Ornette Coleman and Harmolodics
byMatt Lavelle
A Thesis submitted to the
Graduate School-Newark
Rutgers, The State University of New Jersey
in partial fulfillment of the requirements
for the degreeof Master of Arts
Graduate Program in Jazz History and Research

Written and approved under the direction of Dr. Henry Martin________________________

Newark, New Jersey
May 2019© 2019
Matt Lavelle
ALL RIGHTS RESERVED

ABSTRACT

Ornette Coleman stands as one of the most significant innovators in jazzhistory. The purpose of my thesis is to show where his innovations came from,how his music functions, and how it impacted other innovators around him. I alsodelved into the more controversial aspects of his music. At the core of his process
was a very personal philosophical and musical theory he invented which he called
Harmolodics. Harmolodics was derived from the music of Charlie Parker andColeman’s need to challenge conventional Western music theory in pursuit ofproviding direct links between music, nature, and humanity. To build a foundation
I research Coleman’s development prior to his famous debut at the Five Spot,focusing on evidence of a direct connection to Charlie Parker. I examine his use of
instruments he played other than his primary use of the alto saxophone. His
relationships with the piano, guitar, and the musicians that played them are thenexamined. I then research his use of the bass and drums, and the musicians that
played them, so vital to his music. I follow with documentation of the string
quartets, woodwind ensembles, and symphonic work, much of which was neverrecorded. I conclude with an examination of Coleman’s impact on other masters
and a discussion of Harmolodics itself, followed by musical analysis.
Having studied with Coleman personally, I hope to bring some clarity to theactual function of his music. I have interviewed Dave Bryant, Denardo Coleman,iiand Kenny Wessel. In addition, for five years, I was in the band of guitarist Bern
Nix (1947-2017) who played with Coleman from 1975-1987. Though a formalinterview with Nix was scheduled before his death in 2017, I had discussed
Coleman with Nix many times. My musical analysis includes investigation of
Coleman’s composition titled “Kathelin Gray,” and in Section 1 part 3, my analysis
of his improvisation on a Charlie Parker piece titled “Klactoveedsedstene.” I hope
to show that Coleman’s music, while radical at the time, was steeped in a uniquelogic with the goal of opening doors to deeper levels of human expression, inside
the context of seeking a deeper understanding of humanity overalliii

ACKNOWLEDGEMENTS

Photographer John Rogers introduced me to Ornette Coleman in 2005 andmy first acknowledgement must go to him. Like many others, I was instantly
diagnosed upon my arrival as someone who would benefit from Harmolodics. I
have been using Coleman’s tools ever since. The late Bern Nix was essential to thisprocess. Through countless hours of playing, Nix allowed me a safe space todevelop my playing through actual Harmolodic practice, and I will forever be
indebted to him. Coleman’s son Denardo was especially generous, granting me an
extensive interview. Prime Time members David Bryant and Kenny Wessel werewilling to take me deeper inside Coleman’s process. I would like to thank Dr.
Henry Martin and Dr. Lewis Porter at Rutgers University for their openness to myresearching what many consider an abstract concept, and their aid in deciphering
the truth. As Coleman would say, “They’re on the case.” Finally, I must thankOrnette himself for having such an open door, an open mind, and an open heart.
The greatest gift he gave me and so many others is a pathway to our own music.

iv

CONTENTS
Abstract ------------------------------------------------------------------------------- ii
Acknowledgements----------------------------------------------------------------- iv
SECTION I: BACKGROUND --------------------------------------------------------1
1. The Environment ----------------------------------------------------------------1
2. Red Connors ------------------------------------------------------------------- 10
3. Ornette and Charlie Parker -------------------------------------------------- 15
SECTION II: ORNETTE CREATES -----------------------------------------------28
4. Tenor----------------------------------------------------------------------------28
5. Trumpet ------------------------------------------------------------------------ 35
6. Violin --------------------------------------------------------------------------- 50
7. Piano ---------------------------------------------------------------------------- 57
8. Guitar --------------------------------------------------------------------------- 71
9. Bass ---------------------------------------------------------------------------- 84
10. Drums-------------------------------------------------------------------------104
11. Chamber and Orchestral Works ------------------------------------------- 116
SECTION III: THEORY ----------------------------------------------------------- 127
12. Other Masters ---------------------------------------------------------------- 127
13. Harmolodics------------------------------------------------------------------ 139

SECTION V: INTERVIEWS ------------------------------------------------------- 150
14. Denardo Coleman ----------------------------------------------------------- 150
15: Kenny Wessel ---------------------------------------------------------------- 177
Transcriptions and Analysis ------------------------------------------------------ 187
16. Kathelin Gray ---------------------------------------------------------------- 187
Kathelin Gray Lead Sheet from Coleman from David Bryant ---------- 192
Kathelin Gray A -------------------------------------------------------------- 193
Kathelin Gray B ---------------------------------------------------------------194
Kathelin Gray C -------------------------------------------------------------- 195
Kathelin Gray D --------------------------------------------------------------196
Klactoveedsedstene------------------------------------------------------------ 197
Bibliography ----------------------------------------------------------------------- 206
Jazzinstitut Darmstadt Bibliography -------------------------------------------- 217
Discography: Commercial Albums --------------------------------------------- 279

1

SECTION I: BACKGROUND
1. The Environment“You can transcribe a solo, but you can’t transcribe anenvironment.” -Ornette Coleman

Ornette Coleman was born at 5am in Fort Worth, Texas at on March 9th,
1930.1 He was one of four children. Allen Coleman died in the 1940’s, and Vera
Coleman was killed by a cattle truck when she was seventeen. Truvenza Coleman,also known as Trudy, was a trombonist, vocalist, and sometimes manager for
Coleman’s earliest jobs in music, such as his first band the Jam Jivers, or backing
up the great blues singer Joe Turner for several months when he came throughFort Worth.2 She recorded, and one song is available to be heard online today,“Come home, baby,” released on the Manco label in 1962 as a 45.3 Coleman’sparents were Rosa Rhodes, a seamstress, and Randolph, a mechanic.4 Coleman wasclose to his mother and he respected her perspectives on life. In his earliest days he
was supporting the family playing rhythm and blues, but he became unhinged at

1

Taylor, Art. Notes and Tones: Musician-to-musician Interviews. New York: Da Capo Press,
1993. 347.
2

Litweiler, John. Ornette Coleman: A Harmolodic Life. New York: Da Capo Press, 1994. 21.

3
Glendoras. "Trudy Coleman - Come Home, Baby." YouTube. January 22, 2015. Accessed
September 24, 2018. https://www.youtube.com/watch?v=8rNla9Jo-vk&t=2s.

4

Spellman, A. B. Four Lives in the Bebop Business. New York: Limelight Editions, 1994. 83.

2the violence he encountered in the clubs. He came home and told his mother thathe thought that his music was influencing violence and she responded, “You wantthese people to pay you for your soul?”5 Coleman grew up during this moment
and told the story throughout his life. Another story he told was that as a child he
was always telling his mother who he was, telling her “I’m Ornette.” She told himthat he didn’t have to worry, she knew who he was. She heard his music in thesixties, but it remains unclear what her personal thoughts were about it. Not much
is known about Randolph Coleman. Ornette saw a picture of him playing baseball.
Rosa said that Randolph could sing and did so around Fort Worth.6 Coleman
didn’t sing like his father and sister, but he did possess a very vocal sound on alto.
Coleman also had a cousin named James Jordan, that he called Jordan. After
Coleman died, Jordan wrote about their earliest days together learning saxophonein the first grade. Even then, Coleman felt a strong enough attraction to the hornthat he would practice constantly, asking Jordan to practice with him twice in one
day. Truvenza gave them a room to play and when it was late, Coleman would wait
until the nearby train came through town that would drown out the saxophone.
Coleman would be practicing past midnight on a regular basis. By the time he andJordan left the fifth grade, they were playing as well as the kids in high school.
There they formed a band with a trumpet player and a drummer and got work,

5 Litweiler, A Harmolodic Life, 32.
6 Spellman, Four Lives in the Bebop Business, 32.

3earning money. According to Jordan, Coleman already had, and was developing his
own approach to music. In the sixties, Jordan left Texas to be Coleman’s manager
and during his six years he produced Skies of America.7 Denardo Coleman,
Coleman’s son born in 1956 is featured in an interview with the author later in thethesis.
The environment Coleman grew up in was very poor and segregated. He
spoke of two experiences with white people that defined the times. On one
occasion around 1948, playing in a white establishment lead by his mentor Red
Connors, a white patron told him: “It’s an honor to shake your hand because you’rereally a great saxophone player-but you’re still a nigger to me.” Coleman wasforced to remain silent in the exchange, for fear of his life. In a second life
threatening incident, a white woman cornered him in the kitchen during anintermission and raised her dress above her head. If a white man were to see them,once again the penalty could have been death.8 Coleman experienced the deepest
levels of racism when he joined a minstrel troupe in 1949 called “Silas Green fromNew Orleans.” Coleman toured the deep south with what he described as UncleTom type minstrels playing tunes such as “Nacky Sacky.” He was fired for teaching

7

Coleman, Ornette, performer. Celebrate Ornette. Recorded 2016. Denardo Coleman, 2016,
Vinyl recording.
8

Spellman, A. B., Four Lives in the Bebop Business, 94.

4the other tenor saxophone player bebop.9 Coleman spoke openly about the realityof his environment.

People in Texas, they’re so wealthy, it’s still like slavery. You had to be aservant. You had to be serving somebody to make some money. When I
finished high school, all the kids I knew who’d been to college and cameback, they had porter jobs. What’s the reason of going to college? That’s thereason I didn’t go. You got to try and get a job in the colored school system,or that’s it. People been teaching there for fifty years, you have to wait forthem to die. I didn’t come a poor family, I came from a po’ family. Poorer
than poor.10

After being fired by Green in Natchez Mississippi, Coleman was able to join
blues singer Clarence Samuels who needed a tenor player. On a tour of the deep
south during autumn of 1949 in Baton Rouge, Louisiana, he had an experience thatmost musicians never have, the kind of experience that would make most people
give up playing music. At a dancehall with a tough crowd, he played some of his
own ideas during a blues solo, which stopped the dance. After he was tricked tostep outside by a woman, a group of six or seven men delivered a severe beating toColeman and destroyed his horn. It was so severe that Coleman said they were
beating him to death, adding that at the police station afterwards the police told

9

Ibid. 95.

10

Goldberg, Joe. Jazz Masters of the Fifties. New York (N.Y.): Da Capo Press, 1983. 233.

5
him that “if those other niggers didn’t finish him off, they were going to.”11
Coleman had additional experiences with the police, being jailed for having long
hair.12 In Los Angeles he would be stopped by cops in white neighborhoods andtold to assemble his horn and play it to prove he was a musician.13 He recorded asong called “Police People” on the album Song X in 1986, but ironically the songswings with a country type positive feeling, feeding off the syncopation provided
by Charlie Haden on bass.
After the beating, Coleman ended up in New Orleans playing with his
friend, trumpet player Melvin Lastie. He received a draft notice but was rejected
due to a collar-bone injury that didn’t heal right. This old injury saved him fromhim from the Korean War, which could have prevented his eventual innovations injazz from ever taking place.14 Coleman headed back to Fort Worth around thistime in the mid 1950’s. Red Connors then hired Coleman to head to Los Angeles
with bluesman Pee Wee Crayton. Crayton dispelled the myth that he paid
Coleman not to play, insisting that Coleman was a great blues player, and heinsisted he play blues, as that’s what he was hired to do. After the band broke up,

11

Berry, Jason, Jonathan Foose, and Tad Jones. Up from the Cradle of Jazz: New Orleans
Music since World War II. Lafayette: University of Louisiana at Lafayette Press, 2009.
12

Litweiler, A Harmolodic Life, 42.

13 Ibid. 45.
14Ibid. 29.

6
Coleman lived in a skid-row hotel called the Morris.15 Coleman met drummer Ed
Blackwell and they starved together, surviving on canned food sent from Rosa in
Fort Worth. A low moment for Coleman occurred when Rosa sent him a birthday
cake and the other musicians at the Morris not only seized it, they consumed it
while Coleman was forced to watch.16 Coleman ended up renting out the back partof a garage with no heat in exchange for taking care of kids at a nursery. After hewired her for help, Rosa sent him money to return to Fort Worth where he would
rejoin Red Connors for the last time. In 1953 Coleman and Blackwell teamed up
against poverty again and gave Los Angeles another chance, finding a house inWatts. The key word of this period for Coleman was rejection. He and Blackwell
couldn’t find paying work. Dexter Gordan ordered him off stage when he started
playing with his rhythm section when he was late. Coleman went to a jam session
at Eric Dolphy’s house with Clifford Brown, the same age as Coleman. Coleman
threw them off by playing “Donna Lee” but then soloing without the chord
changes. Coleman had by this point started believing in his own approach. Dolphy
didn’t know how to respond to Coleman at first, as they were all studying bebop.17
Roach and Brown disrespected him further by letting him sit in at a jam session
last, then leaving the club when he started playing. The rhythm section then left

15

Ibid. 42.

16

Ibid. 42.

17

Feather, Leonard. “Interview Ornette Coleman.” Downbeat, July 1981, pp. 16–93.

7
the stand offering a final humiliation.18 It would not be the last time Roach would
react to Coleman in a negative way.
Coleman did make attempts to make sense of his outsider relationship withthe world. He married Jayne Cortez, and they had a son, Denardo Coleman. Cortez
was a poet who like Coleman, made her own clothes. After Denardo was born,
Ornette was baptized as a Jehovah Witnesses. (He had been baptized as Methodist
in his childhood) Coleman resonated with some of their beliefs, such as that no
person shall do what they don’t want to do forever. The strength of the religion
was soon shattered when he was told to go to a colored Jehovah Witness Hall. He
was quoted on this experience saying, “I found out that the church needs God justlike the people.”19 He stayed with them until he had the fascinating experience ofgoing door to door with the Bible, and when the person opened the door, they
were playing one of his records. In that moment, his music became his religion, forbetter or for worse.20 During this period Coleman famously took a job as anelevator operator at Bullock’s department store for two and half years where hecould secretly study music theory when there were no riders.21 By mid-1958, Cortez
and Coleman were separated. Coleman told Nat Hentoff that Cortez told him that18

Litweiler, A Harmolodic Life, 46.

19

Ibid. 51.

20

Ulmer, James Blood. Celebrate Ornette. Recorded 2016. Vinyl recording.

21

Litweiler, A Harmolodic Life, 51.

8people were saying he was crazy, and it sounded like she might think they wereright.22 After recording two albums for Atlantic that would become future classics,
The Shape of Jazz to come in May 1959 and Change of the Century in October 1959,
Coleman received an advance from Atlantic and also borrowed money from hisloyal bandmates at the time, Don Cherry, Charlie Haden, and Billy Higgins, andmade the move to New York City for his legendary debut at the Five Spot where he
was heralded as both a genius and a charlatan. After four more albums for Atlantic
that would be future classics, This Is Our Music in July 1960, Free Jazz in December
1960, Ornette! in January 1961 and Ornette On Tenor in March 1961, Coleman choseto stop performing, at odds with the business side of jazz.23 In February 1963, on acontinued self-imposed exile, he was evicted from his apartment. All of his meager
possessions, even horns, were not only placed on the street but were removed by
the department of sanitation. He slept in a friend’s pottery studio at night androamed art museums by day. In 1964 he got by the entire year on five hundred
dollars, working on a book explaining his music and learning the violin with one
he acquired from a pawn shop for fifteen dollars. He referred to this two-year
period as “hard and hungry.” In an article in Time magazine in January 1965 hespoke about the eviction and added: “There’s a lot of insanity in loneliness. I’ve got
to get sane again. If you mop your wounds, it takes away from the depth of your22

Ibid. 60.

23

Ibid. 99.

9
playing.”24 Coleman did eventually find some stability, receiving a Guggenheim
fellowship.25 The blues come from life experience, and Coleman spent theformative years of his life on an intimate basis with them. When you’re so brokethat you can’t eat, the experience makes an imprint on your soul that never reallyleaves. Louis Armstrong never forgot about pushing his coal cart all day long andgoing through the trash for food in his early days in New Orleans. Coleman neverforgot the environment of starving, racism, eviction, violence, and widescale
rejection of his music. He survived it all on his quest to become himself.

24"Back from Exile." Time, January 22, 1965, 43. Author unknown

25

Litweiler, A Harmolodic Life, 123.

10

2. Red Connors

The tradition of mentorship in jazz was still very much in place in the
1940’s, even for an iconoclast like Coleman. By his own accounts, while he had adifferent way to relate to music seemingly from his very first notes on alto, he still
had a lot to learn about music in his early days. While working as a rhythm andblues tenor saxophonist, and having been not yet been exposed to jazz, he was stilla serious student, listing several players he studied to John Litweiler.26 Bobby
Bradford witnessed Coleman playing Rhythm and Blues tenor and said he wasscreaming and lying on his back, as was the standard practice.27 Coleman listenedto Lynn Hope who played blues for dancing with titles like “Shocking.” On thisnumber, Hope plays the traditional fat low Bb honks bouncing to escalatory
extreme high register screams that are the trademarks of the rhythm and blues
tenor saxophone style.28 Hope also scored a hit with “Tenderly” in 1950 playing the
melody straight, with no improvisation, but a huge sound.29 Arnett Cobb was more

26

Litweiler, A Harmolodic Life,31.

27

Ibid. 44.

28

Paultunesmarsh. "Lynn Hope Shocking." YouTube. February 10, 2013. Accessed October06, 2018. https://www.youtube.com/watch?v=pcJNJy1XnQg.
29 RAJintheUK. "Lynn Hope Quintet Tenderly 1950." YouTube. July 02, 2012. Accessed
October 06, 2018. https://www.youtube.com/watch?v=X3NcArw6VjY.

11
into improvisation inside of a blues context. In 1947 his “Arnett blows for 1300”30 isa good example of music that contains a similar drive to Coleman’s music in theearly 50’s at times, as well as a good example of why Cobb was known as the Wild
Man of the Tenor Sax. Big Jay McNeely impressed Coleman with the power of onenote riffing and crowd pleasing techniques such as heard on “Nervous Man
Nervous” in 1953.31 The whole rhythm and blues tenor saxophone style had beencreated by Illinois Jacquet when he was nineteen in Lionel Hampton’s band, andbrought the house down with his solo on “Flying Home,” the first time anyone hadhonked on record.32 Coleman was making good money for his family playing thisstyle and backing up lots of blues singers when he started to spend time with atenor and alto man based in Fort Worth named Red Connors. Throughout his life
he referred to Connors as a pivotal influence.
Coleman told Art Taylor in the later part of the 1960’s that he first heard
Red Connors in 1943, before bebop, when he was thirteen. Why he was called Red
remains unknown. I could not locate any pictures or recordings of Connors.
Coleman spoke about him with a reverence, calling him the greatest sax player heever heard in his life. At Connors house the usual method was Connors playing

30

OnlyJazzHQ. "Arnett Cobb - Arnett Blows for 1300." YouTube. January 04, 2013. Accessed
October 06, 2018. https://www.youtube.com/watch?v=3WxyItz5Hwk.
31"Big Jay McNeely - Nervous Man Nervous - Federal 1953." YouTube. August 02, 2015.
Accessed October 06, 2018. https://www.youtube.com/watch?v=rlrFy6epHTs.
32

Biography of Illinois Jacquet. Accessed October 06, 2018.
https://illinoisjacquetfoundation.org/ijf_biography/.

12
bop records for Coleman stressing the serious nature of the music as a path awayfrom rock and roll.33 Coleman was quoted in Esquire saying Connors was Sonny
Rollins before Sonny Rollins. He added that Connors came from a holy church,
and when he went to visit him at his house that became his church.34 Coleman
went further in deepening the legend, telling A.B. Spellman that Connors wasplaying was like 1960’s Coltrane, but in a gutbucket style.35 Even further, Coleman
witnessed what he believed was Connors cutting Lester Young. While passing
through Fort Worth, Young encountered Connors on jam session, and instead of
constructing ideas on a blues, Young chose to play the same note for forty or fifty
bars, and Connors destroyed him.36 Connors may have been local but was known
to consume stars. King Curtis, on his way to becoming very popular had reason tofear Connors. Connors would tell him to get off the bandstand, as the heavy guys
were coming on.37 Two of Coleman’s friends in Fort Worth continued theaccolades for Connors. Saxophonist Prince Lasha called him the greatest
inspiration in the Southwest. Saxophonist Dewey Redman furthered the Coltrane

33

Taylor, Notes and Tones, 349.

34

Warren, Mark. "Ornette Coleman: What I've Learned." Esquire. October 09, 2017.
Accessed October 09, 2018. https://www.esquire.com/entertainment/interviews/a6766/ornettecoleman-interview-0110/.
35

Spellman, Four Lives in the Bebop Business, 90.

36

Ibid. 91.

37

Wilmer, Valerie. As Serious as Your Life: John Coltrane and beyond. London: Serpents

Tail, 1992.

13
comparison calling him the John Coltrane of the time. Redman described his tone
as a Gene Ammons, Wardell Gray, Dexter Gordon type sound. Drummer Charles
Moffett played trumpet with Connors. Coleman also mentions a saxophonist
named Weldon Haggen that he heard who he believed to be Red’s mentor.38
What happened between Coleman and Connors? It seems that this was arare occasion in Coleman’s early days where he was supported by an older
musician. Connors was four or five years older than him. When they met, bebop
was just becoming popular, and Connors often worked with a band geared towards
white audiences. In time, Connors developed a strong bebop fluency andrepertoire and introduced Coleman to the music. Coleman said Connors book had
every bebop song recorded between 1943-1950, and whenever possible he playedwith him. Connors was also the first musician to get Coleman to consider thelegitimacy of writing music down.39 One of Coleman and Connors meeting places
to work on bebop and tenor playing was a jam session held at the Jim Hotel andwhorehouse in Fort Worth. It was a during a job with Connors playing “Stardust”
for a white audience that Coleman had a breakthrough moment, not unlike the
one Charlie Parker had, with however, a far different result.40

38 Litweiler, A Harmolodic Life, 27.
39 Spellman, Four Lives in the Bebop Business, 90.
40"His Blues to Be Somebody: Charlie Parker's Early Years." The Critical Flame. January 19,
2014. Accessed March 12, 2019. http://criticalflame.org/his-blues-to-be-somebody-charlie-parkersearly-years/.

14
In that situation, it’s like having to know the results of all the changes
before you even play them, compacting them all in your mind. So, once I did that,
I just literally removed it all and just played.41

Seventeen-year-old Coleman was fired by the venue for having thisexperience, despite pleas of “Give em’ vanilla!” The dance stopped as people weredrawn to listen instead. Connors did not fire Coleman, who continued to workwith him whenever possible, through all of 1949. Connors hired Coleman in 1950 aspreviously mentioned when Bluesman Pee Wee Crayton needed an alto player fora pickup band. After struggling in Los Angeles, Coleman ended up back in Fort
Worth where he would play with Connors for the last time. What happened to Red
Connors after this period remains unknown, as he joins the ranks of the greats
whose sound we may never hear such as Buddy Bolden.

41

Litweiler, A Harmolodic Life, 33.

