The Shape of Jazz to Come Versus The Shape of Punk To Come

Ornette Coleman's revolutionary 1959 The Shape of Jazz to Come and Refused's 1998 The Shape of Punk to Come are ambitious works released by artists conscious of their innovative works. For Coleman, it was the avant-garde and free jazz scenes of the 1960s. As for Refused, I don't know enough about hardcore punk and the contemporary punk scene to assess their influence in their genre. Personally, Ornette Coleman's album is better for its improvisation and simple melodies. Of course my favorite white bassist Charlie Haden is also on the record, along side my boy Don Cherry on pocket trumpet. Lonely Woman with Ornette's blues-inflected plastic alto sax howls and the tranquility of Peace show that the album remains timeless. It also retains bebop characteristics and Ornette doesn't use all the shrieks and annoying noises associated with a lot of free jazz in this early work. Just listen to the following masterpieces: Lonely Woman, Peace, and Chronology. Unfortunately I couldn't locate Focus on Sanity, another great one from this album. The entire album is really listenable despite what you may have heard about free jazz. The only fault with this album that I can find is the drummer, who doesn't really shine anywhere. His solo on Focus on Sanity is not interesting or revolutionary like the playing of Ornette, Cherry, or Haden, who switches from arco to pizzicato on his bass during Peace.

Refused is still interesting for incorporating jazz samples, electronica, drum solos, progressive rock, folk, and classical, but their terrible vocals bring them down. I appreciate their anarcho-communist lyrics and the fast tempos of most of the songs, but a lot start to sound the same despite great riffs. My favorites are Liberation Frequency, Summerholidays Vs. Punkroutine, New Noise, Protest Song '68 for it's interesting beat, Refused Are Fuckin' Dead, and Tannhauser/Derive. The last song uses a beautiful cello introduction. In the end, I'm a little underwhelmed by this though. I expected so much more, though I did appreciate the thick basslines and progressive steps the band took. New Noise is off the chain!