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Rating:
THE REVIEW
... then there's that sax with its hubbub of Creation, and all those chords written with invisible ink that fortunately disappear into the holy noise of the immediate, in its refusal to line up the lost causes, in its eradication of functions, in the immense pleasure of being a ship at the mercy of the storm and not being afraid to be suspended in the timeless: the pranayama you didn't expect.
Destructured melodic lines often independent of each other: all roads lead to Rome, there you go...
In short, I meant to say that those who break the balls in a heavenly manner are on the right path to the Kingdom of Heaven.
But beware, you might be tempted to say that the avant-garde breaks the balls, that Free jazz breaks the balls, that the racket breaks the balls, that improvisation breaks the balls, that eating spinach breaks the balls, that Jesus Christ breaks the balls.
So be on guard against the danger of not over-exaggerating the divine, even if it breaks the balls, as there's a concrete possibility, due to the law of cause and effect, that the balls might detach and bounce back onto your ass.
Forewarned is forearmed! (A play on words with "SAX" in the original Italian text)
P.S.: Woe betide to do things "seriously", isn't that right, Dizzy?
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Summary by Bot
This review celebrates Ornette Coleman's album as a groundbreaking work that breaks traditional jazz rules with free, improvisational melodies. The reviewer uses playful language and metaphor to describe the chaotic yet divine nature of the music, appreciating its boldness and spiritual impact. Despite acknowledging its challenging sound, the album is praised as an essential avant-garde journey.Tracklist Videos
Ornette Coleman
Ornette Coleman (1930–2015) was an American saxophonist, composer, and bandleader from Fort Worth, Texas, a leading pioneer of free jazz. His breakthrough recordings—including The Shape of Jazz to Come (1959) and Free Jazz (1961)—challenged harmonic conventions with piano‑less groups and group improvisation. He later articulated his harmolodic approach and continued innovating through works like Sound Grammar (2006).09 Reviews
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