15

3. Ornette and Charlie Parker

Charlie Parker and Ornette Coleman will forever be linked in the history ofjazz. Parker as the progenitor and architect of bebop and modern jazz, as well as
being the consummate master at improvising within the idiom he co-created.
Coleman as the man who invented a pathway away from Parker’s evolution, thathas been accepted as either the final step in jazz where the music became itself,
versus the heretical work of a charlatan not to be taken seriously. Today in 2019,
Coleman has been accepted and even presented as the “proper Avant-Garde,” or inother words, he has been given permission to be a part of jazz history by theestablishment attempting to define and own the narrative of jazz history. At thestart of a tribute to Coleman at Lincoln Center, saxophonist and arranger Ted
Nash called Coleman “both primitive and sophisticated.” Wynton Marsalis
sanctioned Coleman by saying that his improvisations were based on the blues andis quick to mention that his father Ellis played with Coleman. When Coleman was
asked by Nash what he thought of the Jazz at Lincoln Center arrangements of hismusic he responded, “You can transcribe a solo, but you can’t transcribe anenvironment.”42 The deeper reality is that Coleman’s music began with a42

As told to the author

16foundation based on bebop methodology. Coleman revered Parker and told me
himself that before he could invent Harmolodics, he had to master Parker’s music.
The first place to look at the connection between Parker and Coleman isthrough their compositional practices. On Coleman’s first record Something Else, acautious debut tempered by working with two musicians grounded in tradition,
Walter Norris on piano and Don Payne on bass, he played an original composition
titled “Jayne,” that is a contrafact of the standard “Out Of Nowhere.” In the liner
notes Coleman told Nat Hentoff that he felt that Charlie Parker had the best
diatonic ear in jazz, and Thelonious Monk had the most complete harmonic ear.
Coleman may have been referring to Parker’s ability to improvise melodically andhis uncanny ability to always play notes from the chord at the perfect time andplace, even at fast tempos. “Out Of Nowhere” was written by Johnny Green andrecorded by Bing Crosby in 1931, and the harmonic progression was popular withjazz musicians such as Fats Navarro and Gigi Gryce. “Jayne” has the same thirtytwo bar structure and key as “Out Of Nowhere,” as well as the same key, G Major.
Coleman switches between eight bars of Latin and Swing with a syncopated, bebop
type melody. The piece was a portrait and dedication to Coleman’s wife Jayne
Cortez and was written five or six years before the recording. Charlie Parker
recorded “Out Of Nowhere” in November of 1947 for Dial records as a ballad.
Parker briefly engages the melody while focusing on incredible double time runs in
one full chorus, before young Miles Davis plays a chorus using the cup mute.
Parker gently improvises on the melody on the final eight bars and they end with

17
Davis holding the note A a minor third above an F-Sharp held out by Parker. The
use of a minor third between an alto and trumpet is something Coleman wasinterested in. On “Jayne,” Walter Norris and Don Payne make some alterations of
the original changes that work better with Coleman’s melody. In measure 3 Bb 7
becomes a D7 flat 9 over G to accommodate the melody. In measure seven B-7
becomes Ab major 7 flat 5, though the B-7 would have worked. In measures 13-16
and 24-29 additional chords are added that are implied by the melodic line. During
Coleman’s solo on “Jayne” it is clear that he was both aware of the changes andused them as the underlying foundation of his solo.
Compositionally both Parker and Coleman were fond of using the blues
form. They were both adept and writing and soloing on music that stemmed fromthe blues. In Dr. Henry Martin’s forthcoming book on the compositions of Charlie
Parker he has identified that, including unrecorded pieces, forty-nine of Parker’s
eighty-four pieces were blues, a staggering amount of fifty-eight percent! Dr. Lewis
Porter has identified sixteen pieces that Coleman recorded that contain what hecalled blues Connotations, which in fact is the title of one of Coleman’s greatest
recorded blues compositions and solos. Parker could play blues from virtually
every perspective. From the slow “Funky Blues” where he follows a Johnny Hodges
solo with folk-like preacher blues that morph into classic Parker double time but
still with blues expression, to “Blues for Alice” where despite all the substitutechords he retains the blues feeling. Folk like preacher blues expression is atrademark that seems to seep into all of Coleman’s music. Porter has identified

18
several instances that bear out the Parker-Coleman connection. At a Carnegie Hall
concert in 1947, on the last A section of Parker’s first chorus of “A Night In
Tunisia,” Parker releases what could be a Coleman field cry on alto saxophone.
Coleman plays a Parker-like solo on “When Will The Blues Leave?” from his firstrecording Something Else without playing any Parker licks. On “Giggin” from
Coleman’s recording Tomorrow Is The Question! Coleman begins the third chorus
with a direct Parker line played through the Coleman lens. Coleman would
eventually move past Parker’s influence where he would climb into raw vocal blues
expression such as what we hear on his tune “Ramblin” and the fore mentioned“Blues Connotations.”43
In early 1958, Coleman was captured live at the Hillcrest Club in October of1958 before he recorded Tomorrow Is the Question in early 1959. At the Hillcrest,
Billy Higgins on drums and Don Cherry on pocket trumpet were present from thefirst Contemporary session, though Charlie Haden wouldn’t formally record with
Coleman playing bass until Shape of Jazz to Come, recorded in May of 1959 on
Atlantic in Hollywood. Of important significance at the Hillcrest, is the presence of
pianist Paul Bley. According to the Tom Lord Jazz Discography, the Hillcrest
recording was even issued at one point as the The Fabulous Paul Bley Quintet.” At

43

Porter, Lewis. "The "Blues Connotation" In Ornette Coleman’s Music - And Some GeneralThoughts On The Relation Of Blues To Jazz." Annual Review Of Jazz Studies 1994-95 7 (March 01,
1996): 75-97.

19
the Hillcrest Coleman played a standard recorded by Parker, “How Deep Is The
Ocean,” composed by Irving Berlin, as well as a Parker original mysteriously titled“Klactoveedsedstene.”On “How Deep Is The Ocean” Coleman does not solo, as the piece features
Don Cherry, but he does write an introduction as Parker was known to do such as
the famous beginning to Parker’s “Ko-Ko.” Parker recorded “How Deep Is The
Ocean” for Dial records in 1947 on December 17th with the classic quintet of Miles
Davis, Duke Jordan on piano, Tommy Potter on bass, with the addition of J.J.
Johnson on trombone. Parker plays the piece as a ballad and virtually ignores the
melody. Coleman’s introduction is approximately ten bars. Although “How Deep Is
The Ocean” was written in Eb major and shifts between different major and minor
centers, Coleman’s introduction is mostly in F Melodic minor. The focus is adramatic use of an ascending flat five that occurs twice at the end of a phrase inmeasures three and eight. I once walked in on Coleman composing at a desk with
only a piece of paper and a pencil, dressed like he was going to perform. He wassurprised to see me and declared “Start on the flat five!”Charlie Parker recorded “Embraceable You” by George Gershwin again in
1947 for Dial with the classic quintet. In his famous version, he improvises straight
though one chorus before handing it over to Miles Davis with the cup mute. In athree-bar arranged ending Parker harmonizes a reference to the melody with heand Davis playing apart by major and minor thirds and ending on a sustainedminor third of E and G. Coleman recorded “Embraceable You” in 1960 for Atlantic

20
on the album This Is Our Music. He composed a dramatic, almost regal seven-bar
introduction with Don Cherry playing the trumpet written above the alto as Daviswas above Parker, though without the mute. Coleman and Cherry are an octave
apart for the first three bars. Bars four and five contain Cherry embellishment
while Coleman sustains a C and then a B for four beats. The next four beats
Coleman and Cherry are separated by a minor third, a minor third, a major third, aminor third, and then end on half notes separated by a flat five and ending on aflat six. The introduction is repeated at the end of the piece, but Coleman plays hispart an octave higher, above the trumpet creating another flat five and ending on amajor third. In the beginning Cherry starts the introduction on the tonic of theoriginal recording, G, and Coleman ends on it. Coleman enjoyed disguising who
was playing lead and who was playing harmony. During the improvisation
Coleman does reference the original melody, but like Parker it is only touched on
briefly. Charlie Haden does play the changes at first before they shift into more
open interpretation. Coleman is patient and bluesy for the most part, not pursing
the endless invention of Parker. Coleman’s version contains both similarity andcontrast with the Parker version. In the liner notes to This Is Our Music Colemansaid that he played “Embraceable You” as a standard, the way standards are played.
He also called Charlie Parker the great seer of Modern Jazz.44 It is notable thatthree of these pieces that Parker played and then Coleman played were recorded

44

Coleman, Ornette, Something Else!!! the Music of Ornette Coleman, Contemporary, 1958.

21
by Parker in 1947 when Coleman was seventeen and studying bebop, while Parker
was in top form at twenty-seven years old. In addition, two of the songs that
Coleman claimed defined Bebop were contrafacts. “Donna Lee” based on“Indiana,” and “Little Willie Leaps,” based on “All Gods Chillun Got Rhythm.”“Donna Lee” and “Little Willie Leaps” were both composed by Miles Davis,
Coleman giving him far more influence within the movement as a composer rather
than just as a participant as Parker’s student. Coleman also considered pianist Bud
Powell quintessential within bebop and claimed that Powell’s piece “John’s Abbey”
to be the best example of a bebop bridge.45
Parker recorded “Klactoveedsedstene” on November 4th, 1947 for Ross
Russell’s Dial label. In Russell’s book “Bird Lives!” he explains that Parker wrote thetitle on the back of a minimum charge card and offered no clues as to its meaning.
Dean Benedetti suggested to Russell that it was sound.46 Parker recorded the piecewith Miles Davis on trumpet, Duke Jordan on piano, Tommy Potter on bass, and
Max Roach on drums. Parker based “Klactoveedsedstene” on the changes to Juan
Tizol’s “Perdido” in the A section and the bridge appears to be a variation of thebridge of George Gershwin’s “Lady Be Good,” also in Bb, which Parker played
famously in 1946 at Jazz at the Philharmonic. The piece begins with an

45

Coleman told keyboardist David Bryant (interviewed by the author) about the threepieces and why he felt they defined bebop.
46

Russell, Ross. Bird Lives! The High Life and Hard times of Charlie (Yardbird) Parker. New
York: Da Capo Press, 1996.

22
introduction that deserves more attention. Parker harmonized the alto a minor
third below Davis cup muted trumpet. Fred Parcell’s transcription uses chords
apparently based on the bass line. The bass is the only thing that saves the intro
from harmonic ambiguity as in the famous “Ko-Ko.” The melody is played inunison and is more about the Parker syncopation than eighth notes. Parker only
takes one solo chorus using his own rhythmic devices that he may have extracted
as a reaction to Tizol’s original motif, with the tempo increased, bending the piece
to his will. During Parker’s solo flat fives are casually added in measures 9, 11, 24,
and 31. Flat 9’s are stitched in on measures 3, 7, 23, 27, 31, and 33. As per his usual
method, the notes connect his lines to the notes that define the harmony. Parker
uses a Db on a Bb major chord three times before he reaches the bridge. In
measure 26, two of Thomas Owens-discovered Parker devices are used.
Looking at Coleman’s solo on the same piece at the Hillcrest (see page 197)
Coleman and Cherry play the introduction and the melody straight, though Bley ismostly Inaudible. Haden is muffled but he seems to be aware of the form but
already following Coleman as his prime directive. Reaching the bridge on the
melody at measure 24, Coleman plays phrases as if the changes were taking place,but no harmony is suggested by him or Bley. On the last measure of the bridge, 31,
Coleman plays a phrase that Parker would never play and offers no resolution or
signpost to the form. At measure 40 Coleman begins the solo suggesting the soundof Parker but without using his devices. In measure 43 he does outline a D minor
chord in ascending root position exactly where it should be if he were playing the23
piece totally straight. At the first pass through the bridge both Coleman and Bleysuggest the form transition and play phrases in time as if changes were taking
place, but do not play any actual changes. The key of the piece seems to be more
relevant. At D, Coleman suggests Parker using a high long tone during aturnaround. At measure 113 he continues the motif, but changes the pitch, afunction of Coleman’s language, and not Parker’s. Measure 144 sounds like Parker
again without a direct reference. During measures 152-159, where a bridge shouldbe, Coleman strings together eighth notes and triplets like Parker but with no
implication of harmony. By the time we reach G Coleman doesn’t abandon the keyof the piece but is now truly concerned with his own ideas more than anythingelse. At measure 168 we hear a phrase played 4 times that is pure Coleman.
Measure 184 contains improvisation that could be related to “Donna Lee.” From G
to H Coleman may have broken free from changes and form entirely. In measure
235 Coleman plays a phrase and then repeats it a whole step up that is not related
to any clear harmony. At letter I we hear Coleman modulate through where thebridge used to be using minor thirds as his focus suggesting an entirely new way of
thinking. During measures 287-293 at letter J, the note D is the foundation as
Coleman seems to explore just how many ways, he can play off one note. In a boldfinishing move, Coleman and Cherry play an original transition in unison to set up
Paul Bley’s solo. Higgins slows to repeat the figure at 8 bars, but Coleman and
Cherry miss it, playing it afterwards. Bley suggests movement through a bridge but
also uses Coleman’s transitional figure as a source of improvisation. The band

24
eventually lays out giving Bley a solo all by himself. Haden and Higgins try to bringform back to an extent to set up Cherry. Haden is far more aggressive in using theform and changes behind Cherry, but Bley lays out and Cherry seems to suggest
playing through a bridge at random times and is mostly playing free. Cherry could
play changes but chose not to. Haden follows with a solo continuing to walk intime. His sound and style are present. Coleman returns with more improvisation
playing free until Cherry brings back the melody where he thinks it should be but
it’s clear that Coleman could have continued. Higgins takes the bridge, the melody
is restated, and finally the intro is played as a coda with a short free vamp.
Coleman played ideas with beginnings and endings and resolved them melodically.
He may have mastered Parker’s style as he claimed,47 but by this period he hadalready moved quite far into his own concept, though he was still wrestling with apiano being present. Coleman simply related to music differently than Parker.
Parker had a genius level ability to play fluidly through harmonic progressions
with incredible accuracy. Coleman did not possess this gift, but rather the ability
to construct ideas free of the harmony. Both Parker and Coleman were adept atconstructing ideas on their own terms in the environment of fast and very fast
tempos. Parker was a master at every tempo he ever encountered.
Coleman also assimilated Charlie Parker to an extent by direct use ofParker’s unique rhythm and syncopation, most obvious in Parkers compositions.

47

As told to the author

25
The clearest example is his composition “Bird Food” from the album Change of theCentury recorded in Hollywood in 1959. In this piece Coleman overtly uses Parkers
eighth rest, quarter note, eighth note rhythm most famous as Parkers corerhythmic motif from “Moose the Mooch,” also recorded in California in 1946 forDial by Parker. Coleman was able to capture the sound of Parker’s music though
the composition, based on rhythm changes. The bridge and solo are completely
improvised free of changes and any reference to Parker.
Incredibly, the idea of playing free of harmony was presented to Charlie
Parker by John T. Fitch in an interview in 1953. Fitch asks if playing withoutchanges is possible using Lennie Tristano as a reference point.
Parker: Those are mostly improvisations, and if you listen closely enoughyou can find the melody traveling along with any chord structure. Rather thanmake the melody predominant in the music, with Lennie it’s more or less heard or
felt.
Fitch: On “Intuition” they start off with no key or changes.
Parker: There must be a buildup to the key signature and the chords thatcreate the melody.48

Parker was open to all music, but the concept of playing free seems to be
one he never considered. Coleman attempted to sit in with and meet Parker toshow him what he was doing, as revealed in an interview with Leonard Feather in

48

Woideck, Carl. The Charlie Parker Companion: Six Decades of Commentary. New York:
Schirmer Books, 1998.

26
Downbeat in 1981. He did hear Parker play in person but attempts to play with him
never resulted in them getting to play together.
Coleman: I didn’t want him (Parker) to hear how I play, I wanted him tohear what I was trying to play, because I figured he would understand.49

In the end we have evidence that Coleman took bebop seriously, as his
mentor Red Connors instructed him to. Before Coleman sought to invent a path towhat he believed would set himself free, he sought to understand where he andjazz were at. He practiced the bebop methodology of using contrafacts as we haveseen with his piece “Jayne.” He studied Charlie Parker’s writing and solo style,being influenced by both in his own compositions and improvisation. Perhaps themost striking similarity between Parker and Coleman can be found within theirunique gifts within their environments. Within an environment that he himself
had an enormous part in creating, Parker possessed a fluidity and dexterity in his
improvisations that is almost superhuman in ability. He remains the consummate
master of bebop improvisation at all tempos, thriving where most musicians
simply cannot venture. Coleman, like Parker, virtually created the environmentthat he was the master of. Coleman had a deep belief in spontaneous invention, analmost urgent need to create something profound with himself as the primarysource. It is here in this self-created realm, that he felt most at home. Coleman’s

49

Feather, Leonard. "Interview Ornette Coleman." Downbeat, July 1981, 16.

27
legacy is not only how he effected the entire perception of the music, but his
ability to do it through composition and improvisation. Both Parker and Coleman
practiced the tradition in jazz of studying and learning from those that proceeded
them. They were both African-American. They were both master alto saxophonists
who at times played tenor saxophone. They were both masters at playing theblues. They were both no strangers to adversity. They both had little to no
relationship with their fathers. They were both two of the most significant
innovators in jazz. Charlie Parker and Ornette Coleman forever linked.

28

SECTION II: ORNETTE CREATES
4. Tenor“You’ll attract some strange women with that horn.” Ornette Coleman to David Murray

I asked Ornette in 2005 if he would ever play the tenor saxophone again. I
didn’t see one in his music room. He said that it was over and didn’t elaborate.
We’ve discussed his early years playing rhythm and blues on the horn, and his
mentor Red Connors mostly playing tenor. Coleman spoke about the tenor to Joe
Goldberg.
The tenor is a rhythm instrument, and the best statements negroes havemade about what their soul is have been on tenor. The tenor has that thing, that
honk, and you can get to people with it. Sometimes you can be playing tenor, andI’m telling you, the people want to jump across the rail. Especially the Db blues,
you can really reach their souls with a Db blues.50
Coleman was playing mostly tenor in his early years, when he was getting
more extreme reactions and playing more extreme environments. The tenor seems
to turn up the volume and raise the intensity of emotions and sexual desire.
Perhaps Stanley Crouch said it best.

50

Goldberg, Jazz Masters of the Fifties, 231-232.

29

The tenor contains a subtle identity that can be as low down as the killing
floor of sweet and erotic facts as it can be altissimo lofty and clean as anarchangel’s underwear.51
In March of 1961, Coleman recorded his last album for Atlantic, and one ofhis most well-known, Ornette on Tenor. Don Cherry played pocket trumpet, Ed
Blackwell was on drums, and Jimmy Garrison played bass. I examine Garrison
more closely later in the thesis. The alto, trumpet, and violin are not present. At noother time did Coleman draw attention to his work on one specific instrument.
Atlantic may have asked Coleman to play tenor so they could sell the concept, butthat remains unknown. Coleman did make the creative decision to play tenor
explicitly this one time. He may have been pursuing a resolution of sorts, by using
a horn he played in his early days with his updated and far-reaching conception.
After this recording, the bebop front line of saxophone and trumpet would nolonger be a primary focus for him. Charlie Parker played tenor when the job called
for it, or when it was the only horn available to him, but never made a record as aleader only playing it.
The album begins with “Cross Breeding.” Coleman experiments with silence
between stating the fast bop line and taking an immediate, completely alone solo
for over a full minute. Garrison and Blackwell enter in a very conversationalmanner before playing time at three minutes. Coleman solos aggressively all the51

Crouch, Stanley. “Tale of the Tenor.” The Village Voice, 16 Apr. 1986, p. 63.

30
way to seven minutes and twenty seconds. His playing contains grit and blues andhe ends with a boppish figure. Cherry stands his ground for two minutes, andafter a short drum solo they both solo. Throughout his solo Coleman still has theurgency and yearning, almost pleading that you associate with the alto. The final
bop line to close lasts a mere twenty seconds. “Mapa” is next and always looking
for a new path, Coleman’s arrangement calls for a ninety percent four-way
independent group improvisation. With all four members playing separately
together, the cohesion occurs in that they all agree to hold their own space.
Coleman’s tenor is not that different from the alto here. “Enfant” is more
traditional in Coleman’s world as after the short head, Blackwell and Garrison start
walking. Garrison is aggressive with his rubbery sounding swing, seemingly going
his own way and very strong in the mix. Coleman plays in time for the most part.
Blackwell is very aggressive, seeking and getting interaction with Coleman. As withmost of Coleman’s bass players, Garrison comes more in to support Don Cherry,
who was easier to follow harmonically. Coleman returns for more improvisation
before the head returns, based on interaction with Blackwell. “EOS” is next, and on
this one you can really hear the pots boil. The opening melody lasts all of fifteen
seconds. Coleman is more relaxed and, in the pocket, and he’s hooked up morewith Garrison. At the opening Coleman cycles through a one, three, four, (or five,seven, one) ascending motif that is infectious. Moving through harmony like this,it could be three different keys or chords, and imbued with blues feeling, this isclassic Coleman. In this moment, the tenor comes alive as a unique entity in31
Coleman’s musical world as he exploits the sound of the instrument. At 1:03
Coleman escapes a pattern with genuine blues tenor expression but withoutcrossing the line into rhythm and blues. Throughout, he and Blackwell have ashared telepathy. At 2:28 Coleman leaves space and Garrison sets up a vamp that
he releases at 2:40 creating group interaction that continues a fully realized threeway conversation. Coleman doubles down on blues phrases and Blackwell finishes
them. Coleman ends the solo in a perfect transition to Cherry who then leaves offin another direction, but by first picking up right where Coleman left off. “Ecars”
continues the success of “EOS” with more speed, and more urgency. Colemanplays strong blues phrases without dropping the tempo. He uses this effect toculminate a group interaction such as at 1:40. “Ecars” is the full realization of thegroup, the last recorded piece on the record. “Harlem’s Manhattan” was an out
take from this band and the Ornette on Tenor recording that surfaced on Art of the
Improvisors from Atlantic in 1970, without Coleman’s permission. Cherry uses acup mute. The piece sounds like the other pieces on the original and picks up after“Ecars” with another notch up in speed and urgency. The cup mute is an odd
choice in this fiery environment and Cherry plays a short solo. Garrison follows
with a thirty second solo that foreshadows his work with Coltrane, displaying that
his sound and style were already intact.
Drummer Ronald Shannon Jackson told guitarist Jack DeSalvo thatthroughout the early seventies Coleman played tenor saxophone during long
Prime Time rehearsals but simply didn’t want to carry the extra horn to32
performances.52 Prime Time with Coleman on tenor may have been a different
energy entirely that we will never hear unless future unknown recordings surface.
Coleman would not return to the tenor again on recordings until 1977 on a duo
album titled Soapsuds, Soapsuds for John Snyder’s label Artists House. Coleman
took a break from his electric band Prime Time to make a series of acoustic duetswith Charlie Haden. On Haden’s piece “Human Being” Coleman plays the tenor
with all of his alto technique, and the special connection he shared with Haden is
on full display. Coleman reaches up into the tenor range as if he was hearing alto.
“Sex Spy” is a Coleman ballad, and you can hear the alto inside the tenor. By thispoint Coleman’s horns were simply him, regardless of tuning, range, and soundproperties that draw out a particular human response. The music here is all about
the relationship of Coleman and Haden. The one difference is how Coleman singson the closing melody revealing a tenor voice that wasn’t heard previously in anyof his recorded work. It remains a door he opened, and a room he only stayed in
briefly. His gentle nature and vulnerability came through on a horn that as noted
previously, could also cause people to jump the rails.
Coleman’s last known recorded moment on tenor came ten years later on“Feet Music” from the album In All Languages. The album reunited the original
Coleman classic quartet with Cherry, Haden, and Higgins. “Feet music” sounds likethe quartet dabbling in a Prime Time vibe, but Higgins doesn’t surrender to the52

As told to the author by DeSalvo.

33funk. Haden is very aggressive, almost playing independently. Coleman is in a verystraight blues space in an almost final return to his roots on the horn, completingthe cycle and thus achieving a final resolution of his relationship with the horn.
Dewey Redman (1931-2006) grew up in Fort Worth like Coleman, and after achance meeting in 1965 driving a taxi in San Francisco and picking up Coleman at
an airport just back from Japan, he ended up playing with and then joining
Coleman’s bands on tenor saxophone and recording seven albums. 53 Redman was
influenced by Coleman’s melodic approach more than anything else, and found it
daunting to share the stage with him.

Some nights he’d just be on fire, you know? He’d be playing his ass off, andhe always took the first solo, and when he got through playing sometimes there
would be nothing left to play. He played everything, the bebop, the avant-garde,
whatever. And I said, what the hell am I going to do, I play the saxophone too.54

Redman continued playing music written and inspired by Coleman
recording four albums with the band Old and New Dreams, with Don Cherry,Charlie Haden, and Ed Blackwell from 1976 to 1987. Redman’s son Joshua shared
the stage with Coleman at the North Sea Jazz Festival in 2010 playing “Lonely

53"Dewey Redman." The Independent. October 23, 2011. Accessed January 21, 2019.
https://www.independent.co.uk/news/obituaries/dewey-redman-414684.html.
54

Litweiler, A Harmolodic Life, 129.

34
Woman.”55 Joe Lovano played with Coleman at his Chelsea Loft.56 Lovano went too
far however at a Coleman European concert, walking onstage and playing without
discussing it prior, so that he could be seen playing with him.57 David Murray, Ravi
Coltrane, Antoine Roney, Branford Marsalis, and Henry Threadgill all joined
Coleman on stage in June 2014 at a celebration of his music.58

55

Videoservices, Gilaworks Internet- &. "Ornette Coleman Quartet - North Sea Jazz 2010
(part 1-5)." YouTube. July 05, 2011. Accessed January 21, 2019.
https://www.youtube.com/watch?v=IqAx1zXEIrw.
56
Rogers, John. "My Friend, Ornette Coleman." NPR. June 15, 2015. Accessed January 21,
2019. https://www.npr.org/sections/ablogsupreme/2015/06/15/414007418/my-friend-ornettecoleman.
57
As told to the author.
58

Mandel, Howard, Bob Gluck, John Litweiler, and Howard Mandel. "Ornette Honored andPlaying in Prospect Park June 2014." Jumper. March 09, 2015. Accessed January 21, 2019.
http://www.artsjournal.com/jazzbeyondjazz/2015/03/ornette-honored-and-playing-in-prospectpark-june-2014.html.

35

5. Trumpet“The saxophone is flawed in that it’s built like a scale. By its very
design it leads the person playing it into theory before ideas. Not thetrumpet. The trumpet is pure melody.”
Ornette Coleman

It’s important to note that as Coleman instructed me, part of Harmolodics
requires that as a horn player, you should play instruments tuned in Bb, Eb, and inconcert. The trumpet, alto saxophone, and violin matched his self-requirement. It
was during his retreat during 1963-1964 that he studied the trumpet and violin,
completely on his own and without any formal training. He formally played
trumpet in his return from self-imposed exile in 1965 with three weeks at theVillage Vanguard.59 Coleman’s use of the trumpet remains one of the mostcontroversial aspects of his career. For many musicians and listeners Coleman’s
moves out of bounds were something to be considered, and he was a fantastic alto
saxophonist and composer. The expansion to trumpet without formal training,
however, was crossing the line. Even today in 2019 people say they’re OK with
Coleman, except for the trumpet playing. There also remain Coleman loyalists,

59

Litweiler, A Harmolodic Life, 110-118.

