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Something Else!!!!
Studio album by
Ornette Coleman
ReleasedSeptember 1958 (1958-09)[1]
RecordedFebruary 10, 22 & March 24, 1958
GenreFree jazz[2]
Length42:15
LabelContemporary
ProducerLester Koenig
Ornette Coleman chronology
Something Else!!!!
(1958) 		Tomorrow Is the Question!
(1959)

Something Else!!!! (subtitled The Music of Ornette Coleman) is the debut album by jazz saxophonist Ornette Coleman. It was released by Contemporary Records in September 1958.[1] According to AllMusic, the album "shook up the jazz world", revitalizing the union of blues and jazz and restoring "blues to their 'classic' beginnings in African music".[3] It is unusual in Coleman's output in that it features a conventional bebop quintet instrumentation (saxophone, cornet, piano, bass and drums); after this album, Coleman would omit the piano, creating a starker and more fluid sound.

History

[edit]

While working as an elevator operator in a department store in Los Angeles, Ornette assembled a group of musicians—teenaged cornet player Don Cherry, double bass player Charlie Haden, and drummers Ed Blackwell and Billy Higgins—with whom he could explore his unusual jazz compositions.[4][5] Coleman was introduced to music producer Lester Koenig of Contemporary Records by a bebop bassist friend of Cherry's, Red Mitchell, who thought Koenig might be interested in purchasing Coleman's songs.[4] When other musicians found the tunes too challenging, Coleman was invited to perform the compositions himself.[4]

Critical opinion

[edit]
Professional ratings
Review scores
SourceRating
AllmusicStarStarStarStarHalf star[6]
The Rolling Stone Jazz Record GuideStarStarStarStar[7]
The Penguin Guide to Jazz RecordingsStarStarStar[8]

Though often controversial at the time,[9] music from Coleman's first album is now generally well received. Rolling Stone commented admiringly on the composer's "genuinely original voice" and "freakishly structured tunes".[10] All About Jazz reviewer John Barrett Jr. cautions that, though dissonant, this album is not the first of the free jazz movement with which Coleman is so associated.[11] Nevertheless, in 2007, All About Jazz credited the album with introducing "a new era in jazz", transforming the genre by demonstrating a style of music "freed from the prevailing conventions of harmony, rhythm and melody".[12]

Pianist Ethan Iverson has written at length about this album and other recordings from Coleman's early period.[13] His argument is that on his early albums, Coleman's attempts to break free of chords and chorus-structures are hampered by sidemen who are unwilling to follow his cue.

Release history

[edit]

Originally released under the Contemporary imprint in mono and then later (either in 1959 or 1960) issued with a different cover photo and in stereo. The stereo remix of the album was re-released in 1992 on LP, compact disc and compact cassette in collaboration between Contemporary and OJC.

Track listing

[edit]

All tracks composed by Ornette Coleman.

  1. "Invisible" – 4:11
  2. "The Blessing" – 4:45
  3. "Jayne" – 7:17
  4. "Chippie" – 5:37
  5. "The Disguise" – 2:46
  6. "Angel Voice" – 4:19
  7. "Alpha" – 4:09
  8. "When Will the Blues Leave?" – 4:58
  9. "The Sphinx" – 4:13

Personnel

[edit]

References

[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Something Else!!!!

View on Grokipedia
from Grokipedia
Something Else!!!! is the debut album by American jazz saxophonist . It was released in September 1958 by Contemporary Records. Subtitled The Music of Ornette Coleman, the album features Coleman on , Don on , Walter Norris on piano, Don Payne on , and Billy on . Recorded in , it introduced Coleman's innovative harmolodic approach, bridging and early elements.

Background

Ornette Coleman's Early Career

was born on March 9, 1930, in , where he grew up in a segregated, working-class environment that profoundly influenced his musical sensibilities. From an early age, he was immersed in the local music scene, with his initial exposure coming through the traditions prevalent in Fort Worth's African American community, alongside emerging influences from radio broadcasts and nearby performers. At around age 14, Coleman taught himself to play the after his mother purchased one for him, despite the family's inability to afford formal lessons. He quickly began performing in local bands, honing his skills through practical experience rather than structured training, and drawing from both R&B energy and complexity. In 1954, seeking broader opportunities, Coleman relocated to , joining the band of R&B guitarist before striking out on his own in the city's vibrant but competitive underground. Coleman's unconventional approach to —often described as discordant or "out of tune" by traditionalists—led to significant professional hurdles, including being fired from multiple bands for deviating from expected structures during solos. To sustain himself while persisting with his , he took on menial jobs, such as operating an elevator in a , which allowed him time to study books independently during off-hours. During the mid-1950s in , Coleman began formulating the core ideas of what would become his harmolodic theory, a that prioritized and collective over rigid chord progressions and tonal conventions. This approach sought to equalize the roles of , , and , enabling musicians to convey personal feeling without the constraints of standard forms, laying the groundwork for his later innovations.

