I dont know man, it just doesn’t sit right with me to take the time to point out that you think an album is crap. So what? I don’t like some albums either but to point it out feels like some weird superiority statement. I trust that that wasn’t the intention but it might come off that way to someone who really loves that album. I personally prefer the “all is good” take much better.
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Yes.
Yup, I get more pleasure from this forum in general when members post their likes, and substantiate it. Everyone is entitled to their own view, this just happens to be mine. 
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First, this is all in good fun… aesthetics is personal and therefore, by definition, a waste of time to discuss… I chose to discuss it because it entertains me… and hopefully others.
Second… there is a broader question regarding “good”… I find this quite fascinating. Is there really such as thing as a tune being good or bad as it relates to aesthetics? Technicality? Historical positioning? Craftsmanship? Mastery of an instrument? et al ad nauseum?
Back to Free Jazz… I have no issue with the technical mastery of the musicians that play on this disk… but is it “good”? Define “good”. Honestly, I think the most fabulous, impressive, great, humbling tune to be either Happy Birthday To You, or Mary Had a Little Lamb. I am very serious about this.
Back to Free Jazz… putting my “great tune” lens on (for an example, take a Burt Bacharach tune), Free Jazz sucks. Put my “genius musician” lens on… well… whatever… and therein lies the entertainment of this thread.
Peace
Bruce in Philly
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To you.
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I really dislike that album (no blasphemy intended)…
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As some have noted I like to talk, so bear with me.
First, thank-you for bringing up Ornette Coleman Free Jazz. The thread prompted my return to this most important work, as honestly it has been some time since I gave it a listen. As other have noted music is art, and how we react to it is personal, there are no right answers. As many know I lean to music that challenges my norms regarding standards and norms, but not exclusively. I do enjoy the tradition as represented by but not limited to Fats Waller, Art Tatum, Lester Young, Ben Webster, Ellington, Basie, Ella Fitzgerald, Billie Holiday, Sarah Vaughn, Miles Davis, Charles Mingus, etc.
That said, Ornette’s Free Jazz is an important work that I hold in high regard. Free Jazz is not an easy listen, it requires a certain commitment from the listener. I believe Ornette knew it and respectfully appreciated the listener’s commitment. 1961’s Free Jazz is one of the albums that opened my ears to a "different sound, and an appreciation of the “New Thing”. John Coltrane’s Ascension, A Love Supreme, and Sun Ra’s Heliocentric Worlds Volume One and Volume Two I hold in similar regard.
Upon first listen to Free Jazz over 50 years ago, I did not get it. I found its density and abstraction difficult. However, it raised a certain curiosity that resulted in my returning to it over the years. Listening to it today, Free Jazz is a structured free improvisation. It’s opening is an assault on the listener , a warning of what is to come. Following the initial intro, Eric Dolphy’s solo, about 30 seconds in, over the ensemble drew me in, and is the primary motivation for my returning to the piece initially. As I listen to it today I honestly could not be without Scott LaFaro’s or Charlie Haden’s solos, and the interaction between the two, about 25 minutes in. The transition from Charlie’s to Scott’s solo is interrupted by a fanfare blast, akin to a Sun Ra Arkestra power chord. Ed Blackwell’s, accents behind Scott’s solo, are magnificent. Wrapping up his solo Scott and Charlie trade off with some astonishing bass work, emulating the human voice. Then interrupted yet again by another power chord, yielding to Blackwell’s mallet driven drum solo, with cymbal accents from Billy Higgins.
Playing it again today I was drawn in to the ensemble as well as individual performances, so much so that I expanded the listening session to two more.
A difficult listen, certainly. A marker of changes to come in music in the 60’s and on, of course. My thoughts, it is work, hard work at first, but ultimately rewarded.
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Different strokes for different folks.
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That’s why music is art. It is so personal and open to interpretation and that makes it fun.
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We visited my in-laws for two days and had great food and wine. We are all getting fatter for sure. We were back an hour ago and I am ready for some great music for New Year!
Thirty posts on this one recording? I got to listen to it to see want is the big deal. Nice and nice! But it only last three minutes before my wife told me to change to something that is “listenable” 
The next time I will play it will be when I am alone. Come to think of it, I have this brand new SACD “Bitches Blew” that I never finished listening to ether. I will finish it when I am alone too.
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My dad, god how I miss him and my mom. Anyway, the point is, he hated jazz. I mean even a hint of jazz (except the jazz hiding inside country music). I had my turntable and audiophile versions of lots of cool LPs, Elvis 57 was always fun with them.
Anyway, at the end of the night, I’d pick Brubeck (how can anyone…). Within 5 minutes he’s up and gathering my mom to leave. The first time was an accidental observation, every time after I played it just to confirm: same thing every time.
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Again—That’s why there’s chocolate and vanilla.
My dad loved jazz. But also opera. ooofah–opera!
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After your well reasoned thoughts, I listened (am listening) again.
This time I’m enjoying it.
But I have to rewire my brain to not look for virtuosity as I define it. It’s an exercise, a clinic. I’ve been at many music clinics where this sort of “free expression” develops organically; often in the evening, after dinner. It’s usually fun.
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FYI, Miles Davis Bitches Brew benefits from a certain element of unrestrained volume. Warn the neighbors. I am sure you will enjoy it.
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Everyone hears it different, and appreciates it in their own way. Brubeck, hard not to like in my world, and I was an early adopter, circa 1973. Enjoyed the MJQ as well, and leaned into them considerably at the same time.
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Thanks! I am smiling big at your notion to return to it. Makes me happy, very happy.
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I have always fancied Opera. I imagine I have a bunch. It may be time to use the genre filter for the first time. It amuses me that the genre “Other” can’t be selected. Yet Roon tells me it is my favorite.
Jazz you say?
What words in reviews makes you wary of the music?
I throw a few out there “important”, “groundbreaking”, “landmark”, “technical brilliance”. I refuse to buy anything that does not include the words “emotional”, “stirring”, “beautiful”.
I never read a review or article on Free Jazz that used words important to me.
Peace
Bruce in Philly