36
musicians and others that feel quite the opposite and are genuinely touched by
Coleman’s work on trumpet. Nevertheless, the Coleman trumpet was derided fromthe top down. Hearing Coleman in 1968 on “Freeway Express” from the album The
Empty Foxhole in a blindfold with Leonard Feather, Freddie Hubbard said:
I could have done what Ornette was doing when I was five. Why should aguy study for years -study- trumpet, then see a guy come out on trumpet, and hegets a lot of popularity, like this, it doesn’t make sense.60
Miles Davis is well known for his condemnation of the Coleman trumpet,
citing Coleman as being jealous.
Ornette’s a jealous kind of dude. Jealous of another musician’s success. I
don’t know what’s wrong with him. For him- a sax player- to pick up a trumpet
and violin like that and just think he can play them with no kind of training isdisrespectful toward all the people that play them well. And then to sit up andpontificate about them when he doesn’t know what he’s talking about is not coolman.61

Both Hubbard and Davis felt disrespected by Coleman’s trumpet work. As atrumpet player myself, I have always had to move past my initial reaction tohearing it. The reality is that without formal training, Coleman often missed notes
and had a general instability on the instrument. The core issue is hearing music asa technical act versus hearing it as music. By playing trumpet, Coleman doubled

60 Feather, Leonard, and Ira Gitler. The Encyclopedia of Jazz in the Seventies. Da Capopress, 1987, 30.
61 Davis, Miles, and Quincy Troupe. Miles the Autobiography. Miles Davis with Quincy
Troupe. Simon & Schuster Paperbacks, 1989, 250.

37
down on his personal concept for better or for worse. He made a choice based on
his personal beliefs and relationship with music.
Coleman’s trumpet playing was formally introduced on record in 1965 at aconcert in Croydon England and appears on thirty-one recordings. Coleman neverplayed an entire record on trumpet, except for ionically one of his few appearances
as a sideman, on New And Old Gospel with Jackie Mclean, which I will fully
explore. As Ekkehard Jost explained, the Coleman trumpet started off as a “soundtool” and gradually transitioned to a melody instrument.62 The trumpet came close
to sharing the stage with the alto on live bootlegs in Europe in the late 60’s but
eventually took its place as a secondary instrument that would be used on one or
two pieces, or as brief interludes in the middle of alto solos. When I studied with
Coleman there was a Jupiter brand trumpet in his music room, but I never saw him
play it or asked him about it. Over the course of his discography, there are several
notable Coleman trumpet moments of musical significance.
At the live Croydon concert, the trumpet’s first hearing on record comes on“Falling Stars” with Coleman’s trio with David Izenzon on bass and Charles Moffett
on drums. After a blistering tempo is established and a violin solo (the violin’s first
appearance as well) Coleman starts off in the upper register at 3:50 quickly
establishing his peculiar articulation and seems to be more focused on trio

62

Jost, Ekkehard. Free Jazz. Da Capo Press, 1994, 64.

38interaction than anything else, and the drums take over at 4:40. At 5:22 he returns
again focusing on rhythmic hits until 5:44 when a mournful melodic mood
suddenly occurs that Izenzon immediately matches on bow. A melodic phrase
launches the trio back into fast swing at 6:11. The drums again take over at 6:32.
Coleman never plays a direct conventional solo from beginning to end with thetrumpet, as he seems to seek a different relationship between horn and rhythm
section, an effective assault on what he believed were the restrictions of roleplaying. The trumpet makes only one appearance on the record. “Falling Stars” isrecorded again on the next two live dates in Europe.
Coleman next plays trumpet on a movie soundtrack he wrote called Who’s
Crazy? The soundtrack was recorded as Coleman and his trio watched the 1966
film, about insane asylum inmates that escape their confinement and hole up in adeserted Belgian farm house. On “Changes” he opens with trumpet and plays athree-minute solo that vacillates between melodic phrases you might expect on
the alto, to rhythmic hits, to other random phrases that sound to me not extracted
from his world of melodic ideas. These moments sound like the alto melodic
content is knocking on the door but cannot get inside. The issue here in not about
Coleman’s ability to play the trumpet, it’s what he’s choosing to do with it. The
effect is not unlike someone with different personalities battling for dominance,
which certainly works with the theme of the film. In this context, the alto wasalways the dominant personality that ruled the others. The music also confirmsthat when the rhythm section is playing this well, the horn player can do just

39
about anything. When I played my trio recording Spiritual Power for Coleman, hesaid “One of the reasons you sound so good is the high quality of yourenvironment.” On the second LP of Who’s Crazy? on “The Poet” Coleman
improvises on trumpet from 14:00-19:00, and here is where the criticism fromtrumpet players would lie. Throughout, Coleman pushes into the upper registersof the horn where the trumpet is especially difficult, and Coleman lacks control.
Combined with excessive saliva which creates a gurgling sound effect, thetechnical effect is someone trying to play something they cannot. The musicaleffect however could be someone trying to exist on their own terms in a society
where they cannot relate. During these five minutes, Coleman asks the listener
who is crazy, thus you could say achieving his musical goal. Here we find the kindof music that defines much of the free playing happening today, both in New York
City and around the world.
Coleman’s next recording is a live date with his trio, the classic The Ornette
Coleman Trio at the Golden Circle, Stockholm. On “Snowflakes and Sunshine” hetrades with himself on violin and trumpet with Izenzon and Moffett switching theimprovised tempo into a different feeling each time. There is no discernable
melody present. Izenzon and Moffett play throughout and while Coleman switches
instruments, they fill in the space. Coleman charts himself the following course,
the timing being the amount of time he spends on the instrument improvisingaggressively.

40
Violin 1:30
Trumpet :40
Violin :40
Trumpet :30
Violin :40
Trumpet :60
Violin:60
Trumpet :60
Violin :60

Listening to the piece one can hear the influence on future musicians Roy
Campbell Jr. and William Parker. While Ray Nance played cornet and violin as a
double before Coleman, nobody prior had thought to switch back and forth
between instruments so rapidly. On this piece the improvisation is extended toinclude the use of the instruments themselves. Without stating a melody, Coleman
advances his idea that would later manifest formally as part of his philosophy ofHarmolodics, that the improvisation is the melody.
In 1966, Coleman returned to the studio for the first time in four years, now
formerly presenting the trumpet and violin on Blue Note with The Empty Foxhole.
On the title piece, Coleman records one of his most significant moments on thetrumpet. With the still controversial decision to have his ten-year-old son Denardo
on drums, and Charlie Haden on bass, Coleman plays a short ballad and plays a

41
melody with no improvisation. The simple melody combined with a march figure
from Denardo evokes a haunting feeling that takes the listener right to source ofthe music’s title and conception. Here, Coleman connects the trumpet to brass
instrument use in the military as an instrument associated with war. At the sametime, he evokes the human tragedy within that reality. In the liner notes, Colemanadds a poem to complete an almost perfect artistic statement.

The empty foxhole
men sleeping in the groundhoping to escape death
thinking of their children
and loved onesbury not the soulin a hole,whose life has yet
to exist

Coleman also plays a piece titled “Freeway Express” using the trumpet. Likethe live material in Europe, this is full bore improvisation but Coleman constructs
ideas and uses space very effectively. Denardo and Haden fill in the space. Ornette
adds a Harmon mute halfway through the 8-minute piece unexpectedly, thenremoves it to close, continuing his experiment in sound.

42
The trumpet was clearly on Coleman’s mind during this period. In 1967 hecomposed and recorded Forms and Sounds, a piece for woodwind quintet. In therecording with the Philadelphia Woodwind Quintet, Coleman plays solo trumpet
interludes that he says were written, but certainly contain elements of solo
improvisation. “Forms and Sounds” contains seven different completely solointerludes that connect a ten-section piece. The interludes are short ranging inlength from twenty to ninety seconds. They often sound composed initially before
opening up. Section six contains an alto like virtuosity, and section seven is all
blues. Coleman only joins the ensemble for the final seconds. He describes thepiece as using a technique he devised called improvised reading, allowing foroctaves to be selected by the musicians. The piece most often features what sounds
like independent movement by the voices, but a commonality and unity in ashared structure. The piece may have had its origin in an international unionnegotiation between American and British musicians where Coleman agreed to use
non “dance” musicians. Regardless, Coleman once again did something that wasnever done before and took the trumpet to a place it had never been.
Next, we come to one of the most interesting moments of Coleman’s career,a call from alto player Jackie McLean to join him on the Blue Note release New And
Old Gospel, recorded in March of 1967. When I asked him about this date, he told
me it meant a great deal to him that McLean called him. Coleman had been
ridiculed, vilified, and even condemned by fellow jazz musicians, but McLean not
only believed in his contributions as an innovator, but went a step further to43record and collaborate with him. The still remaining controversy is that Colemanplayed trumpet. Who made this decision, or took responsibility for it? McLean first
addressed the issue in the liner notes by Nat Hentoff.
When they heard about the date, a lot of trumpet players asked me why I
used Ornette on that instrument. Actually, he was willing to use any of his
instruments, but it seemed to me as we talked about the session, that we would
complement each other if Ornette focused on trumpet. It’s amazing how far
Ornette has gone in the last three years on that horn. I’m not about to compare
him technically to anybody, because that isn’t the point in Ornette’s case. The
point is how much he plays and the fact that what he plays is entirely him! If you
put on a record of Ornette playing trumpet, I could tell immediately that it’s him.63

Twenty-three years later, McLean revealed more to Kevin Whitehead in
Downbeat. He stated that he originally did want a two-alto date for the contrastingstyles, but that Coleman was focusing on trumpet. He still liked the recording, butthat week he had fights with trumpet players. Lee Morgan said to him “You want a
trumpet player? I’m a trumpet player.” McLean said it was Coleman’s concept that
attracted him more than his alto. McLean had a high compliment for Colemancalling him a hero, because he took a stand for something and stood his ground,taking all the pies that were thrown at him.”64Musically, Coleman is placed in a different position on the album. McLean called
Billy Higgins to play drums who knew Coleman well. Lamont Johnson on piano

63

See Discography: New and Old Gospel

64

Whitehead, Kevin. “Back On Earth.” Downbeat, Oct. 1990, pp. 21–22.

44
and Scott Holt on bass fully supported him in their playing. Coleman is effective
on “Lifeline” where McLean plays some of the most intense alto of his career. In afree ballad section of the suite, Coleman has a solo where he discovers acompletely new sound using a harmon mute. Coleman’s embouchure is not stable,
but the effect draws you into the heart of the sound of the free jazz movement.
“Lifeline” ends with a truly haunting free duo between McLean and Coleman.
Coleman’s exuberant “Old Gospel” follows, a rollicking piece that stands on its
own as a unique piece in the Coleman canon. Coleman also wrote the last piece“Strange as it seems” which Coleman describes as like being in love with someone
who doesn’t agree with your philosophy. McLean plays the lead melody and solo
and is clearly playing through a set of chord changes. Coleman uses the harmon
mute again and plays through the changes. Johnson and Holt support him but
listen closely for ways to interact with him by any means. New and Old Gospel is
the kind of album that needs to be listened to many times to fully digest andremains a singular unique moment in Coleman’s career, the only time he played
trumpet exclusively.
Coleman would continue to use the trumpet as an effective supplement to
his music overall, though the alto saxophone remained dominant. His use of thehorn seemed to have more impact when used less. He led the way on trumpet on“Love Call” from The Blue Note album of the same name with Jimmy Garrison on
bass and Elvin Jones on drums less than a year after the death of John Coltrane in
1967, with Dewey Redman on tenor saxophone. Coleman again uses a harmon

45
mute. He also plays a ballad he originally played with Don Cherry titled “Just For
You.” Both Coleman and Cherry were not technical masters of the trumpet, buthere the mood and feeling are conveyed as only Coleman could. Garrison
accompanies him with improvised arco. In 1968 Coleman recorded a ballad on
trumpet titled “Forgotten Children” live in Rome in February released on The
Unprecedented Music Of Ornette Coleman, with Ed Blackwell on drums and bothHaden and Izenzon on bass. Izenzon plays arco and Haden plays pizzicato. After alovely theme statement and Izenzon solo, Coleman again plugs in the harmon andplays like his work with McLean. Like the trio had done, Blackwell, Haden, andIzenzon continually hand the baton off to each other, continually coming up withnew ways to play as a group.
1969 found Coleman recording Ornette at 12 on Impulse, this time with
Haden, Redman, and Denardo, who was playing with more strength andconfidence. As was evident from The Empty Foxhole, Denardo had an almost
symbiotic rhythmic relationship with his father, able to shadow him extremely
closely. Coleman plays trumpet on “Rainbows,” with his established trumpet style,with a solo that contained flashes of the clarity and coherence often conveyed on
also saxophone. The next trumpet recording took place at Coleman’s Prince Street
Loft on “Let’s Play” from the album Friends and Neighbors, with Haden, Redman,
and Ed Blackwell behind the kit. Coleman is strong here, leading the band with thetrumpet as the dominant voice. He sings with the horn here, loud and in thehigher range of the horn.

46
Fast forward to December 1976 and Coleman recorded two duets on
trumpet with Charlie Haden on bass. Many Coleman fans consider these duets tobe some of the brightest moments of his career, and perhaps the apex of his workon trumpet. Coleman recorded “The Golden Number” on the album of the same
name for Horizon, an album of Haden playing duets with different musicians. The
piece is a ballad and speaks to the unique musical bond shared between them.
Without drums, it’s clear that Haden could support Coleman like nobody else
having such a deep, intrinsic relationship with his process. Coleman’s techniquehadn’t changed, but his sound is clearer, and he plays with a vulnerable lyricism.
The piece lasts a full twelve and half minutes with the heart-felt melody played atboth bookends. In January 1977 on Artists House, Coleman continued theconversation with a full album of duets with Haden on the album Soap Suds. He
plays trumpet on the final piece, a ballad titled “Some Day.” Coleman is as
expressive here as he is an any of his alto ballads. The sound of the music could
have only come from him. Again, Haden instinctively knows when to change thetempo, as if they shared one musical mind. Coleman makes his final argument for
the trumpet and proves his case here. It was never about the technique, but always
about the music itself, and the humanity within.
Coleman’s trumpet would not appear again for a full eight years. In 1985 thetrumpet made a brief appearance at the end of an album Opening the Caravan ofDreams with Coleman’s free funk fusion unit Prime Time on a track titled“Compute.” His technique is intact, but the different environment doesn’t change

47
his trumpet style in a short solo. On Virgin Beauty in 1987, the trumpet is usedsparingly on two tracks. It serves an ensemble function, overdubbed on “3 Wishes,”
and again as an overdub improvisation during an alto solo on “Desert Players.”
Again in 1987, Coleman was in Hamburg for a reunion concert with Cherry,
Haden, and Higgins. On the opening piece “Chanting” Cherry and Coleman bothplay trumpet, trading a melodic line back and forth in a fascinating contrast of
their sounds and styles. The track only lasts two and half minutes, but Coleman
again found something artistic to do beyond just he and Cherry both playing thesame horn. Coleman continued to use the horn in brief interludes, sometimes
during the middle of alto solos as he did on Sound Grammar in 2005. The horn waslast recorded live in Genoa, Italy in 2010 in this capacity.
Focusing on Coleman’s relationship with the trumpet must of course also
include his collaboration with Don Cherry and Bobby Bradford. Cherry will forever
be associated with Coleman after starting to play with him in 1958, and thenplaying on the classic Atlantic albums on pocket cornet. Cherry originally wasmentored by Clifford Brown in Los Angeles and was playing straight ahead before
he became a student and ally of Coleman.65 Cherry plays on fifteen albums with
Coleman plus several bootlegs. His playing with him and unique style led him tobe the first call trumpet player of the avant-garde period of the sixties. Cherry
recorded with every major tenor saxophone player of the period, recording with65

Silsbee, Kirk. “Don Cherry Interview.” Cadence, 25 Apr. 1984, pp. 5–11.

48
John Coltrane, Pharoah Sanders, Albert Ayler, Sonny Rollins, and Archie Shepp.
Bradford had a harder time connecting with Coleman, recording on cornet on two
albums that also have Cherry, Broken Shadows, and Science Fiction. Coleman wrote
a full symphonic work that featured Bradford called Sun Suite of San Francisco thatwas not recorded.66 It is my hope that both Cherry and Bradford will be fully
researched.
Coleman also composed for the trumpet, specifically a chamber ensemble
piece titled The Sacred Mind of Johnny Dolphin, written in honor of John Allen,also known as Johnny Dolphin, who formed and ran the organization Caravan ofDreams.67 The piece has been performed at least four times featuring Wilmer Wise
in 197468, Wallace Roney, who spent some time with Coleman directly, replacing
Don Cherry after his death for a period, in 1984,69 Lew Soloff in 1987,70 and Seneca

66

Litweiler, a Harmolodic Life, 130.

67

Ibid, 189.

68

“Wilmer Wise: Be Sure Brain Is Engaged before Putting Mouthpiece in Gear. Greenleaf
Music - Dave Douglas Jazz Blog and Store, 4 Jan. 2010, Greenleafmusic.com/wilmer-wise-be-surebrain-is-engaged-before-putting-mouthpiece-in-gear/.
69

Holloway, Keenan. “Wallace Roney - Biography.” Wallace Roney: The Official Site About,www.wallaceroney.com/bio.php.
70

Holland, Bernard. "JAZZ: ORNETTE COLEMAN AT WEILL HALL." The New York Times.
March 18, 1987. Accessed December 30, 2018. https://www.nytimes.com/1987/03/18/arts/jazzornette-coleman-at-weill-hall.html.

49Black in 2017 after Coleman’s death.71 There has been no formal recording. In
addition, trumpeter John Marshall spent time studying with trumpet with
Coleman in the 70’s.72 Trumpeter R.J. Avallone spent three years studying andplaying trumpet with Coleman, six to eight hours a day, five days a week, for three
years, though they never recorded.73 The author does not consider trumpeter
Jordan McLean’s trumpet playing on the unauthorized release with Coleman titled
New Vocabulary relevant to the discussion. On a final note, Coleman also recorded
one time with a suona, a kind of wooden oboe with a distinctive loud and highpitched sound and could possibly be a musette. The piece was called “BuddhaBlues” from the album Love Revolution, live music recorded in Italy in 1958.74

71"Lincoln Center Festival: Ornette Coleman's Chamber Music at Stanley H. Kaplan
Penthouse." ZEALnyc. May 30, 2017. Accessed December 30, 2018. https://zealnyc.com/lincolncenter-festival-ornette-colemans-chamber-music-at-stanley-h-kaplan-penthouse/.
72

As told to the author by saxophonist Daniel Carter, who was present.

73

As told to the author by Avallone. I met him at Coleman’s Chelsea loft in 2005.

74"Ornette Coleman - Buddha Blues." YouTube. November 17, 2010. Accessed January 03,
2019. www.youtube.com/watch?v=BJePdnUbwc.

50

6. Violin

During the period Coleman developed his trumpet playing, He undertook
teaching himself violin as well. His violin playing remains controversial, but not asmuch as the trumpet. Coleman’s use of the instrument was even further fromconventional use to the point that it was difficult to perceive in any standard way.
Coleman almost always played the violin with an almost frenetic assault of sound.
After he returned from his self-imposed exile and played the Village Vanguard inJanuary 1965, now with the trumpet and violin in tow, Dan Morgenstern from
Downbeat was present and offered his perspective.

Coleman attacks (there is no better word) the violin with intenseconcentration. His bowing technique is unorthodox. A rapid, circular arm motionthat almost enables him to touch all four strings simultaneously. Coleman rarely
plays one string at a time. He produces a cascade of sound, sometimes surprisingly
pleasing to the ear, sometimes almost abrasive, but never with the scratchy
uncertainty of incompetent violinists. He seems to have tuned the instrument in
his own manner.75

Coleman provided more insight on his decision to develop the trumpet andviolin in the process of his construction of his most well-known symphonic work,75

Litweiler, A Harmolodic Life, 113.

51
Skies of America. Coleman was having trouble with classical musicians playing
certain passages. He decided to get a trumpet and violin to see if he could playwhat he was hearing and would then play parts to show that they were possible.
Coleman may have played some bassoon and guitar with this goal in mind but
didn’t develop on them enough to formerly use them in action. Coleman played
bassoon at Avery Fisher Hall in 1978.76 He also played it at the Newport Jazz
Festival in the mid-seventies as witnessed by saxophonist Tim Price.77 No known
recordings exist.
Further perspective on the Coleman violin comes from John Litweiler,seeing that Coleman was not just bypassing jazz tradition at this point, but wasalso moving beyond Western musical traditions overall. Here Coleman could
attempt true spontaneous playing, or Coleman as would say, music played without
memory. Coleman elaborated that the concern musicians have for proper
intonation can restrict you from emotions available to non-tempered
instruments.78 Coleman told legendary saxophone repair man Robert Romeo thatthe reason he liked a Bundy stock mouthpiece was that it was both flat and sharp
at the same time.79

76

Ibid, 164.

77

As told to the author.

78

Ibid, 118.

79

As told to the author.

52
Critic Max Harrison went further in his perception of the Coleman violin:
He sounds less civilized, more complex, showers of notes well up with little
conscious supervision. Like Charles Ives and John Cage, the music appears tomirror life’s flux rather than subject it to a personal and arbitrary order. Coleman’s
violin may represent an indeterminacy as drastic as Cage.80

Coleman is listed as playing violin on twenty-two recordings in the Tom
Lord Jazz Discography. He used it less frequently than the trumpet, and neverfeatured the instrument exclusively. Unlike the trumpet, there are no momentsthat stand out with melodies written with the instrument in mind. During 1965 theviolin was played live in Europe in much the same way as the trumpet from the
Croydon concert, Who’s Crazy? and Live at the Golden Circle in Stockholm. 1966
brought the official first studio focus on the violin on a piece titled “Sound
Gravitation” from The Empty Foxhole. In the liner notes Coleman wrote:

Sound Gravitation
Hear a sound-feel a soundSpeak a sound-play a sound,
All the gravitation of
Silence80

Ibid, 118.

53

After a spacious entry Coleman begins his assault. Within the first two
minutes it’s impossible not to hear his influence on most violin players engaged in
improvisation in 2019. As with his trumpet playing, Coleman’s violin gives him a
new way to relate to the musicians he is playing with. For seven minutes heengages Denardo and Haden, almost like a game to see how close they can follow
him. The improvisation ends abruptly with no reference to a melody or ending,
Coleman having dipped his toe into the abyss. In 1968 Coleman featured the violinon “Bells and Chimes” for seven minutes with Denardo and Haden again, alongwith Dewey Redman on Ornette at 12 on Impulse. Coleman increases tension by
floating in and out of higher ranges, getting Redman to join him in an almost
ecstatic but nervous expression. The rhythmic pace is relentless with little or nospace except to continue to dare Redman to join him on the outside. Colemanends the piece by repeating a note several times as a simple way to exit. In 1970,
Coleman launched into a violin improvisation with an urgent sustain and zero useof space that sounds like a hoe-down in space over a seventies type groove
following a street type choir singing his piece “Friends and Neighbors” from his loft
at 131 Prince Street. After an eleven-year break Coleman returned with the violin in
Prime Time in 1985 on “Compute” from the album Opening at the caravan ofDreams. The violin solo mid-way sounds like an electric model. Prime Time brings
an entirely different environment with multiple grooves, but Coleman plays almost
entirely the way he’s always played it. The effect is startling, and the audience54
certainly enjoyed it based on the response audible on the recording. The violin
returned to another unique environment in 1985 on “Mob Job” from the album
Song X with Pat Metheny. Over a relaxed, loping groove, Coleman again plays
sawing textures with some unusual simultaneous plucking for a minute and thirty
seconds. Metheny stayed out of the way for the most part. He uses the alto to playthe opening and closing melody. In 1986 Coleman can be seen playing both violin
and trumpet with Prime Time at the Live Under the Sky Festival.81 In 1987 during
the fore mentioned quartet reunion concert The 1987 Hamburg Concert on “TheSphinx” Coleman played an unlisted violin improvisation that Don Cherry floatedover with a Harmon mute with a restrained spacious improvisation creating aninteresting effect in contrast to the Coleman wall of sound. The moment sounds
spontaneous. In 2005 on Coleman’s Sound Grammar on “Song X” to close the live
concert in Germany at six minutes in, Coleman summons the violin and plays overtwo bass players, Greg Cohen and Tony Falanga. With Denardo establishing analmost Prime Time type groove, the string players launch into a very aggressive
group improvisation. Coleman seems to be soloing on top more than creating agroup sound improvisation and the crowd loves it. Closing the concert this way,
Coleman appears as a magician who could summon another instrument and play it

81

LightningTrident. "Ornette Coleman - Dancing In Your Head (live)." YouTube. January
25, 2008. Accessed January 03, 2019. https://www.youtube.com/watch?v=72SVN9sO4P4.