Late 1950s Jazz Scene

In the late 1950s, the jazz scene was primarily dominated by and , two contrasting styles that defined the era's mainstream sound. , which had solidified as the leading small-group jazz form by the mid-to-late 1950s, emphasized soulful, blues-rooted rhythms and energetic improvisations, with key figures such as , , and at the forefront through influential recordings like Davis's Walkin' (1957) and Coltrane's Blue Train (1958). , emerging as a counterpoint in the early 1950s and continuing prominently, offered a more subdued and intellectually refined approach with lighter tones, intricate arrangements, and unconventional instrumentation, led by artists including (via his sessions) and in collaborations like the Mulligan-Baker Quartet. This dominance reflected a broader post-bebop from the swing era's dance-oriented big bands of and , where had already introduced faster tempos, more intricate chord progressions, and extended improvisational solos focused on individual virtuosity rather than ensemble cohesion. By the 1950s, and built on bebop's harmonic complexity—featuring altered chords and rapid key changes—while adapting it to new contexts: infused gospel and R&B elements for emotional depth, and incorporated classical influences like for structural elegance. These shifts prioritized artistic expression over commercial danceability, fostering a listening-oriented culture centered in urban hubs like New York. Record labels such as and Prestige were instrumental in shaping the commercial landscape, producing a steady stream of albums that prioritized structured compositions with accessible, bluesy melodies and straightforward harmonies to balance innovation with market appeal. , under , championed sessions that captured live energy in controlled studio environments, releasing seminal works by Coltrane and others that emphasized head-solo-head formats. Similarly, Prestige's "blowing sessions" favored spontaneous yet compositionally grounded recordings, helping to commercialize the era's complex improvisations without alienating audiences. Amid this mainstream framework, underground experimentation thrived in circles, where musicians pushed boundaries through techniques distinct from East Coast norms. Pianist , though based in New York, influenced West Coast innovators with his mid-1950s explorations in free-form and tape manipulation, as heard in overdubbed tracks like those on his 1956 Atlantic album, challenging traditional rhythmic and harmonic constraints. Others, including and , extended these ideas into modal frameworks—emphasizing scalar modes over chord changes for more open-ended solos—fostering a relaxed yet experimental vibe in venues. In this environment, relocated to around 1954, engaging with the local scene's innovative undercurrents.

Recording and Production

Studio Sessions

The recording sessions for Something Else!!!! took place on February 10, 22, and March 24, 1958, at Contemporary Records' studio in , . Ornette Coleman, who had been supporting himself through odd jobs in while seeking recording opportunities, was introduced to the label's founder and producer Lester Koenig by bassist , a fellow musician who recognized the potential in Coleman's innovative compositions. Koenig, known for his artist-friendly approach at Contemporary Records, oversaw the sessions, providing Coleman with his first major platform to document his emerging style. The sessions featured a configuration, emphasizing collective framed by Coleman's composed "heads"—melodic themes that bookended free-form explorations by the ensemble. The atmosphere was marked by experimental energy, as Coleman challenged the accompanying musicians to navigate his unconventional harmonic and rhythmic ideas, fostering a sense of and creative risk-taking. Engineered by Roy DuNann, the recordings were captured in mono, aligning with standard production practices of the era, which prioritized a cohesive, intimate sound over stereo separation. Koenig's decision to subtitle the album The Music of Ornette Coleman underscored its role as a showcase for the saxophonist's original material, distinguishing it from more conventional releases and highlighting Coleman's compositional voice amid the improvisational freedom.

