Eventually

Ornette Coleman (alto sax), Don Cherry (cornet), Charlie Haden (bass) and Billy Higgins (drums). From the album The Shape of Jazz to Come (1959).

This album is the first one Ornette Coleman recorded with Atlantic Records and also the first one he played with his regular quartet. Its publication was a landmark event in the origin of avant-garde jazz, directing its future course and throwing up a challenge that some have not yet been able to accept. The album broke with the traditional concepts of harmony in jazz, getting rid not only of the pianist, but also of any chord progression, unlike what Miles Davis and John Coltrane were doing.

The tracks don’t follow almost any preconceived harmonic structure, allowing Coleman and Cherry unlimited freedom to bring their improvised melodies wherever they wanted at any time no matter of the tonal center of the piece. Ornette created a manner of improvising that depended on the soloist as musical director. If, for example, the soloist changes the rhythm or tonality, the rest of the group will do so in an ordered manner as a result of their amazing rapport. In addition, this was the first time Coleman recorded with a rhythm section flexible enough to follow his controversial approach. Also, “Lonely Woman” became a jazz standard.

The theme is cordial and friendly, the main melody is played by Coleman and Cherry in unison and the bridge is played by Coleman alone in AABA structure. The latter enters making a crazy speech without following any pre-established rules. His only guidelines are his desire to fly. As his solo progresses, it becomes thicker and more intricate imitating a child with a tantrum. Next comes Cherry playing at full speed with intense and frenetic phrases that he later moderates. At last the group re-exposes the theme.