55
at will. The Coleman violin made its last official appearance on a non-official
recording live in Genoa Italy in 2010.
While Coleman never played straight melodies on the violin, he would
write them for the instrument. His symphonic work Skies of America of course
contains violin parts. His string quartet piece Prime Design/Time Design in 1985
opens with a Coleman melody for violin as clear, haunting, and heartfelt asanything he ever composed. Coleman collaborated with violinist Tom Chiu who
assisted Coleman as a self-described musical director for work with strings for 12
years, though they never recorded together.82 Coleman composed a violin fantasy
specially for his friend Malcolm Goldstein titled “Trinity,” recorded by Goldsteinand Jennifer Koh. The piece contains three sections, the last titled swing, and lasts
six and half minutes. The music sounds like the Coleman melody that many people
always wished he would have always played on violin himself. The music is so wellthought out that it could be considered a form of classical perfection, anothersingular unique moment in Coleman’s career. The music is simply stunning when
hearing Koh play the piece with genuine emotional honesty and vulnerability. In
this way, Coleman may have planted the seeds for future deepening intimate levelsof emotional expression in classical music that have seemed out of reach prior to
his arrival. Coleman opened the door to abstract improvisation on the violin
inspiring countless musicians on the instrument ever since.

82

As told to the author by Mr. Chiu.

56
At the author’s request, violinist and composer Jason Kao Hwang, one of
the leading improvisors worldwide on violin for many years now in 2019, provided
his thoughts on Coleman’s violin.

I am grateful to Ornette for his passionate, life affirming music. As aviolinist, I’m inspired by his fantastic imagination and individualism that wasrooted in culture and history. Unconcerned with the European classical tradition,
he brought the sound of the violin into his personal voice. I think that because he
was able to resonate such a cornucopia of overtones within a single note of his
alto, he must have enjoyed how easily the violin offered him all the microtonal
vibrations between those overtones. As a great blues musician, his horn would sing
all the notes and all the notes between the notes. The violin, unimpeded by a
Boehm keyboard, must have felt like a great gateway to his infinite harmolodic
continuum. I met Ornette in his loft around 1982. He told me how much heenjoyed playing the violin.83

83

As written to the author in March 2019.

57

7. Piano

Coleman and his relationship with the piano have long been a reference
point for understanding his relationship with music overall. Most scholars agree
that when he dispatched with it on his second album as a leader for Contemporary
Tomorrow Is The Question! he took a huge step forward towards his own music,
free from the piano establishing chord progressions. On this album, Coleman is
not yet playing entirely free harmonically. Red Mitchell and Percy Heath on bass
(on different pieces) are playing distinct harmony. The absence of the piano
creates more room to move, and on the improvisations, Coleman seems almost
restless, knocking on the door to his next album The Shape of Jazz to Come on
Atlantic where his concept to improvise harmony as well as melody came together.
Coleman himself played piano and had a keyboard in his music room when I
studied with him. He was recorded playing solo piano in 1971 at Jazz Stage Berlin.84
In a 5:30 improvisation, Coleman sounds like he’s improvising Thelonious Monk
harmony, with occasional right-hand flurries that move from Cecil Taylor typeimprovising to textures like his violin work.

84

Guy, Jazz Video. "Ornette Coleman Solo - Rare!" YouTube. November 28, 2015. Accessed
January 03, 2019. https://www.youtube.com/watch?v=czS2RlmsGY4&t=324s.

58
Research on Coleman and the piano begins with pianist Walter Norris (19312011) from Coleman’s first album as a leader on Contemporary, Something Else!!!!
The Music Of Ornette Coleman. At 28 years old, Coleman was still tied to chord
changes and playing in environments where the idea of harmonic freedom was not
something anyone had fully pursued or was entirely comfortable with. Norris
explained what happened on this recording to Ted Gioia:
I read this book that suggested that I was forcing Ornette to play changes
on this session. But in fact, this was what we had agreed on at the rehearsals, twoor three times a week for six months. For example, we agreed on using “I Got
Rhythm” changes-Ornette was used to playing over those changes, and he was able
to be very free in that setting. I was listening to what he was doing and opened mycomping in response.85
Coleman confirmed in the liner notes to the album telling Nat Hentoff how
he writes the melodic line first as several different chords can fit any melodic line.
Coleman went further saying he preferred new changes on every chorus. On therecording the chords were some of his and some of Norris and Don Payne on
bass.86 At issue is the practice of comping. How can a pianist provide a harmonicoutline or blueprint so organically? Coleman always fought against role playing in
his music, and the piano was the first instrument under assault to find a different
relationship. Music based on group intuition removed the piano’s expected roleand function, forcing every pianist to play with Coleman to find a new85

Gioia, Ted. West Coast Jazz: Modern Jazz in California, 1945-1960. Berkeley, CA:
University of California Press, 1998.
86

Gioia, West Coast Jazz, 354.

59
relationship. They all seem to take a slightly different position. Norris, sitting
directly on the line that Coleman was crossing, handles this challenge not only
amicably but with a fair amount of strident, committed work. He sounds like heshould be there as Coleman was beginning his eventual transition to working
without a piano for the majority of his work.
Paul Bley (1932-2016) was next to play piano with Coleman on the Live at the
Hillcrest recording in 1958. On this live recording Coleman is much moreaggressive in his concept. Bley often suggests form and harmonic structure where
it would or should be, though Coleman is not adhering to strict form. The feeling
he and Charlie Haden create is playing as if changes are there, though they are notbeing played. The music is not an imitation, but like playing with the safety net
removed. In Bley’s solo on “Klactoveedsedstene” he constructs lines freely thatwork in the context, at times sounding like Coleman. Haden and Higgins drop out
leaving Bley alone where he continues the feeling and seems to veer off into his
own song. Bley does suffer during horn solos from poor audio. On Coleman’s “TheBlessing” both Coleman, Bley, and Haden sound like they’re playing Coleman’s
original changes. After Bley lays out, Coleman ventures outside and Haden walks
the line between the original source and organic intuition as only he could. During
Cherry’s solo, Bley and Haden seem to create new changes before going back to
the original ones. On his solo, Bley goes his own way leaving Haden left to hold on
to the form, who eventually lays out. Bley starts playing the melody in different

60
keys to bring everyone back. Bley was not only ready to work with Coleman, he
was an ally, co collaborator if not conspirator.
Next in 1959, Coleman was captured at the Lenox School of jazz. On a tightarrangement of Coleman’s “The Sphinx” pianist Steve Kuhn (1938- ) maintains the
opening thirty-two bar rhythm changes structure, but plays modally on the A
sections, and plays alternate changes on the bridge. On his solo, Kuhn plays astatic, repeated harmony on the bridge, and sounds like Bud Powell comping on
the bridge, and does not construct lines. The bass player Larry Ridley plays a loose
version of rhythm changes, choosing to follow Kuhn more than Coleman. Colemannext plays on a tune with chord changes that he did not write titled “Inn Tune.” Hetakes a brief solo and plays the changes by pianist Ron Brown, yet still sounds likehimself. In a straight-ahead big band arrangement of a piece titled “To Thee, O
Asphodel” Coleman solos briefly with pianist David McKay. Coleman plays inharmony and context at the start of his solo, and as he starts to veer off the path,
McKay takes what Coleman plays and follows him with it, ready to jump off thecliff with him, another ally who was using a technique Butch Morris taught as partof his live conduction process many years later. On “Blue Grass” Coleman takes
four choruses dipping into his rhythm and blues sound, and McKay stays on form,
but is a busy player more interested in playing with Coleman than for him.
Bill Evans (1929-80) played piano with Coleman on a Gunther Schuller
arrangement of Thelonious Monk’s “Criss Cross” in December 1960. After Colemansolos for one minute, Evans joins with dissonant out of time comping and even61
adds in Monk’s “Misterioso.” Evans chords do not appear related to Coleman anddo not have definitive tonal centers. They could both be playing off the melody
simultaneously. Eric Dolphy follows on bass clarinet and he and Coleman briefly
play together. Evans expands and tries to comp for Dolphy with irregular andextended dissonant tonal implication. In the end the piece sounds more like
Schuller music than Monk or Coleman as they are consumed by the arrangement.
Lamont Johnson (1941-1999) was next in 1967 in the record discussed previouslywith Jackie McLean New and Old Gospel. Next in 1972 Cedar Walton (1934-2013)
appeared on Coleman’s Columbia album Science Fiction. Walton comps on a
crowded harmolodic blues titled “Good Girl Blues,” a vocal sang by Webster
Armstrong with Jim Hall on guitar and even an added woodwind quintet. Walton
is more prominent on a ballad vocal featuring Armstrong that Coleman wrote
titled “Is It Forever,” with the same personal. The piece seems to be fully arranged
with Coleman chord changes that Haden and Walton adhere too, but Coleman
and Dewey Redman are very free on top of everything happening. Walton fully
participates and sounds like himself but is hard to hear and is given little space.
Throughout the 1980’s no piano is heard in Coleman’s world on recordings. Pianist
and keyboardist David Bryant joined Prime Time during the 80’s and recorded onTone Dialing in September 1995. Bryant was an avid student of Coleman and wasfeatured to great effect on a piece titled “Kathelin Gray,” fully discussed later in thethesis. In a solo opening feature on a keyboard with a piano sound, Bryant plays
both the melody and chords in a way that demonstrate he was the first pianist to62
fully embrace Coleman’s concepts and then apply it the keyboard. With aprodigious technique, Bryant fearlessly finds a way to partially bring the pianoback to its supporting original role, but with Coleman’s relationship to harmony asa basis. To achieve this, Bryant spent countless hours playing with Coleman,though they did not get to record more often. Bryant continues to play this way
today in 2019. I spoke to him about Coleman’s relationship with harmony.
Ornette didn’t like smooth voice leading. So not only did he not feel a needto practice smooth voice leading by way of theory rules or just by ear resolution,
Ornette didn’t like it, had an aversion to it, wasn’t concerned with it, or more likely
was interested in what was there if you didn’t do it. Sometimes Ornette would
simply suggest a triad with a melody note on top and would say he didn’t want
chord progressions, he wanted sounds.
He never spoke of scale degrees past a 7th and would juxtapose chords withthe two guitar players in Prime Time playing different chords at the same time. He
would continue his attack in rehearsals asking, “What’s a passing tone?” andexclaiming that “There’s no such thing.” Ornette would say “If I want to go
somewhere, I just do, I don’t need a connection.” He would also say “Chords are
just notes. Any two triads have a common tone or are separated by a half step.

Bryant added that in his improvisation, Coleman practiced a fearless
modulation based on trust and intuition. He was methodical in working out thesemusical relationships. There were 20-25 takes of “Tone Dialing” before Coleman
was satisfied. He did have rules of what did work and what didn’t. He didn’t likeweak phrases and believed certain intervals had more power. At times Coleman
told Bryant that what he was playing was Harmolodic but was weak. To work out
these issues, 12-14 hours a day of playing together as a group were required. As
mentioned earlier in the chapter on Charlie Parker and Coleman, Coleman also
told Bryant that he believed three compositions gave you everything you needed to63know about Bebop. Bryant said that Coleman spoke more about Bud Powell than
Thelonious Monk.87 In regard to Monk, the author sat with Coleman and listened
to a Thelonious Monk birthday radio broadcast on WKCR for several hours
without speaking. Peter Katz told the author he saw Monk and Coleman attending
a concert together in the early 70’s. Finally, photographer Dee Kalea told theauthor that when she was young, Coleman was seeing her mother and at her housethey had a piano. Monk arrived at 3am and woke them all so that he could play it!
Fast forward to 1996, the most significant year of Coleman’s career
regarding the piano. Coleman recorded two CDs of the same compositions
sounding differently, Three Women and Hidden Man on Harmolodic/Verve. He
used the same band, featuring Geri Allen on piano, with Charnett Moffett, thevirtuosic son of the drummer Charles Moffett from his great trio, on bass, andDenardo on drums. Allen was given the rare distinction to play with Coleman inthis context. She abandons any notion of the piano doing any role playing andplays without trying to dictate or establish any specific harmony. She is notcomping in any sense but plays in the ensemble as an equal member as Coleman
explained in the liner notes. Allen’s playing doesn’t sound intrusive or in conflict.
Moffett plays with the group with more technique than any previous bass playerand doesn’t hold back, improvising constantly, but always within the context of87

The author interviewed Dave Bryant by phone in September 2017 following with a live
performance in Cambridge, Massachusetts in November 2017

64
the piece. On “Home Grown” from Three Woman Allen enters what might havebeen a solo but becomes three simultaneous improvisations happening together
without Coleman. On the same piece on Hidden Man, Moffett walks and Allen
constructs lines freely. Coleman’s concept of equality is maintained as his alto feels
more like he’s participating than soloing. Allen plays without Coleman for the
opening of “Mob Job” and plays for several minutes with Moffett and Denardo
playing very aggressively but very differently on both CDs, both times shattering
the idea of a role-playing completely. Coleman’s violin appears on “Sound
Museum” and the trumpet appears on “Women of The Veil.” Throughout, Allen
and Coleman are never engaged in true solos. Coleman took what he was doing
during the sixties and pushed it further, while adding the piano into an
environment that it hadn’t been prior. Coleman also guested on two fantastic duos
with Allen on her own album Eyes…In The Back Of Your Head. They played twopieces, “The Eyes Have It,” and “Vertical Flowing,” continuing the exchange theyshared during Coleman’s records on a more musically intimate basis. In the duo
environment, Allen establishes the melodic space while simultaneously
improvising with and without Coleman at the same time.
In the same year Coleman recorded the live album Colors with German
pianist Joachim Kuhn. He had planned a duo album with a pianist much earlier in1964 spending three days playing with pianist Jack Wilson, planning to only play65
trumpet and violin, but the album never came together.88 Kuhn, fourteen years
younger than Coleman, met him in Paris in the early nineties. Coleman flew himfrom Ibiza to New York several times a year, renting a Steinway grand piano. They
would play for a whole week, fourteen hours a day. Kuhn combined a system of his
own called “diminished-augmented” with Harmolodics. Coleman was quoted assaying "He doesn't come from jazz; he comes from music." Kuhn was interviewed
in 2019.
From 1995 to 2000 I was able to play 16 concerts with Ornette. Before eachconcert, he wrote ten new songs, which we had worked out and recorded in his
Harmolodic studio in Harlem for a whole week. Since he wanted me to supply the,as he called it, cards (sounds) for his melodies, I was directly involved in thecomposition process. After the concert, these pieces were never played again. Now
I am the only one who has all the recordings and the sheet music of the 170
pieces.89

For Colors, Coleman wrote twelve and recorded eight new compositions forthe concert. Throughout the live concert recorded in Kuhn’s hometown of Leipzig,
Germany, Coleman and Kuhn often do not directly interact harmonically but are
on separate melodic improvisational paths. Kuhn often takes on the role of playing
somewhat extended solo sections, as the two-way independence seemed moredifficult to sustain. On “Refills” Kuhn used his right and left hands somewhat

88

89

Litweiler, A Harmolodic Life, 113.

ACT Music - In the Spirit of Jazz. "Joachim Kühn." ACT Music. Accessed February 18,
2019. https://www.actmusic.com/en/Artists/Joachim-Kuehn/Melodic-Ornette-Coleman/MelodicOrnette-Coleman-CD/Produkt-Info-Melodic-Ornette-Coleman.

66
independent of each other, working on two not completely related ideas at thesame time. The trumpet appears for some brief spacious call and response, thenafter total silence the alto erupts. On “Story Writing” the violin appears. Colemanplays melodically with the nature of the piece as written at times but stays within
his usual violin sound methodology. On both instruments he responds differently
as Kuhn suggests an entire alternate harmolodic universe. “Night Plans” is a slowerand heartfelt ballad with more space than the rest of the music. Kuhn follows
Coleman here more, instead of speaking at the same time, though that’s notnecessarily a bad thing in Coleman’s world. Colors stands as a unique document.
Kuhn’s dense, more orchestral approach contrasts Geri Allen’s work. He is also the
only person to record a full duo album with Coleman other than Charlie Haden. In
February of 2019, Kuhn will release a solo recording of the pieces he used to playwith Coleman that were never recorded called The Melodic Ornette Coleman.90
Beyond Colors are more piano players that worked with Coleman but were
never recorded. Kenny Barron joined Coleman in 1997 at Lincoln Center, looking
for a way into his world. Wallace Roney also played with Coleman in this group.91
Don Friedman played with Coleman in back in Los Angeles, though the exact timeis unclear. Friedman considered Coleman a natural or ear player not interested in

90

91

Ibid

Ginell, Richard S. "Ornette Coleman." Variety. July 15, 1997. Accessed January 03, 2019.
https://variety.com/1997/music/reviews/ornette-coleman-1200450526/.

67
the intellectual world of chord progressions.92 In the mid 50’s He spent a week
playing with Coleman at club in Vancouver, Canada on a gig that that Don Cherry
originally acquired. When pressed by Dr. David Schroeder at NYU about Coleman,Friedman almost seemed agitated by the question. He claimed Walter Norris told
him he had to rewrite Colemans music in order to play it and was especially harsh
on Denardo’s playing. Friedman said Coleman’s music was written wrong so hewould spend a whole day teaching Cherry the music by ear. A devout practitionerof playing straight Western harmony, he said Coleman wrote weird music andspoke in strange ways adding that “he did what he was capable of.”93 In the liner
notes to Soap Suds Coleman speaks of an all-night session where he played withboth Cecil Taylor and Bud Powell switching off at the piano bench, and evenmentions playing with Eubie Blake! Regarding Powell we have more evidence froma story that Coleman knocked on his door and said ‘Good morning, Mr. Powell. My
name is Ornette Coleman. I’m a saxophonist and all my music is based on theintervals and changes of the sevenths in your left hand.’94

92 ArtistsHouseMusic. "Jazz Pianist Don Friedman on Playing With Ornette Coleman and

Chet Baker." YouTube. September 13, 2011. Accessed January 03, 2019.
https://www.youtube.com/watch?v=CZPbv5_qVe0.
93

Studies, NYU Steinhardt Jazz. "Conversations with Don Friedman." YouTube. September
23, 2016. Accessed January 13,2019https://www.youtube.com/watch?v=NRgSqW_VxOA&feature=youtu.be.
94"For Bud Powell's 87th Birthday, A 2004 Bud Powell Homage in Jazziz." Today Is The
Question: Ted Panken on Music, Politics and the Arts. June 16, 2014. Accessed January 03, 2019.

68
Charles Farrell is a boxing promoter and avant-garde piano player known
for working with Evan Parker. He became friends with Coleman and attempted
collaboration with him but was frustrated by the experience. He wrote openly
about his experience online. Farrell takes the unusual perspective of drawing
attention to his perception of Coleman’s inadequacies, citing difficulty inconnecting with him musically. He claims the music often didn’t function and that
he walked out of a session with bassist Henry Grimes based on the musicaltension. Farrell couldn’t comprehend Coleman’s musical theories but was able toconnect when he sought out a more musical human connection through the blues.
In an odd experiment Coleman and Farrell attempted to play like a duet recordthat Farrell did with Evan Parker so that Coleman could explore his own
boundaries. Farrell is an unusual person and their friendship displayed Coleman’s
humbleness and desire to explore his own practice even in his later years.95
Ellis Marsalis played with Coleman in his formative days in his 1956, driving
Ed Blackwell to New Orleans and spending two months with Coleman.96 While

https://tedpanken.wordpress.com/2011/09/27/for-bud-powells-87th-birthday-a-2004-bud-powellhomage-in-jazziz/.
95

Farrell, Charles, and Charles Farrell. "Playing With Ornette." The Concourse. June 16,
2015. Accessed January 21, 2019. https://theconcourse.deadspin.com/playing-with-ornette1711507776.
96

Mandel, Howard. "Reasons to Be Cheerful: Wynton Books Ornette." Jumper. April 28,
2011. Accessed January 21, 2019.
https://www.artsjournal.com/jazzbeyondjazz/2009/03/reasons_to_be_cheerful_wynton.html.

69
trying to adapt to the concept, he recalled a moment where they came together.
Alvin Batiste was also trying his hand at playing piano with Coleman.
Both of us were playing piano. I started a cycle of seventh chords, justmoving them up the scale, up the piano chromatically, and Ornette said, ‘That’s it!
That’s it! Keep playing that!’ I didn’t really understand what I was doing, but
Ornette related to it. I had forsaken the rhythmic responsibilities of the group in
favor of trying to play harmonically what Ornette was hearing and trying to hear
myself what was going on.97
Adam Holzman played probable overdubbed keyboard with Coleman on
three tracks on a recording that was made in 2009 titled New Vocabulary. The
recording was in legal dispute as the Coleman estate was never consulted about
the legitimacy of its making. The musical exchange is inconsequential.98 Finally, I
know three pianists who played with Coleman in his music room in Chelsea,
Manhattan in the early 2000’s. Dr. Lewis Porter, Casimir Liberski, and Joel Lacardi.
Porter met with Coleman several times in his Chelsea loft and used his digital
keyboard in his music room.99 Liberski spent a great deal of time studying andplaying with Coleman during the last decade of his life, but like R.J. Avallone, wasa serious student but did not record.100 Lacardi was present when the author

97

Wilmer, Valerie. ""Alvin Batiste and Elvin Marsalis"." Coda, June 1980.

98

Tsioulcas, Anastasia. "Update: Suit Over Ornette Coleman's 'New Vocabulary'
Dismissed." NPR. May 27, 2015. Accessed January 21, 2019.
https://www.npr.org/sections/therecord/2015/05/27/410065414/ornette-coleman-sues-over-newvocabulary.
99

As told to the author.

100

As told to the author.

70
arrived at a Coleman study and practice session in 2005. He seemed to know all of
Coleman’s music by memory and played with incredible fluency. They clearly had
an established musical history and relationship. Finally, pianist Yoichi Uzeki
played with Coleman on a session led by bassist Jamaaladeen Tacuma, and said hefelt he could play freely and not worry about whether his notes were right orwrong.101 Bobby Zankel told the author that pianist Joanne Brakeen spent timewith Coleman in Los Angeles, though it remains unclear what the nature was of
their exchange. In all of Coleman’s time spent with pianists, he confronted his
relationship with harmony in the extreme, no different than a scientist trying tocure a disease. Coleman was in a sense, an experimental music scientist who neverstopped looking for evidence of his own musical truth. In playing with pianists, hecreated an environment within his own musical world where he sought out directconfrontation between himself and the function of sound on multiple levels.

101

As told to the author.

71

8. Guitar

Coleman’s first known collaboration with guitar in his own music first
appeared on “Blues Misused” an unissued piece from his self-produced Town Hall
Concert in 1962. Written for alto saxophone, guitar, piano, two basses, and drums
we only have a review from Bill Coss in Downbeat to describe the music. Cossdescribed it as “a sometimes historical, sometimes satirical, sometimes plain funny
piece that exhibited the best and worst of rhythm and blues.”102 The pianist,
guitarist, and second bassist remain unknown. Coleman explained some of his
perspective on guitar to John Litweiler.
Guitar has a very wide overtone. One guitar might sound like ten violins interms of strength. You know, like in a symphony orchestra two trumpets areequivalent to twenty-four violins. So, when I found that out, well, I’m going to see
if I can orchestrate this music that I’m playing and see if I can have a larger soundand it surely did. So, about 1975 I started orchestrating the same music that I was
playing, that I’ve always written, for the kind of instrumentation that I wasusing.103

Guitarist Jim Hall (1930-2013) was present on "Variants on a Theme of
Thelonious Monk (Criss-Cross)" arranged by Gunther Schuller from Jazz
Abstractions recorded in 1961. In the final minute of the arrangement Hall is

102

Litweiler, A Harmolodic Life, 104.

103

Ibid. 157.

72
present for a group improvisation where Coleman and Eric Dolphy are present. He
returned to record two pieces with Coleman on “Good Girl Blues” and “Is It
Forever” in September 1972, released in 1982 on Columbia on Broken Shadows. His
unique sound is present improvising throughout “Good Girl Blues,” though he getsno official solo time. Hall plays a very short introduction and improvises
throughout “Is It Forever,” without an arranged solo as well, in a type of precursor
to the role of the guitar later in Prime Time.
James Blood Ulmer (1940- ) truly brought the guitar into Coleman’s musicaluniverse and made a tremendous impact. Ulmer moved to New York City in 1971
and met Coleman through Billy Higgins. Ulmer moved in with Coleman and spent
several years studying with him before Coleman formed a quartet with bassist
Norris Jones, known as Sirone, and Higgins on drums. Coleman held six months ofrehearsals before the group went to Europe. Ulmer went deep into finding a place
for the guitar in Harmolodics.
He never had a guitar before me. I was orchestrating his improvised parts as
he played them. Instead of setting up sounds for him to play, I would play where
he went to. It’s different from following the patterns of chord changes. In Ornette’s
music, the change comes after the phrase. It allows the soloist to make whateverphrase he wants. I got a chance to solo. I think the guitar worked more with hismusic than anyone else. I had to learn instant modulation and orchestration,
which are now important parts of my conception.104

104

Bourne, Michael. “‘Ornette's Interview.’” Downbeat, 22 Nov. 1973.