Personnel and Musician Selection

The personnel for 's debut album Something Else!!!! featured a that blended established collaborators with bebop-oriented , reflecting Coleman's emerging vision for free-form within a structured framework. led on , providing the album's melodic and harmonic innovations. contributed on (often described as in period accounts), offering contrapuntal lines that complemented Coleman's phrasing. Walter Norris handled duties across all tracks, adding harmonic support that grounded the experimental elements. Don Payne played , supplying walking lines and rhythmic foundation, while rounded out the rhythm section on with flexible, propulsive beats. Coleman's selection of these musicians balanced familiarity with contrast to highlight his unconventional approach. Cherry and Higgins were already part of Coleman's inner circle from prior performances in , chosen for their intuitive grasp of his harmonic ambiguities and rhythmic freedoms, enabling empathetic interplay during the improvisational sessions. In contrast, Norris and Payne, both rooted in bebop traditions, were selected to provide a conventional underpinning—Norris's chordal work and Payne's steady bass lines offered accessibility for listeners transitioning from —though their more structured style occasionally clashed with Coleman's liberated lines, underscoring the album's transitional role in his discography. The inclusion of here marked a key difference from Coleman's subsequent piano-less quartets, allowing for fuller harmonic textures while foreshadowing his later emphasis on horn-bass-drums interplay. On the production side, Lester Koenig, founder of Contemporary Records, served as producer, having signed Coleman on the recommendation of bassist after witnessing a demonstration of his compositions. Engineer Roy DuNann oversaw the February 10, 1958, sessions at Contemporary's studio, capturing the group's dynamics with clarity that preserved the raw energy of the performances. For later reissues, such as the 2011 Original Jazz Classics CD and the 2023 vinyl edition, mastering engineer Joe Tarantino enhanced the original tapes, ensuring modern fidelity without altering the analog warmth.

Musical Content

Compositional Style and Innovations

Ornette Coleman's compositional style on Something Else!!!!! featured early elements that would later develop into , a that treats , , and as equal elements in simultaneous horizontal (melodic lines) and vertical (harmonic structures) organization, with serving as the primary source rather than subordinate to . This approach, later formalized in works like Skies of America (), emphasized collective improvisation where musicians interpret phrases intuitively, allowing harmonies to evolve dynamically based on individual emotional responses rather than fixed chord changes. Coleman described as "the use of the physical and the mental of one's own logic made into an expression of sound to bring about the musical sensation of unison," prioritizing melodic freedom to evoke direct emotional expression. Key innovations in the album included atonal melodies that liberated lines from traditional tonal centers, enabling improvisations derived directly from composed themes without constraints. Flexible rhythms further challenged conventions through metric ambiguity and variable tempi, shifting away from rigid 4/4 patterns to support melodic phrasing over strict pulse. Coleman avoided standard chord progressions, instead favoring emotional phrasing where bass lines and interactions generated spontaneously, as seen in the collaborative reinterpretation of themes that could change nightly based on performers' instincts. The dynamics exemplified these early ideas through the front-line interplay of Coleman's and Don Cherry's , which traded melodic ideas in or , while Walter Norris's provided harmonic foundation, Don Payne's bass and Billy Higgins's drums offered loose, supportive rhythms rather than a fixed foundation. This egalitarian structure fostered instinctive collaboration, subverting hierarchical roles to create a sound. In comparison to , Something Else!!!!! retained the head-solo-head form and AABA structures but liberated from chord-based formulas, allowing solos to diverge freely into atonal and rhythmically fluid explorations while preserving thematic cores. This marked a shift from bebop's emphasis on virtuosic harmonic navigation to a more accessible, melody-driven that influenced free jazz's development.

Track Listing and Structure

The album Something Else!!!!, Ornette Coleman's debut as a leader, comprises nine original compositions, all written by Coleman himself. The original 1958 LP pressing on Contemporary Records divided the material across two sides for vinyl playback: Side A encompassing the first four tracks and Side B featuring the remaining five, with a total runtime of approximately 38 minutes. Each track adheres to a conventional structure of thematic statement, improvised solos, and , though Coleman's emerging style introduces subtle asymmetries in phrasing and . The following table presents the complete track listing from the original release:
No.TitleDurationSide
1Invisible4:11A
24:45A
3Jayne7:17A
4Chippie5:37A
5The Disguise2:46B
6Angel Voice4:19B
7Alpha4:09B
8When Will the Blues Leave?6:01B
9The Sphinx4:13B
Subsequent reissues, such as CD editions on Original Jazz Classics and vinyl remasters by Acoustic Sounds, occasionally alter track sequencing for digital formats or include bonus material like alternate takes, though the core nine tracks remain consistent.

