Editing Ornette Coleman (section)

=== 1959: ''The Shape of Jazz to Come'' ===
In 1959, [[Atlantic Records]] released Coleman's third studio album, ''[[The Shape of Jazz to Come]]''. According to music critic Steve Huey, the album "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."<ref name="Huey">{{cite web |last1=Huey |first1=Steve |title=The Shape of Jazz to Come |url=https://www.allmusic.com/album/the-shape-of-jazz-to-come-mw0000187968 |website=AllMusic |access-date=August 14, 2018}}</ref> ''[[Jazzwise]]'' listed it at number three on their list of the 100 best jazz albums of all time in 2017.<ref name="Flynn">{{cite web |last1=Flynn |first1=Mike |title=The 100 Jazz Albums That Shook The World |url=http://www.jazzwisemagazine.com/pages/jazz-album-reviews/11585-the-100-jazz-albums-that-shook-the-world |website=www.jazzwisemagazine.com |access-date=December 16, 2018 |date=July 18, 2017}}</ref>

Coleman's quartet received a long and sometimes controversial engagement at the [[Five Spot Café]] in Manhattan. Leonard Bernstein, [[Lionel Hampton]], and the [[Modern Jazz Quartet]] were impressed and offered encouragement. Hampton asked to perform with the quartet; Bernstein helped Haden obtain a composition grant from the [[John Simon Guggenheim Memorial Foundation]]. A young [[Lou Reed]] followed Coleman's quartet around New York City.<ref name=":0">{{Cite magazine |last=Shteamer |first=Hank |date=2019-05-22 |title=Flashback: Ornette Coleman Sums Up Solitude on 'Lonely Woman' |url=https://www.rollingstone.com/music/music-news/ornette-coleman-lonely-woman-lou-reed-837918/ |access-date=2024-07-16 |magazine=Rolling Stone |language=en-US}}</ref> [[Miles Davis]] said that Coleman was "all screwed up inside",<ref>Miles Davis, quoted in John Litwiler, ''Ornette Coleman: A Harmolodic Life'' (NY: W. Morrow, 1992), 82. {{ISBN|0688072127}}, 9780688072124</ref><ref name="Roberts">{{cite web |last1=Roberts |first1=Randall |title=Why was Ornette Coleman so important? Jazz masters both living and dead chime in |url=https://www.latimes.com/entertainment/music/posts/la-et-ms-why-was-ornette-coleman-so-important-jazz-masters-both-living-and-dead-chime-in-20150611-column.html |website=[[Los Angeles Times]] |access-date=December 16, 2018 |date=January 11, 2015}}</ref> although he later became a proponent of Coleman's innovations;<ref name="Kahn">{{cite news |last1=Kahn |first1=Ashley |title=Ornette Coleman: Decades of Jazz on the Edge |url=https://www.npr.org/templates/story/story.php?storyId=6449431 |website=NPR.org |access-date=December 16, 2018 |date=November 13, 2006}}</ref> [[Dizzy Gillespie]] remarked of Coleman that “I don’t know what he’s playing, but it’s not jazz."<ref name=":0" />

Coleman's early sound was due in part to his use of a [[Grafton saxophone|plastic saxophone]]; he had purchased it in Los Angeles in 1954 because he was unable to afford a metal saxophone at the time.<ref name="Litweiler" />

On his Atlantic recordings, Coleman's sidemen were Cherry on cornet or [[pocket trumpet]]; Charlie Haden, [[Scott LaFaro]], and then [[Jimmy Garrison]] on bass; and Higgins or [[Ed Blackwell]] on drums. Coleman's complete recordings for the label were collected on the box set ''[[Beauty Is a Rare Thing]]'' in 1993.<ref name="Yanow">{{cite web |last1=Yanow |first1=Scott |title=Ornette Coleman |url=https://www.allmusic.com/artist/ornette-coleman-mn0000484396/biography |access-date=August 14, 2018 |website=AllMusic}}</ref>