73
He loved that sound that didn’t have no changes, didn’t have no chords. I
dreamt a tuning that didn’t have chords and scales to it, and he said, “Oh my God,
Blood you just came up with the real Harmolodic transposed notes.” We patented
the Harmolodic Scale, and the Harmolodic Clef. Harmolodic music isn’t free at all.
Coleman told me it had to have composition and improvisation.105

Ulmer’s harmolodic tuning for the guitar is a unique creation. In rehearsals,
Coleman would call out random and unusual chords to see if Ulmer could keep up. Ulmer
dreamed the harmolodic tuning as a solution by tuning all six strings to the same note.
Coleman then called out chords that Ulmer could no longer access, so they just started
playing and discovered Harmolodic guitar.106 Ulmer has gone as far as to explain anddemonstrate harmolodic tuning on Vimeo. From the bottom up, the A tuning is E A E A
A A. The E tuning is E B E E E E.107

A bootleg of a complete live concert of the Coleman quartet with Ulmer,
Sirone, and Higgins on Padua in Italy, 4 May 1974 exists on YouTube.108 Though105

Ulmer, James. "To Be A Harmolodic Player, You Have To Be A Harmolodic Person”
Celebrate Ornette! CD Box Set. June 2016.
106

Himes, Geoffrey. "James "Blood" Ulmer and Vernon Reid: Harmolodic Blues." JazzTimes.
Accessed January 28, 2019. https://jazztimes.com/features/james-blood-ulmer-and-vernon-reidharmolodic-blues/.
107"The Unwritten Theory: Guitar Harmolodic." Vimeo. January 27, 2019. Accessed January
28, 2019. https://vimeo.com/94781026.
108
Zechberger, Paul. “Ornette Coleman in Concert Feat. James 'Blood' Ulmer.” YouTube,
YouTube, 23 Apr. 2014, www.youtube.com/watch?v=x54nuTXSZEc. Accessed 28 Jan. 2019.

74
the sound quality is poor, Sirone and Ulmer are audible. Ulmer’s approach isstartling in its effectiveness as he orchestrates Coleman in a way that only he could
achieve and has never been duplicated. At 56 minutes in, Ulmer plays a blues
connotated harmolodic solo that lifts the entire group. In 1978 Ulmer was inGermany with Prime Time, in a transitionary band with Bern Nix on guitar. Ulmer
and Nix play a stunning harmolodic guitar duet At 6:22 on a video of this group on
YouTube. In December of 1978 Coleman played the rare role of a sideman in aquartet album led by Ulmer and released on Artists House called Tales of CaptainBlack with Jamaaladeen Tacuma on bass and Denardo on drums. Ornette also
produced the record. In a Prime Time type of quartet with simultaneous occurring
improvisations, Ulmer becomes the central voice with Coleman recorded on one
channel much the way he would have placed one of his two guitars. Coleman’s
voice and sound are stronger than this position usually calls for. Ulmer is theleader, taking solos with Coleman laying out. Denardo is extremely aggressive,borderline soloing throughout, pushing Tacuma into overdrive. The entire album
has a hyper blues laced urgency. Ulmer did not join Prime Time.

Ulmer spoke about some of the more human aspects of having a musicalrelationship with Coleman.

Well, when you're working with someone close, like the way me and Colemanwas, the thought is never what you're doing for each other. The thought is what you're
doing for what you're trying to do. Coleman always worked on something specificallyand tried to take it to the highest level there is. So, when you get through doing that, you
ain't got time to be thinking about influencing somebody. You're trying to finish that75
piece of work. The coolest thing he told me (was) that I was a natural harmolodic player.
He was one of the persons who could make you feel like what you were doing was soimportant. That's another thing that I got from Coleman- it's like someone who makes
you feel that what you do is good. That's what he done. I think the people that Coleman
has been playing with have been changing, not the music. Coleman plays the same music,
the same way. The only reason that he sounds different now is because of the people heplays with.109

Bern Nix (1947-2016) was right out of the Berklee College of music when his
father arranged an audition with Coleman in 1975. He joined the original Prime Timewith guitarist Charles Ellerbee. Nix had studied traditional jazz guitar, but fully embraced
Harmolodics, moving in with Coleman to focus on the process. He was in Prime Time fortwelve years from 1975-1987. He recorded with Coleman eight times, often doubling the
melody and playing what he saw as improvised counterpoint. Nix still used parts oftraditional harmony though he always looked for new ways to open it up. His sound had
no pedals or distortion, as he became the bridge between jazz guitar from Charlie
Christian to Harmolodics. On Body Meta, the second Prime Time album, Nix plays an
opening introduction and solo that define what Coleman called the clearest tone of a
guitarist for playing Harmolodics, though Nix didn’t completely agree.110 In an interview
at All About Jazz, Nix offered rare insight into Harmolodics from the front line with
Coleman.

109"JAMES BLOOD ULMER." Miles Davis- The Electric Years- Perfect Sound Forever.
Accessed January 28, 2019. https://www.furious.com/perfect/bloodulmer.html.
110

As told to the author.

76

It's a different approach to playing. I listened to Ulmer to see what was going onwith Harmolodics and Coleman's sound. I needed to listen to him play. Harmolodics islike playing a standard jazz guitar, but only more contemporary, it's a fresh approach toplaying jazz guitar, just a way of looking at music. It's not a system. It's a way ofhandling the difficulty of dealing with melody, rhythm and harmony by way of utilizing
melodic variables. It's exploratory. The harmony doesn't dictate the direction, the melody
does. I see it like counterpoint. I said to Ornette that it seemed like counterpoint. He said,'Well, it's not exactly counterpoint, it's something else.' You shouldn't have to think interms of the traditional role on your instrument. The guitarist can be thinking like adrummer, or a bassist. You can change at any given minute. It's like an organic kind ofmusic-making. The whole idea is to keep it changing, trying to avoid making it sound too
formulaic or predictable. Ornette gave us all these notebooks. We had to write out ideas
in the notebooks. I’ve had these things for years and use them for my own composition.
I listened to some of that music in North Africa when Ornette went there.
Sometimes the way the drummers play, something about Prime Time reminds me of theplaying in Joujouka, Morocco. I hear that similarity. Ornette spent some time in North
Africa hanging out with these guys and playing the music. It's almost like what we were
doing is kind of like what they do. There are similarities between how they played and
how Prime Time played. It's like everyone is playing a separate melody or a unison but
everyone's got... everyone's playing, like, an independent lead.111
To me, it’s like Zen. There are no exact answers. It’s all enigmatic andcontradictory. Ornette speaks in puzzles and riddles; you just have to figure it out. It’s ametaphysical inquiry into the nature of music. But the whole idea is you can start from
whatever your favorite type of music is, and mine is jazz guitar.112
After Nix left Coleman, he pursued his own music and continued to work with
Coleman’s ex-wife Jayne Cortez recording a total of seven times. He found it
increasingly hard to find work though never gave up, recording a trio record, a solo, andfinally forming a dedicated quartet with the author, bassist Francois Grillot, and drummer

111

AAJ. “Bern Nix: A History In Harmolodics.” All About Jazz, 24 Aug. 2009,www.allaboutjazz.com/bern-nix-a-history-in-harmolodics-bern-nix-by-aaj-staff.php?pg=4.
Accessed 10 Jan. 2019.
112

26–26.

Kanzler, George. “Guitarist Enjoys Untying Chords.” The Star-Ledger, 5 Sept. 1997, pp.

77
Reggie Sylvester in 2010. This group rehearsed weekly and performed more than fifty
times including a concert only two days before Nix’s death. The author spent many hours
on the phone with Nix and was the person who discovered he had died. The Bern Nix
quartet recorded one album titled Negative Capability. Nix would occasionally playmusic written by Coleman such as “European Echoes.” His written work was influenced
by Coleman but the major difference, and what made Nix so unique, is that he applied
Harmolodics to a straight-ahead jazz guitar context in a type of coinciding reversal andevolution. Nix would find chords that were derived from a combination of Harmolodics
and traditional harmony that had never been heard before and haven’t been heard since.
When speaking of Harmolodics, Nix would often joke that he was a member of a twelvestep program called Harmolodics anonymous, but that unfortunately, there was no known
cure once one had fully engaged the process. Denardo Coleman considered Nix to be abrother, and Nix was booked to play a Prime Time reunion at Lincoln Center scheduledjust weeks after his death. The author organized a memorial.113

Charles Ellerbee joined Coleman with Nix but was coming from a different
world. He and Nix formed a partnership of very different perspectives. Of Ellerbee, Nix
stated:113

O'Haire, Robert. "BERN NIX Memorial 7-8-17 Korean Cultural Center, NYC." YouTube.
July 11, 2017. Accessed January 30, 2019. https://www.youtube.com/watch?v=FD7b8pjaU0M&t=66s.

78Charlie Ellerbee was more of a rock player. He used a lot of things rock guitarists
use, like the effects and the pedals. He was listening more to rock than he was to jazz.
One thing he told me once he said that the only jazz he's ever been digging was McCoy
Tyner because the music McCoy Tyner played reminded him of acid rock! 114
Observing a Prime Time rehearsal, writer Howard Mandel noted that Coleman
was focused on a point of theory with Ellerbee. Bern Nix was attentive while Ellerbee,
who was at that moment missing a job with the disco band Tramps at a record company
promo party on a boat in the East River, looked bored.115 Ellerbee recorded eight times
with Coleman, and with Nix on every occasion. Robert Palmer reviewed a Prime-Timeperformance in 1982.

The band includes two guitarists, Charles Ellerbee and Bern Nix, neither of whomplays conventional lead or rhythm guitar. Mr. Ellerbee has been in commercial funkbands and is good at terse scratch-rhythms, but on several tunes from the new album ''Jump Street,'' ''Love Words'' - he thickens the texture of the music with boiling,
distorted-sounding improvisations that bring Jimi Hendrix to mind. Mr. Nix's guitar isoften voiced with Mr. Coleman's alto saxophone for harmony or unison passages; in the
improvisations, which are dominated by the saxophone, his principal function seems to
be melodic counterpoint.116

114

AAJ. “Bern Nix: A History In Harmolodics.” All About Jazz, 24 Aug. 2009,www.allaboutjazz.com/bern-nix-a-history-in-harmolodics-bern-nix-by-aaj-staff.php?pg=4.
Accessed 10 Jan. 2019.
115

116

Mandel, Howard. Miles, Ornette, Cecil: Jazz beyond Jazz. London: Routledge, 2015.

Palmer, Robert. "ORNETTE COLEMAN'S PROPHETIC JAZZ." The New York Times.
March 14, 1982. Accessed January 30, 2019. https://www.nytimes.com/1982/03/14/arts/ornettecoleman-s-prophetic-jazz.html.

79Ellerbee stayed in the Prime-Time family and in 2017 in a reunion concert, twoyears after Coleman’s death, he said it felt like they hadn’t missed a day, stating that theoccasion was not “oldies but goodies”117

Pat Metheny (1954- ) recorded one album with Coleman, Song X in 1985 on
Geffen Records. He claims the unique position of a guitarist who shared an equal amountof solo space with Coleman much like Don Cherry had on trumpet. Metheny went evenfurther as a contributor and is co-listed in the album credits on four of the eight pieces ascomposer. Charlie Haden had pushed Coleman for years to collaborate with Metheny
who was well-established at the time. He brought Coleman to the Vanguard to hear a trio
he was in with Metheny, introduced them, and Coleman and Metheny found they had
common ground.118 Metheny was not new to Harmolodics, having recorded and toured
with Haden and Dewey Redman, along with Jack DeJohnette on drums on a project titled80/81 on ECM records during 1980-81.119 In typical Coleman fashion, Metheny andColeman spent three weeks playing and rehearsing six to twelve hours a day in

117"'Free Jazz' Visionary Ornette Coleman Is Ready for Prime Time." NBCNews.com.
Accessed January 30, 2019. https://www.nbcnews.com/news/nbcblk/ornette-coleman-jazzvisionary-ready-prime-time-n779871.
118

Haden, Charlie, and Josef Woodard. Conversations with Charlie Haden. Silman-James
Press, 2016, 79.
119

Pareles, Jon. "JAZZ'S ODD COUPLE JOIN FORCES TO MAKE SPLENDID MELODY."The New York Times. April 20, 1986. Accessed February 04, 2019.
https://www.nytimes.com/1986/04/20/arts/jazz-s-odd-couple-join-forces-to-make-splendidmelody.html.

80
preparation, attempting to invent a new vocabulary. 120 After recording the band on SongX, Coleman, Metheny, Haden, DeJohnette, and Denardo Coleman played at the Caravanof Dreams on New Year’s Eve under the name Endangered Species, Coleman wearing apurple cowboy hat and a blue suit. A tour commenced in the Spring of 1986 consisting ofvarying combinations of the group with Denardo playing very strongly as a full memberof the ensemble.121 Looking closely at the album, Metheny, while taking suggestions
from Coleman, added additional chords that he felt we’re substantial enough that he took
credit, notably on “Kathelin Gray.” In a fakebook he published of his own music, on“Kathelin Gray” Metheny added the notation “Chords by Pat Metheny.” A full analysisof this piece is included in the thesis. In the liner notes to a 2005 twentieth anniversary
release of the album Metheny wrote:

This release includes two pieces where I contributed some more conventional
blowing changes for us to play on the improvised sections to go with Ornette’s great
melodies, how rare and beautiful to hear Ornette play on structures like that.
As it will be examined, Coleman may have re-recorded Kathelin Gray in 1995
with his own chord structure to reestablish his authorship of this tender ballad-like piece.
Regardless of this, Metheny was inspired by being able to collaborate with Coleman. In
conversation with Haden and Josef Woodward he said:
To me, the most inspiring thing about Ornette is that he’s somebody who’s
dedicated his whole musical life to defining his own language and making up his own

120"Lyle Mays / Pat Metheny - Interviews With Lyle Mays And Pat Metheny." Discogs.
January 01, 1986. Accessed February 04, 2019. https://www.discogs.com/Lyle-Mays-Pat-MethenyInterviews-With-Lyle-Mays-And-Pat-Metheny/release/1545687.
121

Litweiler, A Harmolodic Life, 190.

81
way of hearing. He’s the only musician I can think of who has a complete musicaluniverse at his fingertips at all times. He made up his own language, his own
everything.122

Song X opens with Haden playing a country-swing vibe that only he could create.
The melody of “Police People” is then played in unison with Coleman and Metheny who
has a processor that makes his sound voice like, and similar to Coleman. DeJohnette andDenardo on drums both fill up lots of space without getting in each other’s way, while
Haden grounds the entire ensemble. Metheny takes the first solo instantly demonstrating
his ability to construct ideas and swing in his own unique way in a harmolodic
environment. Coleman switches up “Song X” from playing heads with solos to full on
full ensemble improvisation. Denardo’s electronic drum processing adds an additional
unique sound. The music on the record is more swing based than the funkiness happening
in Prime Time. Nix told the author he was taken aback by Coleman’s use of Methenysince he played in a similar manner and had been with Coleman for ten years when SongX was made. To make matters worse, Nix found out about the recording not from
Coleman, but from the press. Reviews were positive, mostly focusing on Metheny’s
ability to adapt. The guitar would never again receive such a prominent role in role in
Coleman’s world. James Blood Ulmer had given Coleman a harmolodic environment but
did not solo extensively. Metheny, by way of star power, and having a genuine gift for

122

Haden, Charlie, and Josef Woodard. Conversations with Charlie Haden. Silman-James
Press, 2016.

82
improvising in a communicable way with large audiences, stands unique in Coleman’s
relationship with the guitar, participating more as an equal soloist.

In the fall of 1986 guitarist Chris Rosenberg found a message on his answeringmachine asking him if he would be interested in auditioning for Prime Time. At theaudition in Harlem, only Coleman was present. When asked to play anything he wished,
Rosenberg, who studied classical guitar played a movement from the J. S. Bach cellosuite and Coleman improvised over it. This was a moment Coleman recreated with Prime
Time on his 1995 recording Tone Dialing titled “Bach Prelude.” After beating out a few
remaining guitarists, Rosenberg joined Prime Time with his friend Kenny Wessel, whom
he had recommended to Coleman. Rosenberg spoke about rehearsals for Tone Dialing
with Michael Stephens.
Ornette had by this time built his studio on 125th street over the Metro Train
Station, on the sixth floor of the building. For that recording, it took place over a fairly
long period of time, and the recording sessions themselves were really long, like fifteen
hours. There may have been fifteen versions of each song recorded. There were enoughversions of each track to be their own albums. Early on the rehearsals were so long thatyou really had to put away a chunk of your life to make that commitment. A rehearsal
was kind of a laboratory for the kind of music he wanted to make.123
Kenny Wessel played guitar with Coleman from 1988-2000. Wessel andtabla player Badal Roy joined Coleman on the same day and have been close
collaborators ever since. Wessel and Roy opened up a Prime Time concert

123

88-89.

Stephans, Michael. Experiencing Ornette Coleman. Lanham: Rowman & Littlefield, 2017,

83
available on YouTube in 1991 in Lugano playing duo.124 Wessel was touring with
Arthur Prysock when he got the call to audition after the recommendation of his
friend Chris Rosenburg. As Wessel explains in the interview later in the thesis, he
was permanently changed from the experience in what he feels was a positive way.
Wessel is very active in 2019 as both a player and educator in New York City.

124
Crownpropeller. “Ornette Coleman Prime Time Lugano 1991 (1/3).” YouTube, YouTube,
11 June 2015, www.youtube.com/watch?v=dHYFIXft0pw. Accessed 10 Feb. 2019.

84

9. Bass

The bass in Coleman’s world was vital and was almost always present
throughout Coleman’s entire career and discography. Jimmy Blanton and Charles
Mingus had taken steps to free the bass from the role of harmonic and rhythmic
support, but as early as 1958 Coleman and Charlie Haden were engaged in a newlevel of freedom for the instrument in jazz, in a more participatory andimprovisational role. At least twenty different bass players crossed paths with
Coleman. Charlie Haden and David Izenzon recorded with him more than morethan any others, and from 1967-69 both of them were with him. Like the piano,
every musician playing bass with Coleman looked for their own way inside, andalmost every one that played with Coleman developed a personal approach.

In 1958’s Live At The Hillcrest, Charlie Haden (1937-2014) had already begun
to digest Coleman’s approach and was supporting Coleman’s step outside of form
and traditional chord progressions with Paul Bley also adapting. Haden waspresent on the famous Coleman album in 1959, The Shape of Jazz to Come where
Coleman’s concept had taken shape into a new form of music. From the very firstnotes of Haden’s bass on Coleman’s standard “Lonely Woman” it’s not a bass being
heard, it’s Haden playing his bass. Who he is and what he’s playing are more
relevant than the responsibility of the bass. Haden still took on the responsibility

85of the harmonic gap, and even saw himself as taking over the role of the piano.
Haden explained his relationship to Josef Woodward.
I actually am glad, in a way, that we didn’t have a pianist, because it gaveme an opportunity to take that role, and I learned a lot from it. I had to play thechords for everyone. I thought that way for myself too, because I’m really aharmony person. I would make sure to lay them down for everyone. I need to hear
the harmony man, If I can’t hear the harmony, it’s just not the same.125

Haden didn’t just lay down the harmony however, he added the element ofswing, rhythmic interaction, and would respond to who was playing in distinct
personal ways. A great example is how Haden handles the transition between
Coleman and Cherry solos on “Congeniality” from The Shape Of Jazz to Come.
Haden supports Cherry in a very different way as Cherry is more inclined to stay incertain harmonic areas and modulate less. At the core of Haden’s craft is his ability
to listen on an extremely deep level and then play in a way that compliments thesoloist so effectively, almost instantly in a continual state of open renewal. In 2011
Haden reflected on his formative years with Coleman to Don Heckman.

There’s a record we made with Paul Bley called The Fabulous Paul Bley
Quintet at the Hillcrest. And we’re playing tunes like “Klactoveedsedstene,” and all
those songs with chord changes. And Ornette is playing all the changes. You canhear them. And, man, he used to play chord changes with us all the time. We did it
all by ear. At first when we were playing and improvising, we kind of followed thepattern of the song, sometimes. Then, when we got to New York, Ornette wasn’t
playing on the song patterns, like the bridge and the interlude and stuff like that.
He would just play. And that’s when I started just following him and playing the125

Haden, Woodard. Conversations with Charlie Haden, 19.

86chord changes that he was playing on-the-spot new chord structures made up
according to how he felt at any given moment. And Cherry was kind of playing like
that, too, so Billy and I kind of followed it. The truth is that when we had first met,
we were kind of all hearing that way already. We just happened to be at the rightplace at the right time, all together, to make this thing happen. And it just kept
getting better and better.126
The contradiction remains in that Coleman moved further and further away
playing changes in a conventional way that can be followed. Chords are easier tofollow in Coleman’s compositions. In improvisations he might play three chords in
one bar that don’t voice-lead anywhere. Haden’s gift was being able to follow
Coleman that closely and play in way that made it work. He was the anchor, thetether, and that line that astronauts hold onto when they spacewalk so that they
don’t drift off into outer space. The primary source Haden and Izenzon used was
the melody. As Stephen Rush theorized, the bass line was a result of the melody,and the melody was source code for all musical events, harmonic or contrapuntal.
Many composition teachers believe the harmony should be written first when
composing. Coleman wrote the melody first. He practiced motivic generation withno regard to tonal hierarchy, and Haden was able to join him on the never-ending
adventure.127

126

Heckman, Don. "Charlie Haden: Everything Man." JazzTimes. Accessed January 14, 2019.
https://jazztimes.com/features/charlie-haden-everything-man/.
127

2017.

Rush, Stephen. Free Jazz, Harmolodics, and Ornette Coleman. New York, NY: Routledge,

87
Haden was with Coleman on the next three classic albums on Atlantic
before being derailed by a heroin addiction. He returned in 1966 to join Coleman
on Blue Note with young Denardo, after a six-year hiatus. Coleman than brought
Haden into his trio with Izenzon and Moffett through 1967, with Blackwell
replacing Moffett in 1968. Haden recorded with Coleman seven more times before
a five-year break in 1971. In 1977 they collaborated as a duo to incredible effect aspreviously discussed on Soap Suds and on “The Golden Number” in the mostcrystal-clear demonstration of their musical rapport. Eight years later Haden
joined Coleman with Pat Metheny to great effect on Song X. See the chapter on“Kathelin Gray” for more analysis. The opening of “Police People” from the album
features Haden’s unique country blues rhythmic feel and sound. Haden was on areunion of The Shape Of Jazz To Come quartet on the album In All Languages in1987 and was on two more live recordings with the same group again in 1987, andthen recorded with Coleman for the last time in 1990. Why Haden didn’t record
with Coleman during the last fifteen years of Coleman’s life remains unclear,
perhaps they had said everything that needed to be said by this point. Haden owns
a unique place in the history of the bass as a master of the instrument and as a key
member of Coleman’s inner circle. The musical relationship they shared, based on
intuition and trust, remains the benchmark example of Harmolodics, and of the88role the bass plays within. They still played together, as evidenced on YouTube at
the North Sea Jazz Festival in 2010 on “Turnaround.”128
Before we reach David Izenzon it’s important to examine the bass playersthat preceded him. Don Payne (1933-2017) played with Coleman in Los Angeles andwas a supporter and advocate. Payne got Downbeat to listen to a test pressing ofSomething Else!!!! He also got the Modern Jazz Quartet to listen to Coleman, twoimportant connections. On his one early recording with Coleman, Payne playedstraight changes, and participated in a lot of preparation and rehearsal for thedate. On his solo on “The Blessing” the changes are very clear. Red Mitchell (19271992) was an established and respected bop bassist in Los Angeles. Mitchell was areference to Lester Koenig at Contemporary to consider Coleman as a composer.
He was bassist on three pieces on Coleman’s second Contemporary album
Tomorrow Is The Question! He attempted to adapt to Coleman notably on“Lorraine” though he sounds tentative trying to hold on to the melody and changes
during improvisations. On Coleman’s classic blues “Turnaround” Mitchell is thefirst soloist. In a solo lasting until 3:43 he effectively uses space though continues
playing straight time, opening considerably midway through the solo. On“Endless” Mitchell plays it straight though with a slightly elastic, rubbery feel.

128

Videoservices, Gilaworks Internet- &. "Ornette Coleman Quartet - North Sea Jazz 2010
(part 4-5)." YouTube. July 05, 2011. Accessed January 18, 2019.
https://www.youtube.com/watch?v=zSVMG0Y-Dvs.

89
Coleman and Cherry felt he wasn’t working, and they drove to San Francisco topersuade Percy Heath (1923-2005) to finish the date. The group does sound morerelaxed with Heath on the final six tracks. Heath is more agreeable to the concept,
less fearful, and trusted Coleman and Cherry more than the structure. Coleman isbreaking free on “Mind and Time.” Cherry was also recording with a Pakistanipocket trumpet for the first time. Heath was thirty-six to Coleman’s twenty-nineand established with the Modern Jazz Quartet. His support was both musical andpersonal.129
Scott LaFaro (1936-1961) replaced Haden in Coleman’s working quartet on
Haden’s recommendation in January 1961 while Haden left to confront his
addiction. LaFaro recorded with Coleman three times before his tragic death inJuly of the same year in a car accident at only twenty-five years old. LaFaro had
also been Haden’s roommate in Los Angeles. On December 20th, 1960, Lafaro waspresent with both his boss Bill Evans and Coleman under the baton of Gunther
Schuller recording “Variants on a theme by Thelonious Monk.” The very next day
LaFaro and Haden played together on Coleman’s seminal double quartet Free Jazzon December 21st of December of 1960, each finding their own space and having
solo features while the other bassist provided support along with drummers Billy
Higgins and Ed Blackwell. The bass solos are separated by a brief ensemble

129

Litweiler, A Harmolodic Life, 65-66.

