; ALBUM IDENTIFIED BY THE CATALOG NUMBER ON THE STICKER AFFICED TO THE WHITE, GENERIC, COVER)

·       GENUINE  U.S. PRESSING

·       ULTRA-RARE TEST PRESSING

·       PLAIN, WHITE, GENERIC PRESSWELL RECORDS, ANCORA, NJ TEST PRESSING LABEL WITHOUT ANY IDENTIFICATION MARKS WHATSOEVER

·       THIS TEST PRESSING COMES IN ITS GENERIC, PLAIN, WHITE COVER WITH A PARTIALLY PEELED-OFF PRESSWELL STICKER INDICATING THAT THIS IS A TEST PRESSING OF ATLANTIC TITLE SD-1317 (ORNETTE COLEMAN QUARTET'S 'SHAPE OF JAZZ TO COME)

·       The record has a George Piros’ name or  his initials (GP) clearly stamped or hand-etched in the trail-off vinyl (dead wax)

·       THIS IS NOT AN IMPORT, RECORD CLUB RELEASE OR A COUNTERFEIT PRESSING.

·       THICK, HEAVY VINYL PRESSING

·       CLEAN, WEAR-FREE LABELS

 (►PLEASE SEE THE IMAGE OF THE COVER, LABEL OR BOTH, SHOWN BELOW)

(Note: this is a REAL image of the ACTUAL item you are bidding on. This is NOT a "recycled" image from our previous auction. What you see is what you'll get.  GUARANTEED!)

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Amazing !!! An unbelievable piece: What we have here is an unheard-of TEST PRESSING of this Jazz Avant-Garde MILESTONE and simply the single most critically important specimen of the genre.. While many test pressings often have alternate or demo- versions of known, later released songs, and while it is possible that this particular test pressing contains demo or alternate versions of some of the tracks,  please do not assume  that it does: we simply don't know for sure.

PLEASE NOTE: THIS TEST PRESSING APPARENTLY NEVER HAD A CUSTOM COVER;  THE ALBUM WILL BE SHIPPED IN A PLAIN, GENERIC [WHITE] CARDBOARD COVER. TEST PRESSINGS ARE RARELY – IF EVER – FOUND IN CUSTOM (STOCK) COVERS

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Ornette Coleman's Atlantic debut, The Shape of Jazz to Come, was a watershed event in the genesis of avant-garde jazz, profoundly steering its future course and throwing down a gauntlet that some still haven't come to grips with. The record shattered traditional concepts of harmony in jazz, getting rid of not only the piano player but the whole idea of concretely outlined chord changes. The pieces here follow almost no predetermined harmonic structure, which allows Coleman and partner Don Cherry an unprecedented freedom to take the melodies of their solo lines wherever they felt like going in the moment, regardless of what the piece's tonal center had seemed to be. Plus, this was the first time Coleman recorded with a rhythm section -- bassist Charlie Haden and drummer Billy Higgins -- that was loose and open-eared enough to follow his already controversial conception. Coleman's ideals of freedom in jazz made him a feared radical in some quarters; there was much carping about his music flying off in all directions, with little direct relation to the original theme statements. If only those critics could have known how far out things would get in just a few short years; in hindsight, it's hard to see just what the fuss was about, since this is an accessible, frequently swinging record. It's true that Coleman's piercing, wailing alto squeals and vocalized effects weren't much beholden to conventional technique, and that his themes often followed unpredictable courses, and that the group's improvisations were very free-associative. But at this point, Coleman's desire for freedom was directly related to his sense of melody -- which was free-flowing, yes, but still very melodic. Of the individual pieces, the haunting "Lonely Woman" is a stone-cold classic, and "Congeniality" and "Peace" aren't far behind. Any understanding of jazz's avant-garde should begin here.

 (EXCERPT FROM AN ONLINE REVIEW BY STEVE HUEY, ALL MUSIC GUIDE  /ALLMUSIC.COM/)

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·                                                                                                                                                                                                                                                                                                 CONDITION:

·                                                                                                                                                                                                                                                                                                 RECORD

(IMPORTANT NOTE: unless otherwise noted, ALL records are graded visually, and NOT play-graded!; we  grade records under the strong, diffuse room light or discrete sunlight)

(a)          WE GRADE THE VINYL AS STRONG VERY GOOD++ . CAUTION: The vinyl is NOT MINT or NEAR MINT, but is nevertheless in a very nice and clean condition. There are some surface marks and abrasions, mostly light and superficial, although some may be longer than 1.1/4 inches (1 inch = 2.5 centimeters)

(b)          The record is pressed on a beautiful, thick, inflexible vinyl, which was usually used for the first or very early pressings. Usually, the sound on such thick vinyl pressings is full-bodied, vivid, and even dramatic. Do not expect to obtain such a majestic analog sound from a digital recording!

(c)           Of course, this is a full-bodied ANALOG recording, and not an inferior, digital recording!!!

COVER : This reference pressing comes without any custom jacket, and will be shipped in its original plain, generic, white cardboard cover with a Presswell pressing plant sticker attached (NOT GRADED SEPARATELY, BUT IN A NICE CONDITION OVERALL)

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