Release

Original Release and Promotion

Something Else!!!!, subtitled The Music of , was released in late 1958 by Contemporary Records as a mono LP under catalog number C 3551. The subtitle emphasized the album as a direct expression of Coleman's compositional ideas and personal approach to . The recording sessions, which wrapped up in March 1958 at the label's studio, marked Coleman's debut as a leader. Promotion for the album was constrained by Coleman's limited recognition in the jazz scene at the time, relying mainly on features in trade publications. It was highlighted in a question-and-answer feature in magazine's September 18, 1958, issue (Vol. 25, No. 19), as the most talked-about, praised, and damned album of 1958. Lester Koenig, founder of Contemporary Records, played a key role by providing Coleman his first major recording outlet and supporting his unconventional style as emblematic of emerging innovations in . Initial distribution centered on the West Coast, reflecting the label's headquarters and regional networks, with the marketed at typical pricing for 12-inch LPs of the period.

Reissues and Remasters

The original was issued in mono format, but a version followed in 1959 on Contemporary Records under catalog number S-7551. In 1988, Original Jazz Classics released a remastered edition supervised by Joe Tarantino at in , available on CD (OJCCD-163-2), LP (OJC-163), and cassette (OJC-5163); this edition featured enhanced digital remastering from the original tapes, providing greater clarity in the improvisational interplay among the musicians. Subsequent reissues included a 2011 24-bit remastering by Joe Tarantino for Original Jazz Classics/Contemporary, which further refined the audio fidelity to highlight subtle dynamic nuances in Coleman's and Don Cherry's lines without adding bonus tracks. In 2022, released the Genesis of Genius: The Contemporary Albums box set, featuring a newly remastered edition of the album on 180-gram 2-LP or 2-CD formats with a 32-page booklet containing expanded by Ashley Kahn. Later vinyl editions comprised the 2023 Contemporary Records Acoustic Sounds Series pressing on 180-gram vinyl, mastered all-analog from the original tapes by Bernie Grundman at Bernie Grundman Mastering and pressed at Quality Record Pressings, emphasizing the album's warm, detailed soundstage originally captured by engineer Roy DuNann. Many reissues incorporated expanded offering historical context on the sessions, though none included additional tracks beyond the original nine. Digital availability expanded with streaming on platforms like beginning around 2010, broadening access to these improved sonic presentations.

Reception

Contemporary Critical Response

Upon its release in September 1958, Ornette Coleman's debut Something Else!!!! sparked significant controversy and discussion among critics, marking a pivotal moment in the genre's evolution. A blurb in the September 18, 1958, issue of magazine identified it as "the most talked about, praised & damned of 1958," capturing the polarized reactions to Coleman's departure from established conventions. Several prominent critics offered positive assessments amid the debate. , in the original , commended the emotional depth of Coleman's expression, stating that his music was "as basically rawly emotional as anyone's in ," emphasizing its human authenticity over technical abstraction. Traditionalists mounted notable backlash against the album's innovations. Drummer , a stalwart, publicly debated Coleman and reportedly confronted him aggressively after a 1959 performance at New York's Five Spot club, punching him in a fit of disapproval over what Roach saw as a rejection of fundamentals. In the late and early , Something Else!!!! was widely regarded as a transitional work bridging bebop's structured harmonic foundations with the emerging , bolstered by word-of-mouth buzz in circles that amplified its underground appeal despite limited commercial sales on Contemporary label.

Retrospective Assessments

In the decades since its release, Something Else!!!! has been reappraised by critics as a seminal debut that bridges conventions with the innovations that would define Coleman's career, earning praise for its bold yet melodic approach to harmony and . awarded the album 4.5 out of 5 stars in a retrospective by Thom Jurek, who highlighted its innovative yet accessible sound as a key transitional work that made Coleman's emerging style palatable to broader audiences. The Jazz Record Guide (1999) rated it 4 out of 5 stars, positioning the album as an essential precursor to by showcasing Coleman's ability to subvert traditional structures while maintaining rhythmic swing and emotional depth. Similarly, a 1998 review in All About Jazz by AAJ staff celebrated the record's subversive charm, describing how its deceptively straightforward arrangements masked a radical rethinking of and tonality that challenged listeners' expectations without alienating them. The (12th edition, 2020) gave it 3 out of 4 stars, acknowledging some dated aspects in its piano-inclusive format compared to Coleman's later piano-less quartets, but affirming its enduring influence as an early precursor to his theory. In 2022, Craft Records reissued the album as part of a series of late-1950s , emphasizing its raw energy and historical significance.