90
moment. LaFaro is somewhat of a mythical figure from playing a central role in Bill
Evans trio starting in 1959 and his short tenure with Coleman. Coleman said, “He
felt superior not only to Negroes, but to whites as well.” LaFaro would complain to
Haden that he would never be good enough.130 He was a brilliant technician who
played more ornamental than integral, freeing Coleman to work more with Ed
Blackwell on drums to great effect on the album Ornette! recorded in January 1961.
LaFaro has an incredible solo ending “WRU” where he sounds more influenced by
Coleman’s horn playing than any other bassist. The solo sounds reactionary to theenvironment, a withheld amount of tension being released. LaFaro had the rare
distinction of recording a piece named for him by Coleman titled “The Alchemy of
Scott LaFaro,” that was released in 1970 by Atlantic from unreleased sessions
without Coleman’s input or authorization on an album they titled The Art Of The
Improvisors. The piece is extremely fast, and Coleman is on fire. Ironically LaFaro
does not solo, though he maintains a burning 4/4 improvised line throughout. On“C & D” LaFaro opens with an arco solo displaying a classical sensibility, though
not the unabashed virtuosity that would later arrive from Izenzon. His solo
contains a vocal and exploratory nature and seems to short. He died in July of 1961,
though Coleman had replaced him by March with Jimmy Garrison to record
Ornette on Tenor.

130

Litweiler, A Harmolodic Life, 97.

91
Jimmy Garrison (1934-1976), recorded three albums with Coleman, before
and after his trio with Izenzon and Moffett. He also appears on one unreleased
piece from Ornette on Tenor that was released on The Art of the Improvisors titled“Harlem’s Manhattan.” Garrison’s sound and musical personality that people
associate from his work with John Coltrane were already present on Ornette on
Tenor. He worked with drummer Ed Blackwell’s aggressive interaction without any
issues and created a space of support, that also contained great group interaction.
He did, however, have a personal struggle with Coleman’s ideas.
With Ornette I learned how to resolve notes instead of chords. Ornette
writes phrases the way he feels them; If it comes out 3 and a half bars then that’s it.
His playing sometimes leaves you hanging the same way, he leaves you wanting
more, leaves you thinking ‘Is there more to come?’ But it just means it’s the end of
the phrase and he’s moved on…. He said, ‘Well, James, just play, and listen, ofcourse, and if there’s anything you want to do, just ask. ‘You can only go so far in
his music without knowing about it, and one night I just exploded.131
Garrison did just that at the Five Spot, stopping the band and telling them
they were all crazy in front of a packed house. Garrison left to join John Coltrane
with Coleman’s blessing and respect of his musical beliefs 132 Garrison returned torecord twice with Coleman for Blue Note in April and May of 1968 after Coltrane’s
tragic passing in July of 1967. He was joined by his partner with Coltrane, Elvin
Jones on drums, and tenor saxophonist Dewey Redman from Fort Worth. These131

Heckman, Don. "Jimmy Garrison." Downbeat, March 9, 1967.

132

Spellman, Four Lives in the Bebop Business, 145.

92
two records, New York is Now, and Love Call are extraordinary in witnessing thepower of drummer Elvin Jones, to be discussed in the following chapter. Critics
were at a loss in reviewing these albums feeling Garrison was somehow out ofplace. Garrison simply plays himself on these sessions picking up where he left off
and as he continued to find his own unique way to relate to the music. Group
interaction was at a high level. Garrison and Jones switch up everything as much as
Izenzon and Moffett did in their own way, building on their shared experience
with Coltrane. Criticism of Garrison not following Coleman calls into question
Coleman’s own penchant to free the bass from role-playing. Garrison chose tofollow Coleman more rhythmically than harmonically, perhaps still having theissue of not knowing exactly what harmony Coleman was playing. When he does
walk in time it does feel almost like a release. When Garrison begins playing
during Coleman improvisations in his own style, such as on “Airborne” from Love
Call, or on “The Garden of Souls” from New York is Now! he is not only effective,
but his honesty and strength of musical personality are tenets from the highest
levels of the book of Harmolodics.
David Izenzon (1932-1979) was one of Coleman’s greatest bass players,
recording fourteen albums with him, and a member of the trio that somemusicians today consider Coleman’s greatest band. Izenzon played with the NBC
orchestra and had classical technique and was a master of the bow. In a 1966
documentary from the filming of the soundtrack to Who’s Crazy? Izenzon said herefused to sign a contract with NBC because that would that would in effect turn

93
him into a slave, as conductors force allegiance to them before the music. With
Coleman, the music came first. Inside the trio. Izenzon spoke of the audience
being first, but that they did have a devilish thing happening inside the group to
one up each other through improvisation. Izenzon also spoke of staying inside thegroup for love of Coleman and Moffett though he had dreams of disappearing fromthe scene entirely. The documentary also has a clip of Coleman playing piano
almost like Cecil Taylor in order to tune his violin.133 Through 1965 Izenzon playedon important Coleman albums. Live at Town Hall, The Croydon concert, The
Chappaqua Suite, and Who’s Crazy? In 1965 Coleman’s The Ornette Coleman Trioat the Golden Circle in Stockholm contained examples of some of Izenzon’s best
work with Coleman. Thom Jurek noted that no matter Coleman went, Izenzon was
there at exactly the same time with an uncanny sense of counterpoint, and heoften changed the harmonic mode by force, with either stunning arco or pizzicato
work.134 Izenzon plays an incredible arco solo on Coleman’s ballad “Dawn”
containing deep emotional expression as he also conveyed at Town Hall on
Coleman’s “Sadness.” Coleman next had both Izenzon and Haden together on five
live recordings through 1968. In February of 1968 two sets of Coleman with them133

NoteVerticali, Redazione. "Ornette Coleman Trio Performing The Soundtrack 1966 DVD
Quality." YouTube. June 16, 2015. Accessed January 14, 2019.
https://www.youtube.com/watch?v=GzoboHzKOGU.
134

Jurek, Thom. "At the "Golden Circle" Stockholm, Vol. 1 - Ornette Coleman Trio, Ornette
Coleman | Songs, Reviews, Credits." AllMusic. Accessed January 14, 2019.
https://www.allmusic.com/album/at-the-golden-circle-stockholm-vol-1-mw0000216128.

94
and Ed Blackwell were recorded in Italy that are available on a CD release titled
Ornette Coleman Quartet The Love Revolution. On the first CD on “Lonely
Woman,” it’s clear that Haden is playing pizzicato, and Izenzon arco, their two
specialties in collaboration. This effect works especially well on Coleman’s balladthat he performs on trumpet titled “Forgotten Children” where Izenzon doubles
the melody on arco while Haden strums. Haden then continues in support of an
Izenzon arco solo.
The next bassist to work with Coleman was Norris “Sirone” Jones (19402009). YouTube has one clip of this incredible band with Billy Higgins and James“Blood” Ulmer playing incredible Harmolodic guitar on Coleman’s piece “Theme
From A Symphony”. Sirone’s strong sound and personality are not easily heard, but
his presence in the group is felt. Close-ups show both his eyes rolling to the backof his head in total surrender to the music. Sirone found the perfect balance ofsuggested role-playing by improvising with his own sound and style in thissomewhat lost Coleman band.135
Coleman heard of a nineteen-year-old electric bassist from Philadelphia
named Rudy McDaniel from Miles Davis Guitarist Reggie Lucas and Davis
percussionist James Mtume. In 1975 he invited him to come rehearse the early
concept for Coleman’s famous electric band Prime Time. After a month of135

P3ximus. “Ornette Coleman - Rome, Music Inn 1975.” YouTube, YouTube, 24 Nov. 2013,
www.youtube.com/watch?v=FlY8puv3-tw.

95
rehearsing, McDaniel, now named Jamaaladeen Tacuma went to France with
Coleman and ended up rehearsing for four months. Tacuma recorded on both
Dancing In Your Head and Body Meta in 1975. As soon as “Theme From A
Symphony” begins on “Dancing In Your Head” Tacuma, on electric bass, plays highuneven lines that converse with Coleman providing a melodic counterpoint thatsounds brand new and unique in Coleman’s world. Tacuma at times plays the
melody and modulates through several keys on his own. He also contributed to aseventies sound. In December 1978 he recorded with Coleman on an album by
Guitarist James “Blood” Ulmer. In 1979 Tacuma recorded with Coleman on Of
Human Feelings. Coleman had two guitarists and two drummers with Tacuma inthe center almost playing like a third guitar, very prominent in the mix. With thedifferent environment and electric bass Tacuma had by this point redefined thebass in Coleman’s music. He improvised constantly in a very free manner,providing just enough bass conceptually, though he is often freer than Colemanhimself, swirling around, stalking him. Tacuma next recorded with Coleman in1985 on a live concert titled Opening The Caravan Of Dreams. Here Coleman added
second bassist Al MacDowell, who provided a counterweight of sorts to Tacuma
while making Coleman’s music denser and more complicated. MacDowell slaps
the bass more and with less room to operate, Tacuma slowed down somewhat as
Prime Time swelled to a living orchestral mass of four electric lines intertwining
while Coleman floated on top. On “Compute” Coleman and Tacuma have an96extreme duet with Coleman sawing away at the violin. In Downbeat, Tacuma
explained his take on two bassists.
That was Ornette’s plan, to make me freer. He could see that he created amonster and that I’m not going to be satisfied unless he opened other doors forme. So, the other bassist was added. Ornette paved a new way for me to play andnot get in his way or anyone’s way, and still express what I wanted to communicate
and still be part of the organization. 136

Tacuma’s next recording with Coleman came in 1978 titled In all Languages,
a double LP with the original quartet and Prime Time on separate LP’s. “Story
Tellers” opens with a Tacuma and MacDowell duet improvising on the melody.
MacDowell plays in a more ensemble fashion keeping the group together while
Tacuma improvises. Fast forward to 2010 and Tacuma produced a tribute album
with Coleman present titled For the Love of Ornette. Tacuma picked up where heleft off with Coleman playing free, but with more extreme melodicism. The album
opens with Coleman instructing the band saying “Fellas, forget the notes and getto the idea.” “Movement one” begins with a touching duet with Tacuma andColeman, one that sounds almost like a private session from Coleman’s musicroom in his Chelsea loft. In notes to the album, Tacuma revealed that at one point
in his life, a spiritual path he was on caused him to consider stopping playing
music. Coleman traveled to Philadelphia and met with Tacuma’s mother, pleading

136

Tinder, Cliff. “Electric Bass in the Harmolodic Pocket.” Downbeat, Apr. 1982, pp. 19–71.

97
with her to urge him to rejoin music. Tacuma did, and on the album, he expresses
gratitude and Love for Coleman.137
In 1987 Coleman recorded Virgin Beauty with MacDowell and Chris Walker
on bass. Walker was more conservative, and MacDowell slapped more aggressively
on the date, filling some of the space previously held by Tacuma. MacDowell had
more history with Coleman, first meeting him at only seventeen years old andappearing with him in 1976 at a live concert at Lincoln Centers Avery Fisher
Hall.138 “Honeymooners” features both bass players, Walker having a very fluid
style and great technique. Both play a guitar-based style influenced from Jaco
Pastorious and Stanley Clarke. MacDowell performed live with Coleman andrecorded with him on Tone Dialing in 1995, a Prime Time album influenced by Hip
Hop and Funk. Brad Jones also played bass on the album, his only documented
work with Coleman. He played acoustic bass within all the electronics and opens“When Will I See You Again” with solo bass, then walking in time when the
melody starts in a kind of quartet-Prime Time reverse methodology. The piecefades out unexpectedly halfway through. MacDowell played with Coleman on hislast record, live in Genoa in 2010 on electric bass in tandem with Tony Falanga on
acoustic bass. That same year they both played with Coleman at the North Sea

137“For The Love of Ornette.” Atom, Jamaaladeenmusic.com/album/36564/for-the-love-of-ornette.
138"Al MacDowell." The City Boys Allstars. October 14, 2015. Accessed January 18, 2019.
http://www.thecityboysallstars.com/the-musicians/al-macdowell/.

98
Festival with MacDowell representing Prime Time in a continued type of acoustic
electric juxtaposition. MacDowell plays aggressive non-jazz rhythms, doubling the
melody with Coleman and doesn’t hold back.139
Barre Phillips (1934- ) crossed plays with Coleman as early as 1958 in
Sauslito, California and said Coleman was already trying to impart the ideas ofHarmolodics to other musicians, many of who were confused by it. In 1962
Coleman sat in with Phillips but then asked him why he was still playing “schoolmusic,” which led Phillips to break up the group and move to New York City. In
1975 Phillips got the call to sub for Haden at the Bologna jazz festival in Italy andheld his own. In 1991 Phillips was asked by Coleman to record with him on the
Naked Lunch movie soundtrack with Howard Shore. Phillips recalled that at onepoint Coleman was asked to re-record a solo over the orchestra by Howard Shore
because he was playing sharp. Coleman then played completely in the tempered
scale, and then said to Shore: "You might like that, but that's not me, and it's notinteresting."140 The seven trio selections that Coleman composed for Phillips andDenardo were very effective. Phillips had an extremely personal sound andpersonal rhythm. His forward momentum, slightly different from both Ornette

139

Videoservices, Gilaworks Internet- &. "Ornette Coleman Quartet - North Sea Jazz 2010
(part 3-5)." YouTube. July 05, 2011. Accessed January 18, 2019.
https://www.youtube.com/watch?v=kaQHB3i3RzU.
140

Phillips, Barre. "Ornette Coleman 1930–2015: Barre Phillips - The Wire." The Wire
Magazine - Adventures In Modern Music. Accessed January 20, 2019.
https://www.thewire.co.uk/in-writing/essays/ornette-coleman-1930-2015_barre-phillips.

99
and Denardo, created an interesting effect. “Intersong” is a tender ballad that is
almost a duo with Coleman and Phillips. “Writeman” opens with aggressive
bowing from Phillips who switches to pizzicato for extremely fast improvisation.
Phillips interacts with both Coleman’s simultaneously and sometimes modulates
before Coleman.
I first met Charnett Moffett (1967- ) at Coleman’s Chelsea loft in 2005.
Besides the musical exchange and my witnessing that Moffett had completely
absorbed Coleman’s process, I was struck by Coleman’s looking at him, thenreaching out to grab him and hug him. Moffett is the son of Charles Moffett from
Coleman’s great trio during the sixties. Charnett possesses an incredible virtuosic
technique. He recorded two albums in 1996 in Harlem with Coleman, the fore
mentioned Three Women and Hidden Man with pianist Geri Allen and Denardo.
When asked about the role of the bass in Coleman’s world Moffett said:
I was rehearsing with Ornette once and I asked him, ‘What’s the bass part?’and he said, ‘You’re already playing the bass; now play the idea.’ When you
improvise, it’s all about the idea. And you’re always discovering new ways toapproach that idea.141

On Hidden Man and Three Women, Moffett begins “What reason” playing
the melody on solo bass altering his sound on each take. Moffett is like Tacuma in

141 Randall, Mac. "Charnett Moffett - On Loss, Love & Vibrational Healing." JazzTimes.
Accessed January 20, 2019. https://jazztimes.com/departments/overdue-ovation/charnett-moffettoverdue-ovation/.

100
his ability to play just enough in a supporting role but play mostly free, with anendless string of ideas in conversation with Coleman, Allen, and Denardo all at thesame time. The differences being the acoustic bass, acoustic bass technique, andthe more jazz-based environment. Moffett doesn’t provide a walking bass line for asustained period, preferring to play ideas in reaction to the music. On “European
Echoes” from Three Women, Moffett’s plays incredible pizzicato improvisation
while Allen and Ornette play the melody in a stunning display of speed anddexterity.
Greg Cohen (1953- ), known for his work with John Zorn and Woody Allen,
handled the pizzicato bass roll on Coleman’s Pulitzer Prize winning release Sound
Grammar in 2005. Cohen’s strategy was to construct a fast-up-tempo bass line
throughout the record while Tony Falanga was free to soar with improvisations on
his bow. The defined territorial strategy and boundaries worked. In 2006 at
Carnegie hall, Coleman attempted adding Al MacDowell on electric as a third
bassist with mixed results.142 Cohen and Falanga are featured together on Sound
Grammar on a ballad titled “Once Only” that works extraordinarily well. Cohen
left Coleman to focus on Zorn’s Masada and was the person that introduced

142
Ratliff, Ben. “A Three-Bass Happening at Carnegie Hall.” The New York Times, 19 June
2006, www.nytimes.com/2006/06/19/arts/music/19orne.html. Accessed 20 Jan. 2019.

101
photographer John Rogers to Coleman, which led to my meeting him. Falanga
auditioned for Coleman in 2002.
Ornette started auditioning classical bassists. As he said at the time, ‘I don’t
want anyone with a jazz influence—I want a new set of ideas.’ He happened toaudition my friend John Feeney, the Principal Bassist for the Orchestra of St.
Luke’s. John played a solo bass piece at his audition, and Ornette was very
impressed. Then Ornette asked him to play free on the spot—any tempo, any key,whatever he wanted. But Feeney wasn’t comfortable doing that; he didn’t have ajazz background, and he didn’t really know who Ornette was. John just couldn’t
hang with the free thing, but he told Ornette, ‘I know somebody who would be
perfect for this.’” I came in the next day and nailed the audition. “Ornette said,‘Just play,’ and I was like, ‘Yeah, let’s go!’ And he dug that. He asked me to join theband, and from there it was an ongoing process of studying his concept andworking it out on the bandstand.143

Coleman’s last official recording in 2010, a live concert in Genoa Italy had
Falanga and MacDowell both playing bass. Like he did with Cohen, Falanga
claimed the bow territory while MacDowell on electric bass played chords andmelodies like he did with Prime Time. Falanga spoke about his musicalrelationship with MacDowell.
We’re not looking to out-do each other, we’re looking to complement eachother to make the music stronger. Ornette wants you to come up with new stuff all
the time, and he wants it to happen on the bandstand, not in the practice room.
That’s where the ideas have to emerge—from the tune, from the audience, fromus. And he wants each of your spontaneous ideas to trigger another new idea. If
you play something that really works and you take that same idea to a concert thenext day, Ornette will do everything he can to destroy it. It may have happened sowell the night before—the audience is going nuts and everything—but he won’t

143

Milkowski, Bill. "Tony Falanga & Al MacDowell, Ornette Coleman's Two-Bass Tandem."
BassPlayer.com. December 01, 2010. Accessed January 20, 2019.
https://www.bassplayer.com/artists/tony-falanga-amp-al-macdowell-ornette-colemans-two-bassandem.

102
want to repeat that idea. He’ll say, ‘I was hoping that you guys would findsomething better … because it exists.’ That’s what’s so special about him. He wants
to keep it fresh, happening, and in-the-moment all of the time. In Ornette’s band,
you have to keep making it better—no ifs, ands, or buts.144

In seeking out any other bassists to play with Coleman, Art Davis playedwith Coleman in a second attempt at a double quartet that was never recorded.
Buster Williams subbed for Charlie Haden on occasion.145 Christian McBride
played with Coleman when he sat in with Sonny Rollins at the Beacon theatre in
September 2010.146 I have also witnessed bassist Hilliard Greene play with Colemanat his Chelsea loft. Greene went to study with Coleman on five occasions.147 There
are undoubtedly others that crossed path with Coleman, including Shayna
Dulberger, again initiated by John Rogers.148 The bass held a unique place in
Coleman’s music. With the eventual absence of the piano in most situations, thebass was the only connection to Coleman’s approach to using harmony withanother musician. Every person that took the space had to work with Coleman to

144

Ibid.

145

Litweiler, A Harmolodic Life, 164.

146
Carroll, Christopher. "The Singular Sound of Sonny Rollins." The New York Review ofBooks. Accessed January 20, 2019. https://www.nybooks.com/daily/2012/08/10/sonny-rollinssingular-sound/.
147

148

As told to the author.

Rogers, John. “My Friend, Ornette Coleman.” NPR, NPR, 15 June 2015,
www.npr.org/sections/ablogsupreme/2015/06/15/414007418/my-friend-ornette-coleman. Accessed
21 Jan. 2019.

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find out how they could be themselves in Coleman’s world. While Haden will
always be known for a profound connection, David Izenzon, Sirone, Jamaaladeen
Tacuma, Al MacDowell, Barre Phillips, Charnett Moffett, and Tony Falanga allshared a special musical and human exchange with Ornette Coleman.

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10. Drums

Having examined Coleman’s bass players, we have already begun to
examine the drummers he played with as the bass and drums are so bonded. The
striking difference is that there are far fewer musicians that held down this uniquechair, with four specific drummers that are on the majority of Coleman’s
discography. Billy Higgins, Ed Blackwell, Charles Moffett, and Denardo Coleman
adapted their own styles to embrace Coleman’s concept more than any others.
Billy Higgins (1936-2001) was the first drummer to record with Coleman,
and was a member of what people call the classic Coleman quartet with Don
Cherry and Charlie Haden. Higgins is on thirteen Coleman recordings with
Coleman, the majority with Charlie Haden on bass. Los Angeles was pivotal in thedevelopment of Coleman’s long-term musical relationships, and that’s where hemet Higgins. Like Haden and Cherry, Higgins was into bebop, but willing to
explore the new compositions and idea of improvisation presented by Coleman, six
years his senior. Higgins plays the straight man on Coleman’s first recording
Something Else!! that was very thoroughly rehearsed by Coleman. His melodic
ensemble playing on “The Blessing” and hitting on an arranged 4th beat on the
super-fast “Chippie,” stand out. Higgins was playing the role and swinging, though

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Coleman would eventually attempt to get drummers to abandon form and roleplaying. His eventual goal for them became to “just be the drums.”149 On
Coleman’s third record on Atlantic, The Shape Of Jazz To Come, Higgins sound is
intrinsic to the music’s success, notably on the classic “Lonely Woman.” On the
famous Coleman piece, Higgins plays a super-imposed double time that coincides
with Haden playing a far slower melodic motif. The juxtaposition reveals a newway for the rhythm section to play. On “Congeniality” Higgins still plays melodic
ensemble hits and swings when Haden walks, but the horn and bass are up front,
both musically and dynamically. In 1960, while playing at the Five Spot, Higgins
had his cabaret card revoked leading to a seven-year period playing without
Coleman.150 Higgins played a lot of hard bop during this period, leading to the callfrom Jackie McLean and reunion with Coleman on Old and New Gospel in 1967. In
an environment where Mclean was stepping out and Coleman was stepping in,
Higgins became the glue, working with bassist Scott Holt to hold it all together.
Higgins old gospel beat on “Old Gospel” is infectious. As he did with the bass,
Coleman used two drummers combining Higgins with Ed Blackwell both live andin the studio on the records Free Jazz, Broken Shadows, and Science Fiction.
Higgins always maintained the classic sound from “The Shape Of Jazz To Come”
on future recordings with Coleman, with a fast light touch on the cymbals still

149

As told to the author.

150

Litweiler, A Harmolodic Life, 81.

106allowing the bass and horns to play up front on In All Languages in 1987. On classic
quartet reunion concerts in 1987 and 1990 Higgins sounds louder, possibly a resultof the recording and the live situations. Higgins told Val Wilmer "You're notsupposed to rape the drums; you make love to them as far as I'm concerned."151
Higgins will forever hold a place in Coleman’s music. As a master of hard bop as
well, he appears on more than seven-hundred recordings!
Ed Blackwell (1929-1992) played on nineteen recordings with Coleman, andthey shared a deep history. They met in 1949 in New Orleans.
When I heard Ornette for the first time, I felt the happiness he generates.
That was one of the main things I loved about his playing. It was so free, although
he had so many terrible experiences behind him because of the way he played. I
couldn’t understand why people couldn’t hear it.152
In 1953 when Coleman tried Los Angeles for a second time, he roomed withBlackwell in Watts when they were both extremely broke. Ellis Marsalis mentioned
a moment when Blackwell turned a song around on a thirty-two-bar structure,
which stopped Coleman from finishing his phrase. Coleman stopped the groupand suggested that his phrase was more important than the form- a key
harmolodic and Coleman moment.153 Marsalis believed that the Blackwell-151

Fordham, John. "Obituary: Billy Higgins." The Guardian. May 07, 2001.Accessed
January21, 2019.www.theguardian.com/news/2001/may/07/guardianobituaries.johnfordham.
152

Litweiler, A Harmolodic Life, 38.

153

Wilmer, As Serious as Your Life: John Coltrane and beyond, 60.

107
Coleman connection was so strong that no other rhythm section players werenecessary when they played together.
The things Blackwell and Ornette did together accentuate a certain kind ofrhythmic importance and rhythmic emphasis that was in Ornette’s music. Theirteaming was sufficient without other rhythm section players. The harmony thatcomes from the piano, bass, or guitar, was not necessary154

Blackwell believed Coleman was trying to escape four-beat measures andthat his own experiments in time-keeping helped them both break free.155 His
debut recording with Coleman came in 1960 replacing Higgins on This Is Our
Music. Blackwell interacts with the group in a much different way, breaking rolls,
leaving phrases unresolved, and most noticeably, interacting with Coleman byshadowing almost every note he plays, sometimes even finishing his phrase forhim. Blackwell’s playing completely changes the dynamics of Coleman’s music inthis way, moving the drums from role-playing to active participation in the
improvisation, a true Coleman innovation. Coleman’s album Ornette! on Atlantic
in 1961 contains a piece titled “T & T” where a melody is only used to introduce along Blackwell solo, in a complete feature for the drums. On “Proof Readers”
Blackwell almost replaces the bass played by Scott Lafaro as the instrument
primarily interacting with Coleman, forcing Lafaro into role playing. Blackwell wasvery strong throughout this album, one of the highlights of his playing career with

154

Ibid. 62.

