Ornette Coleman - The Shape of Jazz To Come (1959)

I've come out of my premature retirement mah bois! This one's for my boy Howard Roark. Highly influential album by the master Ornette Coleman. This guy's one of the most important jazz figures of all time, not only pioneering in the free jazz movement but also improvisation. Without a doubt, one of the most important and greatest albums of all time.

"The Shape of Jazz to Come was one of the first avant-garde jazz albums ever recorded. It was recorded in 1959 by Coleman's piano-less quartet. The album was considered shocking at the time, because it had no recognizable chord structure and included simultaneous improvisation by the performers in a much freer style than previously in jazz.
Coleman's major breakthrough was to leave out chord-playing instruments. Each selection contains a brief melody, much like the tune of a typical jazz song, then several minutes of free improvisation, followed by a repetition of the main theme; while this resembles the conventional head-solo-head structure of bebop, it abandons the use of chord structures.
The album was a breakthrough work, in that it helped establish the avant-garde & free jazz movement. Later avant-garde jazz was often very different from this, but the work laid the foundation for the format in which nearly all later avant-garde and free jazz would be played."

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Faust - Faust Tapes

"The album fades in slowly in a cacophony of rainy city blues, droning synthesizers and tonelessness. An abrupt edit cuts suddenly to a call and answer vocal and drum groove and. . . bang! A savage edit into. .. a ballad. Piano, drums, acoustic guitar, Eno-ish synthesizer and voice. A ballad. Except that the vocals were intriguingly trans-Atlantic and sounded insightfully psychedelic in a badly-translated way. It was charming: "When you leave your place and walk in someone other's garden, Suddenly you see, it's a woman's colour in your mind to be."

Most surprising about The Faust Tapes is the number of truly wonderful pop and rock songs hidden within the cut-ups and experiments of the album's tangled grooves. And halfway through Side I is their most defining Krautrock riff of all. It's another of Faust's Krautrock/Family Stone/Temptations trips in the tradition of "It's a Rainy Day". A scientific German-American voice makes pronouncements over the groove and Gunter Wüsthoff's sax tears along over a loopy breakneck driving beat, as the call and answer of life kicks in: "Chet-vah Buddha, Cherra-loopiz Chet-vah Buddha, Cherra-loopiz. Chet-vah Buddha, Cherra-loopiz Chet-vah Buddha, Cherra-loopiz."

50,000 copies of The Faust Tapes were sold in 1973 and the night they played at Birmingham Town Hall, it seemed as though those words could become a football anthem. The Heads were taking over. Soon after, as we lay in my friend Cott's caravan listening to The John Peel Show, out of nowhere the DJ began to read out the names of the 20 or more songs from The Faust Tapes. The sleeve and label of the LP had showed no titles to any of the songs and Cott raced around trying to find a pen. It was all over in half-a-minute and all I could remember was some title about Humphrey Bogart. It took me a while to come to terms with the fact that John Peel was in on Faust's intended wind-up of its audience - that we were only meant to hear the titles fleetingly and race around like half-wits. And Faust were right.

. . it was their persistence in the Entirety of their trip that makes them so legendary now. Even better, The Faust Tapes was the social phenomenon of 1973, and it finally brought the true avant garde into everyone's living room, for a short while at least. But most of all this LP revealed just which side of the fence everyone was really standing. In April 1980, Jim Kerr, leader of dinosaurs Simple Minds, gleefully told me how he and his mates had all chucked their copies of The Faust Tapes off the roof of a Glasgow tenement. Enough Said? I'm sure that's the phrase." - Julian Cope

Tapes

Robert Wyatt - Comicopera (2007)

This former member of Soft Machine is a fucking legend. A truly extraordinary album with a melancholic and intimate feeling. Profoundly musical in every sense of the word. This album is probably his best overall work since "Rock Bottom" and that says a whole lot.

Spagett

Faust - Faust

It's hard to damn this piece of sheer chutzpah and utter brilliance with faint praise. So i'll let their biggest fan, Saint Julian, try to do it:

"Listen to the Mothers of Invention's concert recordings from 1966 onwards and it's just trash. Musical bollocks of the most merely capable variety. Faust live? This is a different thing entirely. Like all the greatest Teutonic groups, Faust were brought up with middle-European dances and a staple of folk and tradition which was not 4/4. As a consequence, German bands could get far more complex than U.S. and British bands would ever dare and it still sounds rocking and crazy, rather than a bunch of Twee Smug Gits. Find an old Caravan,Man or Henry Cow LP for 50p somewhere and compare it with this. I'm joking of course.

Four years ago, I had dinner with a very successful journalist who told me that he'd had to review Love's "Forever Changes" for Q Magazine now that it was available on CD. Wow, I shouted. You lucky fucker! Yes, he said. But I know it so well I couldn't summon up any real energy, so I just gave it 8/10. "Forever Changes" is a dark achievement. Were it an ancient text or a document it would be hidden from view and spoken of in obscure circles, But because it operates through the medium of Pop Music, it gets tarts like said Journalist giving it 8/10. This is a classic case of a man sleepwalking through life.

So now I have to set to and tell you about the first Faust album, and I will not let you down. For a start, its a big 10/10. No, make that 11/10. It defies categories. It's a horrible noise. It's cut-ups to the Nth degree. Part of it is just like Frank Zappa's "Lumpy Gravy" (a funny bit, thank the Goddess.) It is super-gimmicky, syrupy in the weirdest places, and never outstays its welcome. But probably the strangest thing of all is just how good Faust sound when they are creating on the spot moments of rock'n'roll on the epic Miss Fortune. Here they transcend all studio trickery and here they come alive."

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