Legacy

Influence on Free Jazz Development

"Something Else!!!!!" served as a foundational text in the emergence of free jazz, preceding Ornette Coleman's Atlantic Records releases such as The Shape of Jazz to Come (1959), which further expanded his innovative approach to improvisation and structure. Released in 1958 on Contemporary Records, the album introduced Coleman's rejection of fixed chord progressions in favor of melodic freedom, marking an early break from bebop conventions and laying groundwork for the genre's evolution. Ekkehard Jost's seminal 1974 book Free Jazz cites the album as a pivotal shift, emphasizing its role in prioritizing individual expression and redefining jazz improvisation techniques. The album's compositional innovations directly influenced key figures in 1960s , inspiring Cecil Taylor's abstraction through its emphasis on unstructured melodic lines and rhythmic independence. Similarly, it shaped Albert Ayler's emotionalism, as Ayler drew from Coleman's liberated phrasing to infuse his work with raw, spiritual intensity on recordings like (1964). Coleman's harmolodics theory, rooted in the album's early experiments with equalizing harmony, melody, and rhythm, spread through his Prime Time band in the 1970s, bridging free jazz with rock fusion via electric instrumentation and contrapuntal improvisation. This ensemble's approach, heard on albums like Dancing in Your Head (1977), extended the genre's reach into fusion territories while maintaining its avant-garde core.

Cultural and Historical Impact

The album Something Else!!!! has been prominently featured in key documentaries exploring Ornette Coleman's pioneering role in jazz. Shirley Clarke's 1985 film Ornette: Made in America chronicles Coleman's artistic development from his early Texas roots through decades of innovation, highlighting his debut recordings as foundational to his harmolodic approach. Similarly, Ken Burns' 2001 PBS miniseries Jazz includes tracks from the album, such as "The Sphinx" and "Jayne," in its companion soundtrack compilation dedicated to Coleman, underscoring the work's significance in the evolution of modern jazz. Something Else!!!! has earned recognition in influential jazz rankings, affirming its enduring cultural value. Coleman's early albums from this period, including the follow-up The Shape of Jazz to Come, appear in Jazzwise magazine's 2024 list of "The 100 Jazz Albums That Shook the World," praised for bridging traditional jazz structures with avant-garde experimentation. While not inducted individually, the album's innovations contribute to the broader legacy of free jazz milestones, including Coleman's 1959 follow-up The Shape of Jazz to Come, which was added to the Library of Congress National Recording Registry in 2012 for its cultural, historic, and aesthetic importance. The album's continued relevance is evidenced by recent reissues, such as a 2022 box set pairing it with Tomorrow Is the Question and a 2023 180-gram LP edition by Craft Recordings. In the , Something Else!!!! maintains relevance through sampling in hip-hop and contemporary discussions of history. Tracks from the album have been sampled in hip-hop productions, with documenting connections to modern beats that reinterpret Coleman's melodic freedom in urban contexts. For instance, producer , known for blending with hip-hop, has drawn from Coleman's early oeuvre in projects like his series, extending the album's improvisational spirit into beat-making traditions. Additionally, media, including a 2021 podcast from the "Jazz Hang" series, dissects the album's tracks and their role in jazz innovation, while no major awards have been conferred on it since 2010. Scholars have identified opportunities for deeper analysis of Something Else!!!! within jazz's sociocultural frameworks, particularly regarding race and . Recent studies, such as a 2025 examination of Coleman's ties to the , argue that his free jazz breakthroughs reflected broader struggles for Black artistic autonomy during the late 1950s. A 2022 systematic review of in highlights gaps in addressing how albums like this, dominated by male ensembles, intersected with evolving gender dynamics in the genre, calling for updated critiques that incorporate intersectional perspectives on race and exclusion.

References

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  28. https://www.enjoyjazz.de/en/ornette-coleman-in-jedem-einzelnen-steckt-etwas-das-die-qualitaet-besitzt-ihn-kraft-seines-herzens-und-seiner-seele-zu-einem-besseren-menschen-zu-machen/
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