155

Litweiler, A Harmolodic Life, 46-47.

108
Coleman. In 1961 Blackwell played on the fore-mentioned Ornette on Tenor andwas more comfortable and aggressive in the environment, than bassist Jimmy
Garrison. Besides the joint work with Higgins, Blackwell continued to work with
Coleman into the early 1970’s. He fought with kidney problems for most of his lifeand died in 1992. Coleman’s Free Jazz on Atlantic with Higgins in the left channel
and Blackwell on the right channel is the ultimate example of their contrastingstyles in Coleman’s world. Higgins light and fast cymbals alongside Blackwell’s
popping and rolling toms and snare have been a future clinic for drummers on
how to work together ever since.
Incredibly, a surfaced bootleg cassette recording of a Coleman rehearsal of
the band from the late sixties with both Haden and Izenzon on bass, contains
several directives from Coleman to Blackwell. Even after years of collaboration,
Coleman continues to try and break Blackwell free from role-playing. The
following are from Coleman to Blackwell.

We’re conditioned to sound like we’re going somewhere rather than being
where we are.
You played that idea like you had to play another idea behind it.
Whatever you play, see if you get a feeling that the bass or saxophone cause
you to take an idea to a certain place rhythmically to you thinking that you have tocomplete it.
You’re doing what I told you to avoid doing.
Blackwell: Play without thinking I have to complete it?

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Coleman asks the bass players to not play 2 5 1 progressions and asks all ofthem not to be the background, calling them to reach for stone presence, even if
they feel he’s crazy.156
Charles Moffett (1929-1997) went back the furthest with Coleman, all theway back to High School in Fort Worth. Moffett also played trumpet and played ina band with Coleman and Prince Lasha in high school called The Jam Jivers.
Coleman was his best man and played at his wedding in 1953. In 1961 he moved to
New York City to work with Coleman’s new band with Jimmy Garrison and Bobby
Bradford. Coleman had tried Pete LaRoca and Roy Haynes before settling on
Moffett, and after several weeks of rehearsal they played the Five Spot.157 Garrison
was replaced by Izenzon and Bradford left in frustration because Coleman would
work sporadically and turn down jobs unless the money was correct, leading to theOrnette Coleman Trio. Their first big concert was the famous self-produced Town
Hall, released on ESP in 1962. Moffett’s natural relationship to music was rooted
more in swing. He and Izenzon would set up transitions with or without Coleman,and his drive brought Coleman slightly into more grounded improvisation on alto
saxophone. At Town Hall they were starting to develop their group sound andrelationship, with Izenzon’s bow deep in the mix. After Coleman’s sabbatical, he

156

Music, We Should Share. "Ornette Coleman Rehearsal." YouTube. June 11, 2018. Accessed
January 21, 2019. https://www.youtube.com/watch?v=39CMByFGkas&t=9s.
157

Litweiler, A Harmolodic Life, 101.

110
reformed the trio to be featured on The Chappaqua Suite in 1965. For somelisteners, Coleman has never had as much swing in his music as on this recording,reacting to Moffett’s driving momentum. Moffett traveled to Europe for the
Croydon concert, live recordings at the Tivoli and in Paris before working on
another soundtrack with Coleman titled Who’s Crazy? There’s a telling moment ina documentary of the making of Who’s crazy? when Moffett becomes angry withthe producer and Coleman gets him to relax.158 The famous Golden Circle concert
in Sweden was next. Along the way Moffett and Izenzon took stronger positions
within the trio moving far from role playing, but still swinging, and Izenzon
sometimes improvising aggressively. Eventually in 1967 Haden joined. Coleman
then added Blackwell. With the drums covered, Moffett returned to trumpet andadded vibraphone. Moffett was fired without explanation, though he felt it might
be due to so much doubling, and not playing the drums. He returned to publicschool teaching and still played music.159 He recorded with Coleman nine times.
He also had five children that became musicians, including Charnett on bass, andCody on drums whom the author played with at jam sessions that Moffett ran at
the Blue Note in New York City in the early 90’s. Moffett had me improvise with

158

NoteVerticali, Redazione. "Ornette Coleman Trio Performing The Soundtrack 1966 DVD
Quality." YouTube. June 16, 2015. Accessed January 22, 2019.
https://www.youtube.com/watch?v=GzoboHzKOGU&t=858s.
159

Litweiler, A Harmolodic Life, 125-126.

111
only him on drums playing very aggressively and explained that when it’s justdrums and a horn, that’s when you go for it.
Denardo Coleman (1956- ) ties Ed Blackwell, recording with Colemannineteen times. Ornette’s decision to record with Denardo on The Empty Foxhole
at ten years old remains controversial. My full interview with him is included in
the thesis. Ornette doubled down on his own philosophy when he chose to record
with his ten-year-old son. He liked that Denardo was free of trying to please any
critics and was too young to have any political agenda. Charlie Haden played bass
and took more control over the tempo. Critic Pete Welding felt that Denardo’s
playing worked well, and he was responsive to his father’s playing. Freddie
Hubbard said the music sounded like a little kid fooling around.160 Close listeningshows that Denardo listened to and worked with his father quite well, and hecontributes to the conversation musically as an important part of the group. He’s
not role-playing, or imitating. The blueprint of his future style was already present.
His semi-broken march on the title tune contributes to the mood and the visual.
Throughout the recording, while it’s clear that the music was rehearsed, he madehis own musical decisions. As he grew older Denardo strengthened his concept,
recording on Ornette at 12 in 1968, and Crisis in 1969. A ten-year span then took
place during which he took over more managerial tasks before he returned on Of
Human Feelings in 1979 making him the only drummer to play in both Coleman’s

160

Litweiler, A Harmolodic Life, 121.

112
acoustic and electric music. Denardo’s concept works especially well in the Prime
Time environment. In 1985 Coleman’s string quartet with Denardo titled Prime
Design / Time Design stands out. He plays very aggressively almost continually,making the piece sound like no other string quartet before or since. His thick andmulti-textured playing suggested multiple time signatures and a unique techniqueand sound on the drums that is entirely original. One of his unique skills that I
have experienced in person, is to create the feeling of unusual tempos and time
signatures without explicitly playing them. I’ve heard Coleman play in a way thatsuggests possibly the fastest tempo of all time, but at a dynamic where you can stillplay over it in any time. 1985 also saw the release of Coleman’s collaboration withguitarist Pat Metheny on Song X on which Denardo and Jack DeJohnette both playdrums. Coleman played at times on a processed kit that played other sounds sucha horse whinnying or a woman’s ecstatic moan as heard on “Compute.” Bothdrummers together create a wall of sound. “Endangered Species” takes the wall of
percussive sound to the extreme, with urgent crashing sonic waves that nevercrest. From 1987-1988 Denardo shared the Prime-Time drum chair with Calvin
Weston, who Coleman had started working with when Weston was nineteen. On
the record In All Languages,” Denardo plays a groove that could work fine in any
eighties pop or rock song, giving the music the sound of the period in which it was
made, possibly one of Coleman’s goals. Later in 1995 Denardo gives the music anineties feel, including a hip-hop orientation on “Search For Life.” In 1996 Denardo
was the only drummer in the quartet with Geri Allen and Charnett Moffett on

113Sound Museum: Three Women, and Sound Museum: Hidden man. These tworecordings may be the best example of his craft on the drums as an equal ensemble
member where he is entirely himself, notably with the fast but light cymbal touchand the rolling toms. “City Living” is a good example, as well as Denardo’s opening
solo on “Stopwatch.” Denardo’s final triumph is being the only drummer on the
Pulitzer Prize winning Sound Grammar in 2005. Working with the ensemble or
shadowing his father, his propulsion of the two-bass ensemble is in perfectbalance. The first piece “Jordan” displays the super-tempo described earlier.
Denardo is the definitive harmolodic drummer. He reflected on his father after his
death in a very open piece titled “My Father Was Deep.”
I spent a long time playing with my father, recording, traveling, managing,fighting, endlessly laughing, and going from one exhilarating experience toanother. You had to be immersed in Ornette World to realize this wasn’t merely
his music — this was how he thought, how he lived. Back in the day we would go
real late at night to his favorite Chinese restaurant, at 21 Mott Street, and he wouldorder ten dishes even though there were only four of us. He liked to have lots ofdifferent dishes to taste and then to mix together. That’s right, even our dinners
were Harmolodic. And forget about giving away the extra food to a homelessperson – Dad would see a homeless person on the way home and invite him to
sleep at his house.
I started managing my father’s career in the 80’s, in my mid-20s. I had beenout of college for a few years and playing with him. My father would enjoy a great
run of activity and success and then shut it all down for a while, frustrated yet
again by the music business. He always felt taken advantage of by managers,
promoters, record companies. Finally, I couldn’t sit by and watch the endless cycleof boom and bust any longer. One day I just said, “Let me manage you. You won’t
have to stop and wonder if you are being ripped off.” He said okay, and for the next
30 years we did our best to turn ideas into projects.

My father was deep, meaning his way of thinking and intuition could not be
tracked. But he always seemed to bring new insight, new logic to whatever he wascontemplating. The sound of his horn reflected this depth, the depth of the

114
emotion of the raw soul. His concepts so advanced, so intellectual, yet his
expression so human, so direct. He created and spoke his own language. For somehis music was too complicated, too abstract, nothing to grab on to, just too out
there. For others it was utterly profound because it spoke directly to the brain andto the soul simultaneously. As he would say, “It’s about life. You can’t kill life.” He
was obsessed with expressing life through sound. He went into its properties as
scientists had explored genomes, discovering DNA. He called his science
Harmolodic. Open thinking, equality, freedom, the pursuit of ideas, helping others
all included. He would say, “It’s about being as human as possible.161

Elvin Jones’s (1927-2004) two records with Coleman on Blue Note, New YorkIs Now and Love Call in 1968 are a testament to his power. Even in an environment
created by Coleman, Jones has tremendous influence on the music by way of hismusical personality. He adapts to Coleman’s compositions and concept on his own
terms, and his high energy causes Coleman to raise his own playing level andurgency. “Round Trip,” “Airborne,” and “Check-Out Time” are all good examples
where Jones up-tempo polyrhythms constantly boil over in wonderful tandem with
Jimmy Garrison. During his improvisations Coleman is not leading Jones, rather heis adapting to where Jones takes him.
Ronald Shannon Jackson (1940-2013) also made two records with Coleman,having much the same effect as Jones, where his personality almost dominates themusic, now with Prime Time. Dancing In Your Head and Body Meta from the midseventies are all Jackson. His Texas Blues based rhythms define the two albums.

161"My Father Was Deep by Denardo Coleman." Ornette Coleman. Accessed January 22,
2019. www.ornettecoleman.con/father-deep-denardo-coleman/.

115
Like so many others in Coleman’s universe, he came up in Fort Worth Texas.
Guitarist Jack DeSalvo who played with Jackson told the author that Coleman
encouraged Jackson to play flute to compose, which Jackson did, embracing
Harmolodics on his own terms. In an interview, Jackson revealed how he beat out
seventeen other drummers auditioning for Coleman.

When I met Ornette that Sunday, he had already tried out seventeen
drummers. The problem he was having was that he had this nineteen-year-old kid
from Philadelphia playing electric bass. He was wanting to go electric. I had beenpracticing Buddhism and my attitude had changed a hell of a lot. I was trying to
make everything positive and not dwell in the negative. What happened with theother drummers, because he told me, was after they got through playing, they all
enjoyed playing with Ornette, but they would tell him that he needed to get an
upright bass player and so he would never call them back. And when I wentaround there, he left us in the loft, Bern Nix, Jamaaladeen, and myself. He left us
for about four hours, and he came back and asked Jamaaladeen and Bern how it
was, and they said it was beautiful and so that is how I got the gig.162

Ed Blackwell and Denardo both stand as the drummers that spent the mosttime with Coleman, both masters of Harmolodic rhythm with their own musicalidentities. Drummers had a unique power in Coleman’s world, free of harmony,
free from form, and free of role-playing to be who they truly were. Giving
drummers that much space could be dangerous, but Coleman often had two
drummers and still made it work. Like Denardo said, he had it all figured out.

162

"FIRESIDE CHAT WITH: RONALD SHANNON JACKSON." Interviews. Accessed
January 22, 2019. https://www.jazzweekly.com/1999/03/fireside-chat-with-ronald-shannonjackson/.

116

11. Chamber and Orchestral Works

Coleman told John Litweiler that he had been trying to write classical musicsince 1950, but also added he did it to challenge the image of him as illiterate.163 In
December 1962 Coleman self-produced a concert at Town Hall that was releasedon the ESP label. For this concert he premiered his new trio with David Izenzon
and Charles Moffett and had a string quartet perform a nine-minute piece titled“Dedication to Poets and Writers.” The piece starts in minor and ends in major andcontains no detectable improvisation.164 The ensemble works through several
different sections flawlessly, with slight variations of tempo and mood owing more
to European models than Coleman’s innovations in jazz. In the end, Coleman
proves his case of literacy to his critics. The poets and writers were a clique of
people that gathered at his New York City club appearances.165 Regarding the ESPlabel, when I asked Coleman about the owner of the label Bernard Stollman, hecalled him an assassin.

163

Litweiler, A Harmolodic Life, 104.

164

Ibid. 105.

165

Wilson, Peter Niklas. Ornette Coleman: His Life and Music. Berkeley Hills, 2000, 136.

117
Coleman’s next orchestral work was for many on his most successful,
Chappaqua Suite, recorded in June of 1965. Coleman was considering a move toEurope when a young filmmaker named Conrad Rooks offered him a five-figure
sum to compose and record a soundtrack for his new movie Chappaqua. Thoughdescribed as supposedly hesitant at first in the liner notes by Rafi Zabor from theunauthorized and edited release on CBS, Coleman accepted and spent three daysin the studio with eleven classical musicians and arranger Joseph Tekula. It
remains unclear what role Tekula played, though he may have been the conductor,
as Coleman solos on alto through the entire eighty recorded minutes.166 Rooks
declined not to use the music citing it as “too beautiful” and instead commissioned
and used music by Ravi Shankar. When the movie was released it was a flop andsoon sank into the abyss. What makes Chappaqua unique in Coleman’s amongst
Coleman’s orchestral work is the full inclusion of his trio, operating at full power.
Moffett is aggressive enough that the ensemble is almost pushed to the back,though they stand their ground. The two groups almost appear to be separate attimes with the trio improvising and swinging, for long stretches. The exact
ensemble instrumentation remains unknown, but flute, clarinet, oboe, horn,
trumpet and violin can be heard. The ensemble is tutti playing short passages andholding out dramatic and dissonant chords where they are most effective at
entrances. Part one opens dramatically and moves into medium tempo free swing.

166

Litweiler, A Harmolodic Life, 113-114.

118
Part two begins with a blues connotation with the ensemble bringing in Coleman
voiced chords. Part three contains more aggressive free playing. Part four has adefinitive tempo increase with the ensemble playing big band hits and chords. Two
short improvisations arise from tenor saxophonist Pharoah Sanders towards theclose of the piece with an oboe solo and Coleman solo between them. Sanders
plays briefly, almost coming from an ensemble function, but clearly is himself. 167
Coleman joins the ensemble in sustained pitches before they close the piece alone
in a possible foreshadowing to the future Skies of America. On YouTube recently,
an additional two hours of music from “Chappaqua” have been released,
presumably the material removed by CBS.168 The additional material features
additional percussion from Moffett and more dissonant attempts at ensemble
interaction that may have planted the seeds for William Parker’s Little Huey Music
Orchestra far in the future.
The very next month Coleman was in Croydon England, recording “Forms
and Sounds” for a Woodwind quintet. Coleman was forced to compose to compose
a classical piece in order to be reclassified as a concert artist in order to appease a
British quota system. In two weeks, he composed the 10-movement piece for the
Virtuoso ensemble, this time without the trumpet interludes discussed earlier in

167

168

Wilson, Ornette Coleman: His Life and Music, 139-140.

Yates, Jorge. "Ornette Coleman Chappaqua Suite (Full Album/Reissue)." YouTube.
December 08, 2017. Accessed February 18, 2019. https://www.youtube.com/watch?v=NBKxSwPtyg4.

119
the 1965 recording. The music sounds like an atonal collective playing hopscotch.
There is no detectable motif in the piece which produces the feeling of a sustained
and controlled group improvisation, with virtually no tempo change. The
individual voices are all treated as equals that operate individually with two voices
at a time working together. Beginning and endings are vague. All these factors are
Coleman’s intention. In 1967 Coleman received the prestigious Guggenheim
fellowship for composition which led to the rerecording of “Forms and Sounds”
mentioned earlier with the trumpet interludes for RCA.169 Coleman followed withthe twenty-minute-long “Saints and Soldiers” with the Chamber Symphony ofPhiladelphia string quartet. The inspiration came from Coleman visiting churches
in Rome in 1965 and discovering that the remains of both saints and soldiers wereplaced in jars. The piece contains an emotional urgency and maintains theunresolved dissonance derived from Coleman’s Harmolodic theory. The equality
suggested by the final resting place of saints and soldiers corresponds with how heviewed the different parts of music being from the same source with no need forseparation by sound classification. Like any scientist, Coleman’s chamber works
are attempts to prove his theory, or perhaps the validity of it and or the process of
its creation. The four voices work together and more closely than the woodwind
quartet, applying more natural function based on range. Also recorded was “Space
Flight,” a turbulent, up-tempo piece that was a short three minutes and forty

169

Wilson, Ornette Coleman: His Life and Music, 154-155.

120
seconds. Coleman was pleased with the performance by the quartet and how they
were not totally restricted by the page. It’s unclear how much freedom themusicians had. The opening sounds like a spacewalk or UFO sighting, but thetempo increases slightly suggesting what could have happened had Colemanorchestrated his work from his quartets with Don Cherry, though this door wasnever opened. What may have been missing was Coleman himself. In May 1967,
Coleman composed and performed his first symphonic work, Inventions ofSymphonic Poems at the UCLA Jazz Festival. The piece was conducted byclarinetist John Carter and Coleman played alto saxophone. Shockingly, norecording exists.170 In August of 1968, Coleman premiered Sun Suite of San
Francisco for a thirty-five-piece orchestra, and quartet with soloist Bobby
Bradford. Only short clips of the orchestral segments have survived in Shirley
Clarke’s documentary on Coleman in 1986 Made In America.171
Coleman’s journey with a large symphonic ensemble would reach an apex in
April 1972 in London when he recorded Skies of America with the London
Symphony Orchestra for Columbia Records. The piece was conducted by David
Measham. Coleman plays alto on six of the twenty-one tracks, broken up from theoriginal piece by Columbia to attempt radio accessibility. Coleman was forced toname all the tracks after the recording. The late alto saxophonist William Connell

170

Litweiler, A Harmolodic Life, 124.

171

Ibid. 130.

121
was the copyist and had a difficult time working with Coleman on the music.172
Coleman’s cousin James Jordan and Paul Myers from CBS were the producers. The
British Musicians Union again blocked Coleman’s quartet from playing, but
Coleman’s solo moments with the eighty-five-piece orchestra may have been a
blessing in disguise. His emotional vulnerability within the symphony is striking,unlike anything ever heard before. The use of the drums is key to the sound of themusic. Coleman had classical timpani with tom toms on the left and a traditional
jazz kit on the right.173 The album was done with two rehearsals and reported
difficulty from the musicians being challenged with a new concept, as well as
Columbia not willing to fund the project properly. Two months after therecording, the piece was performed at the Newport Jazz Festival in New York City
by the American Symphony Orchestra with Leon Thompson conducting andincluded Coleman’s quartet. The performance had an additional ten minutes thanthe edited forty-minute release. Coleman had a clear inspiration for the piece,
spending the night on a Crow Indian Reservation in Montana and participating insacred rites. To Coleman, the sky had witnessed everything ever done in America,
and was a place of true natural equality, where nobody owns territory.174
Coleman’s heartfelt liner notes suggest that if the sky can do it, then so can we.

172

As told to the author.

173

Wilson, Ornette Coleman: His Life and Music, 189.

174

Litweiler, A Harmolodic Life, 141.

122
While acknowledging the tragic past and reality of American culture, he seems tobelieve in an evolutionary narrative. Coleman introduced the idea of Harmolodics
in the notes. Reviews of the piece range from “dangerous and rewarding”175 to"another grand mess, generously and boldly conceived but stifled by the grim
playing of the LSO."176 Musically it’s interesting to hear “The Good Life” which
later became “Schoolwork,” before it became “Dancing In Your Head.” “All Of My
Life,” a beautiful vocal from Science Fiction recorded in 1971, becomes haunted
when expanded into a harmolodic symphony. At times Coleman’s titles validate
the track separation. “Love Life” pitches his alto alone struggling against thecosmic force and weight of love. “The Military” contains war like posture. “Sunday
in America” feels like a cumulative ending, grand in scope, and a unification of
Coleman’s concept including a musical resolution on his own terms. The long altosolo on “The Men Who Live In The White House” is beautiful and lyrical, making
it difficult to unite with the frenetic opening. Overall, the music throughout is anevolution of all his chamber and string music up to that point.
Coleman next performed, but did not document, a piece for trumpet,
percussion, and strings in 1974 titled The Sacred Mind Of Johnny Dolphin, as
mentioned in the chapter on Coleman and the trumpet. The piece was written for

175

Jurek, Thom. “Skies of America - Ornette Coleman | Songs, Reviews, Credits.” AllMusic,www.allmusic.com/album/skies-of-america-mw0000061385.
176

Cook, Richard. The Penguin Guide to Jazz Recordings. Penguin Books, 1994, 277.

123
Coleman’s friend Johnny Allen, leader of the group that formed and operated thecultural center called Caravan of Dreams.177 An arrangement of the score now
exists for college ensembles to perform.178 As mentioned earlier, the piece has been
performed at least four times, but has yet to be recorded. In 1985, Coleman
composed and recorded Prime Design, Time Design, his last string quartet, inhonor of Buckminster Fuller at a live concert. Coleman offered advice to listeners
that conventional listening won’t get you far in listening to this piece. The piece
was performed by the Gregory Gelman Ensemble and begins with a heartfelt
passing around of the phrase that is the same notes as the song “Moon River.”Coleman had an architecture-like approach to his improvisational strategy on thepiece. After a delicate opening, Denardo joins in and is very aggressive until theend of the piece, sounding like water that has instantly boiled. As Colemansuggested, trying to follow the individual lines proves difficult, while listening to
the song as a mass entity can also be challenging to some. Coleman’s arrangement
calls for each musician to play in different time signatures at the same time. To
close, the strings stop playing in the order that they started. Coleman attempts to
replace harmonization with humanization.179

177

Litweiler, A Harmolodic Life, 189.

178

"Lincoln Center Festival: Ornette Coleman's Chamber Music at Stanley H. Kaplan
Penthouse." ZEALnyc. May 30, 2017. Accessed December 30, 2018. https://zealnyc.com/lincolncenter-festival-ornette-colemans-chamber-music-at-stanley-h-kaplan-penthouse/.
179

Wilson, Ornette Coleman: His Life and Music, 209-211.

124
In January 1987, the Kronos string quartet performed Coleman’s “In Honorof NASA and Planetary Soloist” with guest Oboist Joseph Celli. The New YorkTimes review described short, jazz-based movements. Movement one contrasted
frenetic string scraping with a calm swing from Celli. In additional contrast, Celli
also used an Indian instrument called the mukhaveena with aggressive vocal
effects that held attention. 180 In 1989 Coleman composed the never recorded
Freedom Symbol for a large string and wind ensemble with the assistance of
violinist Tom Chiu. Freedom Symbol was performed in Battery Park New York Cityin the shadow of the statue of Liberty in 2000 and was reviewed by the Chicago
Tribune providing insight into the piece. The work was a tribute to the ideals of
the French Revolution and performed by a 20-member Harmolodic Chamber
ensemble containing timpani, strings, and winds. Howard Reich described blocks
of sound, long extended solos, waves of dissonance, and long sinuous melodies,complete with a bold symphonic unified climactic finish.181
In 1991 Howard Shore asked Coleman to collaborate with him on thesoundtrack to Naked Lunch, a science fiction thriller. Shore composed and cocomposed the music and conducted the seventy-seven-member London

180

Crutchfield, Will. “Concert: Kronos Quartet at Weill Hall.” The New York Times, 18 Jan.

1987.
181

Reich, Howard. "ORNETTE COLEMAN MAINSTREAM SENSATION: HOW TIMESHAVE CHANGED." Chicago Tribune. August 28, 2018. Accessed January 13, 2019.
https://www.chicagotribune.com/news/ct-xpm-2000-06-05-0006060055-story.html.

125Philharmonic. In the liner notes, Coleman explains that the music is Harmolodic
going into technical detail, seemingly having achieved a type of validation of his
theory by its successful work in action through collaboration. Coleman solos at
length over the orchestra backdrops and is inspired throughout. As stated earlier,the orchestra is offset by a Coleman trio with Denardo and bassist Barre Phillips togreat effect. Coleman wrote new music for the trio. The Master Musicians of
Joujouka make an appearance as well, superimposed on Shore’s orchestral
textures.182 Coleman displayed the deeper levels of his alto virtuosity throughout
the soundtrack. His agility on the trio’s “Bugpowder,” naked emotion on the ballad“Intersong,” and his playing over Shore’s Mujahaddin” stand out. In 2017 at a
Coleman celebration at Lincoln Center, Naked Lunch was revisited with Denardo,
Charnett Moffett, Ravi Coltrane on tenor and Henry Threadgill on alto. Forms andSounds was performed, as well as In Honor of NASA and the Planetary Soloists forstring quartet and oboe.183
Finally, we reach Coleman’s dream symphonic work that unfortunately wasnever realized. Truly epic in scope, we are only left with Coleman’s description.
The title is The Oldest Language. The piece was comprised of several ideas. It
would be written for one hundred twenty-five people, two from each of the United

182

183

Wilson, Ornette Coleman: His Life and Music, 226.

Russonello, Giovanni. “Ornette Coleman's Innovations Are Celebrated at Lincoln
Center.” The New York Times, The New York Times, 17 July 2017,www.nytimes.com/2017/07/17/arts/music/ornette-coleman-lincoln-center.html.

126States.184 He wanted to use excerpts from as many different linguistics as possible,
using all different tongues.185 Coleman also wanted one person from twenty-two
different world cultures, the number being denoted with numerological andmystical power as he was taught by the Crow Indians. The piece would be two to
three hours long.186 The Third World had to be included, and the greatest
challenge: all the musicians must live together for six months and reconcile allcultural and linguistic differences before seeing the score.187 Producer andmusician John Snyder has seen the first page of the score, and every note is in adifferent color.188

184

Feather, Leonard. “Interview Ornette Coleman.” Downbeat, July 1981, pp. 16–93.

185

Mandel, Howard. “Ornette Coleman The Creator As Harmolodic Magician.” Downbeat, 5Oct. 1978, pp. 17–56.
186

Rockwell, John. All American Music Composition in the Late Twentieth Century. New
York, NY: Da Capo Press, 1997.
187

Davis, Francis. Jazz and Its Discontents: A Francis David Reader. Cambridge: Da Capo
Press, 2004.
188

Coleman, Ornette, performer. Celebrate Ornette. Recorded 2016. Denardo Coleman,
2016, Vinyl recording.

127

SECTION III: THEORY
12. Other Masters

Coleman had definitive impact on several of his contemporaries. Miles
Davis criticized him but was undeniably influenced by his work. John Coltrane
openly embraced Coleman and studied with him. Sonny Rollins formed a similar
band that adapted Coleman’s concepts. Jackie McLean recorded with Coleman in
the previously discussed New And Old Gospel. Roy Eldridge said in a well-known
rebuke of Coleman, “I listened to him high and I listened to him cold sober. I evenplayed with him. I think he’s jiving, baby.”189 Charles Mingus, with a complicatedrelationship to the avant-garde, was unhinged by Coleman to a degree. Max Roachassaulted Coleman. Archie Shepp said of Coleman: “Call Ornette the shepherd andCecil the seer,” and also added “His tunes have about them the aura of a square
dance telescoped through the barrel of a machine gun.”190 Wayne Shorter addedthat Coleman was one of his favorite astronauts.191

189

Litweiler, A Harmolodic Life, 82.

190

Jost, Free Jazz, 56.

191

Weiner, Natalie. "Wayne Shorter Remembers Ornette Coleman: 'One of My Favorite
Astronauts'." Billboard. June 12, 2015. Accessed February 10, 2019.
https://www.billboard.com/articles/news/6598047/wayne-shorter-ornette-coleman-obituarymemorial-remembers-homage.

128
In the Miles Davis autobiography, Davis stated that in 1960, a new black
alto saxophonist named Ornette Coleman came and just turned the whole jazz
world around.192 Davis not only heard Coleman at the Five Spot but sat in several
times.193 Davis wasn’t impressed with the playing but considered Coleman’sliberation from form and structure to be important.194 The Davis quintet with
Herbie Hancock, Wayne Shorter, Ron Carter, and Tony Williams contains thisinfluence. Most people however point to a famous rebuke of Coleman when Davis
said “Hell, just listen to what he writes and how he plays. If you’re talking
psychologically, the man is all screwed up inside.” 195 Davis also felt that the “NewThing” designation of the avant-garde was an attempt by white critics to quickly
own something that they weren’t able to understand.196 Davis came to slowly open
to Coleman. He compared one of his compositional techniques as going back as far
as Bach, that music could be played three or four different ways, independently ofeach other.197 Davis’s On the Corner contains the influence of Coleman’s Prime

192

Davis, Miles The Autobiography, 249.

193

Ibid. 250.

194

Ibid. 251.

195

"Factbox: Quotes by and about Saxophonist Ornette Coleman." Reuters. June 11, 2015.
Accessed February 10, 2019. https://www.reuters.com/article/us-people-ornettecolemanfactbox/factbox-quotes-by-and-about-saxophonist-ornette-coleman-idUSKBN0OR23220150611.
196

Davis, Miles The Autobiography, 251.

197

Ibid. 322.

129
Time. Coleman also wrote music for Davis on occasion198, though it doesn’t appear
to have been recorded. Coleman’s manager Neil Blyden told the author hewitnessed Davis at Coleman’s loft trying out different tunes that Coleman had
written, offering to buy the ones he liked with Coleman declining.199 Davis wanted
to have a public perception of his relationship with Coleman while at the sametime incorporating ideas he could work with. When Coleman was asked about
Davis in 1991 shortly after his death, his response contained a broad scope.
Miles was one of the first improvisors that had such an individual
personality (musically and humanly) and philosophy, that because he was born in
America, his concept of himself existed because there was a country called
America that allowed him to be that way.200

John Coltrane was a humble man and profoundly interested in the deeper
realities of music. When Coleman arrived in New York, Coltrane heard somethingthat he felt he could directly apply in his own personal quest. Charlie Haden said
that at the Five Spot “Coltrane used to come hear us every night. He would grab
Ornette by the arm as soon after we got off and they would go off into the nighttalking about music.”201 Coleman also came to see Coltrane perform and talk to

198
199

Litweiler, A Harmolodic Life, 125.

As told to the author by Blyden, now deceased.

200

Sobol, Aaron. "Ornette Coleman Discusses Alan Hovhaness and Miles Davis - 1991."
YouTube. August 30, 2016. Accessed February 10, 2019.
https://www.youtube.com/watch?v=thHlJ3_0qHw.
201

Palmer, Robert. ""Charlie Haden's Creed"." Downbeat, July 20, 1972.

130
him between sets.202 Coltrane sat in with Coleman during this period and said “I
would like to make a record with Ornette Coleman. I’ve only played with him one
time in my life; I went to hear him in a club, and he asked me to join him. We
played two pieces-exactly twelve-minutes-but I think this was definitely the mostintense moment of my life!”203 Coltrane was very open to Coleman’s music, as
documented by Dr. Lewis Porter. On Coleman, Coltrane spoke very highly.
I Love him. I’m following his lead. He’s done a lot to open my eyes to what
can be done. I feel indebted to him. When he came along, I was so far into Giant
Steps chords that I didn’t know where I was going to go next. I don’t know if I
would have thought about just abandoning the chord system or not. I probably
wouldn’t have thought of that at all. And he came along doing it, and I heard it, I
said “Well, that must be the answer.” Since we have a piano, we have to consider it,
and that accounts for the modes that we play, but that’s going to get monotonous
after a while, so there probably will be some songs in the future that were going toplay, just as Ornette does, with no accompaniment from the piano at all. Maybe on
the melody, but as far as the solo, no accompaniment.204

Coltrane also told Tsujimoto in Japan that Coleman was a great leader, andthat a leader was a great thing to be.”205 During Coleman’s self-exile in the earlysixties, he emerged to sit in with Coltrane at the Half-Note in February 1964,

202

Porter, Lewis. John Coltrane: His Life and Music. Ann Arbor, MI: University of Michigan
Press, 2008. 176.
203

Porter, John Coltrane: His Life and Music, 204.

204

Ibid. 203.

205

DeVito, Chris, and John Coltrane. Coltrane on Coltrane: The John Coltrane Interviews.
Chicago, IL: Chicago Review Press, 2012.

131
playing trumpet, and in January,1965 he almost joined Coltrane’s band, stopped
only by an opening slot at the Vanguard.206
By 1965, Coltrane had moved on from pre-arranged chord progressions.
Coleman spoke about his exchange with Coltrane noting that Coltrane wasinterested in non-chordal playing.207 Coltrane had, by the time he heard Coleman,extended and mastered the use of chords in jazz beyond what anyone else had
previously thought possible. Martin Williams witnessed Coltrane in observation ofa Coleman rehearsal as early as 1961 with Jimmy Garrison on bass.208 Coleman told
the author that after Coltrane died, he received a letter thanking him with money
included for lessons, and that after receiving the letter he spent several days
crying. Coltrane had experimented as early as the summer of 1960, a year after
Giant Steps on the record The Avant-Garde with Don Cherry, Charlie Haden orPercy Heath, and Ed Blackwell, but was still hesitant at walking away from chordal
playing completely. With his classic quartet, it was not uncommon for pianist
McCoy Tyner to lay out at times during solos. “Chasing the Trane” from Live at
Village Vanguard is a great example of extended improvisation with no piano
support or restriction. Coltrane would go even further than Coleman on his duet
album Interstellar Space with drummer Rashied Ali, removing the bass and leaving

206

Porter, John Coltrane: His Life and Music, 204.

207

Ibid. 204.

208

Ibid. 204.

132
him alone in a duo with drums, one of his favorite environments, with the rightdrummer.
Sonny Rollins was open to Coleman’s innovations incorporated on his own
terms. In a 1962 blindfold test with Leonard Feather he responded to hearing
Coleman play a Coleman piece titled “Folk Tale” on Atlantic.
I’m in favor of Ornette and many of the things he has done. He does possess
the basic elements that go to make up a jazz artist. A rhythmic drive. Qualities you
can find in everybody since Louis Armstrong, all the good guys. I can still see in his
figures a certain quality that was exemplified by Bird. Everybody says Ornette’s
playing sounds weird or so forth. But Ornette has the basic jazz essentials, drive
and the rhythm. Rhythm is the most necessary part, the prerequisite, the positiveelement. But of course, harmony is the negative through which the positive must
exert itself. 209

Rollins and Coleman went as far back as during Coleman’s earlier days in
Los Angeles. Rollins sought him out, as he told Scott Spencer.

When I used to go out to L.A. back then, there was something I could do
you couldn’t do today, says Rollins. I’d drive my car out toward Malibu, park it on
the side of the road, and go down to the beach to practice. I invited Ornette tocome with me and we’d play, just the two of us standing in the sand, putting oursound out over the ocean. I really liked what he was doing. A lot of the establishedmusicians didn’t like his playing, they were doing things like walking out on him,
but I liked him.210

209

210

Feather, Leonard. The Encyclopedia of Jazz in the Sixties. New York: Horizon Press, 1966.

Spencer, Scott, and Scott Spencer. "Ornette Coleman: The Outsider." Rolling Stone. June25, 2018. Accessed February 11, 2019. https://www.rollingstone.com/music/music-news/ornettecoleman-the-outsider-193373/.

133
Rollins was inspired enough by Coleman that he hired Billy Higgins and
Don Cherry, and wanted Charlie Haden, for a tour in Europe after Colemanfinished a run at the Village Gate in 1961.211 Rollins album Our Man in Jazz was a
result of the band he formed with Henry Grimes playing bass. Many bootlegs ofthis group survive. Rollins embraced the open harmony but chose to continue to
use form and some of his usual repertoire, resulting in a unique group that was a
result of Coleman’s influence. Rollins thrived in this environment though he often
maintained a tonal center and didn’t modulate as freely as Coleman. He spoke
highly of Don Cherry as an original voice, who suffered criticism for his technique
but was in possession of a great musical mind.212 Rollins always played with acontrolled openness in his playing from this point forward in his career. The twotitans famously reconvened in 2010 at a concert celebrating Rollins birthday at the
Beacon theater with Christian McBride on bass and Roy Haynes on drums on
Rollins “Sonnymoon for Two.” Though Coleman’s entry is delayed, once he enters,
he kept the exchange going for fifteen minutes, Rollins openly responding toColeman’s singing lyricism and free modulation.213 The New Yorker described the
happy moment as Matisse and Picasso trying to agree on a line.214

211

212

Haden, Woodard. Conversations with Charlie Haden, 23.

Guy, Jazz Video. "Sonny Rollins and Don Cherry." YouTube. December 06, 2013.
Accessed February 11, 2019. https://www.youtube.com/watch?v=srweoZIlao0.
213
Dixiefeet. "Sonny Rollins & Ornette Coleman - Sonnymoon For Two (Live 2010)."
YouTube. February 07, 2012. Accessed February 11, 2019.
https://www.youtube.com/watch?v=WhXlwdkcLc4&t=5s.

134Charles Mingus was an innovator and experimenter in jazz in his own right,
open to avant-garde jazz practice on his own terms. In October 1960 on his album
Charles Mingus presents Charles Mingus on “What Love?” the music is borderline
free playing with Coleman’s friend Eric Dolphy on bass clarinet playing beyond
conventional harmony into pure vocal expression of emotions not commonly
expressed in jazz. Mingus had issues with Coleman’s technique, but he couldn’t
deny that there was a necessary crossing of boundaries taking place. I again turn to
Leonard Feather’s Blindfold Test in Downbeat taken in April 1960. Feather didn’t
play Coleman, but Mingus wanted to speak about him anyway. The question
remains, how much did Coleman influence the music he recorded that Octoberwith Dolphy?
You didn’t play anything by Ornette Coleman. I’ll comment on him anyway.
Now, I don’t care if he doesn’t like me, but anyway, one-night Symphony Sid wasplaying a whole lot of stuff, and then he put on an Ornette Coleman record.
Now, he is really an old-fashioned alto player. He’s not as modern as Bird. He
plays in C and F and G and B Flat only; he does not play in all the keys. Basically, you
can hit a pedal point C all the time, and it’ll have some relationship to what he’s playing.
Now aside from the fact that I doubt he can even play a C scale in whole notes—
tied whole notes, a couple of bars apiece—in tune, the fact remains that his notes andlines are so fresh. So, when Symphony Sid played his record, it made everything else he
was playing, even my own record that he played, sound terrible.

214

Remnick, David, and David Remnick. "Ornette Coleman and a Joyful Funeral." The New
Yorker. June 19, 2017. Accessed February 11, 2019. https://www.newyorker.com/culture/culturedesk/ornette-coleman-and-a-joyful-funeral.

135
I’m not saying everybody’s going to have to play like Coleman. But they’re goingto have to stop copying Bird. Nobody can play Bird right yet but him. Now what would
Fats Navarro and J.J. have played like if they’d never heard Bird? Or even Dizzy? Wouldhe still play like Roy Eldridge? Anyway, when they put Coleman’s record on, the only
record they could have put on behind it would have been Bird.
It doesn’t matter about the key he’s playing in—he’s got a percussion sound, likea cat on a whole lot of bongos. He’s brought a thing in—it’s not new. I won’t say whostarted it, but whoever started it, people overlooked it. It’s like not having anything to dowith what’s around you and being right in your own world. You can’t put your finger onwhat he’s doing.
It’s like organized disorganization or playing wrong right. And it gets to you
emotionally, like a drummer. That’s what Coleman means to me.215
A photo of Charles Mingus at his Newport Rebels festival shows Coleman
on stage with Mingus, Kenny Dorham, and Max Roach. What were they playing?
Available evidence is that Mingus and Coleman alternated sets,216 and that
extended jam sessions took place with Mingus or Coleman taking the lead.217 The
photo has them all playing together with Mingus looking at Coleman, but it
remains another event where no recording exists as of 2019. Mingus was present at
the Five Spot in a well-known story by Charlie Haden that he looked over at thebar while setting up, and Charlie Mingus, Ray Brown, Percy Heath, and Paul215

Blindfold Test | Charles Mingus: The Official Site." Charles Mingus The Official Site.
Accessed February 11, 2019. http://mingusmingusmingus.com/mingus/blindfold-test.
216

Monson, Ingrid Tolia. Freedom Sounds: Civil Rights Call out to Jazz and Africa. Oxford:
Oxford University Press, 2010, 184.
217

2004, 195.

Wein, George, and Nate Chinen. Myself among Others: Cambridge, MA: Da Capo Press,

136
Chambers were all there waiting to hear how he approached Coleman’s music.218
Mingus wrote an article in Downbeat titled “An Open Letter to the Avant-Garde”
though he didn’t mention Coleman in the article, taking issues in general with freeplayers who didn’t have the skill to play chord changes, suggesting that an AvantGrade album by Duke Ellington, Mingus, Clark Terry, and Thad Jones, players who
could play chord changes playing free would be the most valid innovation.219 Bern
Nix told the author that while he was living with Coleman, Mingus called Colemanin the middle of the night to confront him on his trumpet playing saying “Mother
Fucker- who told you could play the trumpet?”
Despite the negative criticism they received initiating the bebop revolution,
both Dizzy Gillespie and Max Roach were initially very hostile towards Coleman,
Roach going as far as violence. Both of them eventually came to accept Coleman
with Roach embracing the avant-Garde in the extreme. Coleman told the author ofan event where he and Gillespie were booked at the same venue. Coleman played
the first set. During the intermission, tenor saxophonist James Moody approached
Coleman for lessons, impressed with the music he heard. Gillespie overheard theinteraction and intervened, forbidding him from studying with Coleman, and in
front of him, told Moody that Coleman was a charlatan. A decade later however,218"Charlie Haden on His First Time Playing at the Five Spot." NEA. June 15, 2015. Accessed
February 11, 2019. https://www.arts.gov/audio/charlie-haden-his-first-time-playing-five-spot.
219

Ideologic - Stephen O'Malley - News. Accessed February 11, 2019.
http://www.ideologic.org/news/view/charles_open_letter_to_the_avant_garde.

137
Gillespie told Leonard Feather that he had played with Miles Davis quintet with
Herbie Hancock and Tony Williams, and that it reminded him of Ornette
Coleman. As ever with Gillespie, he just needed to hear the harmony.

It reminded me so much of Ornette Coleman. I never listened to him muchat this point. But when Bernard Stollman gave me one of his Town Hall concerts, I
was alone when I put on the record, and I could follow the chords he was playing.
It was difficult stuff, very complex and highly enjoyable. And that’s when I really
started listening closely to what he was doing.220
Roach initially walked of the bandstand when Coleman tried to sit in in Los
Angeles.221 Coleman told the author that Roach attacked him in the bathroom theFive Spot and punched him in the mouth. In 1960 in France during an interview
and asked about the spirit of his music, without a piano, Roach said “We’re trying
to assimilate the talent of the individuals of the group, and from this try to evolve astyle where we have something exclusive with ourselves.”222 Roach was also
working without a piano and may have felt competitive about the idea of playing
without it. Whatever hostility Roach may have had from Coleman’s perceived
threat to end his way of life, he ended up recording with Anthony Braxton, Archie

220

Feather, The Encyclopedia of Jazz in the Seventies, 33.

221

Feather, Leonard. “Interview Ornette Coleman.” Downbeat, July 1981, pp. 16–93.

222“Jazz Improvisers.” Katie Couric - You Can Watch #GenderRevolution Right Here,www.facebook.com/JazzImprovisers/videos/1000392320071453/. Accessed 11 Feb. 2019.

138
Shepp, and Cecil Taylor, and even convinced Gillespie to record a record of them
improvising freely!223
Albert Ayler admired Coleman’s business practices,224 though he didn’t
speak about his music. When the author asked Coleman about Ayler, he became
visibly upset and said that if Ayler had come to study with him as they discussed,that Coleman would have straightened out everything, and in fact may have beenable to save his life. We have previously discussed Eric Dolphy who also came toembrace and record with Coleman. When asked by the author about Dolphy andthe album Free Jazz, Coleman said he told Dolphy to bring whatever horn hewanted, and Dolphy chose the bass clarinet. As previously discussed, Jackie
McLean collaborated with Coleman playing trumpet on his album New And Old
Gospel.

223"Max Roach and Dizzy Gillespie - Max Dizzy, Paris (1990)." Something Else! December
28, 2016. Accessed February 25, 2019. http://somethingelsereviews.com/2007/07/30/max-roachand-dizzy-gillespie-max-dizzy-paris-1990/.
224

ZOUMHANE, Fayçal. "Albert Ayler Interview -Sonny Rollins, Ornette Coleman Et John
Coltrane." YouTube. May 24, 2011. Accessed February 11, 2019.
https://www.youtube.com/watch?v=a6RWMHVwKhk.

139

13. Harmolodics

Coleman’s identifying his philosophy with a term he devised first appearedin the liner notes to Skies Of America in 1972, as Coleman announced a book called
The Harmolodic Theory. He doesn’t mention that he’s the author, or that he had
been working on the book since his self-imposed exile from 1963-64. Today in 2019,the book remains unpublished, however Denardo Coleman has plans to have it
edited and formally released.225 Three attempts have been made at translating
Harmolodics on to the page to a degree. Michael Cogswell wrote his dissertation
titled Melodic Organization In Four Solos By Ornette Coleman in 1989. Nathan A.
Frink wrote his dissertation in 2012 titled Dancing In His Head: The Evolution Of
Ornette Coleman’s Music and Compositional Philosophy. Stephen Rush wrote abook titled Free Jazz, Harmolodics, and Ornette Coleman. All three seek evidenceof rules, or laws that might define Harmolodics as a dialect that can be learned andspoken such as bebop, or George Russell’s Lydian Chromatic Concept. Frink, forexample, states that a tenet of Harmolodics includes the practice of polymodality,

225

As told to the author.

140
that a lead soloist could change the key of a piece.226 Keys were not relevant toColeman in composition or improvisation as a core function. The idea is whatmattered. Cogswell got closer stating that while Coleman’s principal innovation isthe abandonment of a pre-determined harmonic progression as the scaffolding fora group improvisation, his melodic motives occasionally imply harmonicprogressions or delineate cadential formulae.227 In analysis of Coleman’s music he
examined rhythm and pitch sequence, contour, repetition, and motivic chain
association in an attempt to read his mind and diagnose his form of hearing. The
effect is like performing exploratory brain surgery on a melody. The difficulty
remains for all scholars interested in Coleman’s work in that he did not seek
validation. His goal was to prove himself on first his own scientific terms, and later
to broaden his scope to examine the function of humanity. Harmolodics does haverules, but Coleman’s goal in using and teaching it was not to create a separate
dialect in jazz that separates a musician from the other dialects. His goal was to set
musicians free to relate to music in what he saw as a more natural way. The idea’sthat Coleman define as part of his creed are those that allow a musician to find or
create a pathway to himself. He has tried to explain this process hundreds of

226 Frink, Nathan A. "DANCING IN HIS HEAD: THE EVOLUTION OF ORNETTE

COLEMAN’S MUSIC AND COMPOSITIONAL PHILOSOPHY." November 16, 2015. Accessed April
04, 2019. www.d-scholarship.pitt.edu/27686/1/NFdissfullPittrev2.pdf, 95.
227 Cogswell, Michael. "Melodic Organization in Four Solos by Ornette Coleman." Digital

Library. March 09, 2015. Accessed April 09, 2019.
https://digital.library.unt.edu/ark:/67531/metadc501207/, 15.

141different ways over the years. Those who have applied his process to their own
musical practice all have different interpretations, because they have all
experienced different results, being different people.
I feel it best to begin with my own experience. The moment I met Coleman,he asked me to play. I played an improvisation of a piece I wrote that was anextension of his piece “Dancing In Your Head.” What I didn’t know was that inunder thirty seconds, I had been diagnosed, with the result that Harmolodics
could help me figure myself out. Coleman offered that I could return at any time
for this exchange. I learned that no scheduling would be possible. If I felt it wastime to go, I would, and if Coleman was home, then it was supposed to happen. I
returned shortly after this and when the elevator door to his loft opened, he said
“You got me!” The first day, or session was all conversation of philosophy forseveral hours. I leaned one of Coleman’s favorite riddles, designed to help peopleview a new perspective. The question is “What’s the tonic, or root note, of a chordin the key of F?” Most people try, the root, then the third, seventh, fifth, or flat
fifth, before folding. The answer defines the entire concept:

You. You’re the tonic.

To offer my own translation, this means that the feeling you have, and thesound that comes out of you is the root, or center of what’s happening when you
play music and improvise. As throughout Coleman’s hundreds of ways to see what

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he is pointing out, the challenge is to see music as a human act, more thansomething based on the intellect. It is assumed that the intellect is alreadyunderstood. Once you know what the root is, you are not beholden to it. Playing
this way calls for intuition, trust of yourself, and others, all very human things.
Whatever rule that you present based in traditional musical theory, Colemanalmost always had an alternate view.
In Western musical theory transposition, different instruments are pitchedin different keys. Violins play in C concert, trumpets are in Bb, and alto
saxophones are pitched in Eb. In this way, a C on Violin, is a D on trumpet, and an
A on the alto saxophone. Coleman is quick to ask; how can a sound be classified as
three different notes? By calling attention to the instability behind the theory,
Coleman is asking to see notes as sounds before their classification. Human beings
that listen to music respond to the sound and the feeling. In jazz, the audience isnever informed of the key, progression, or form. Coleman took this idea a stepfurther to offer me a harmolodic rule as a horn player, questioning where my Eb
instrument was. It was during this period that I took up the alto clarinet. Coleman
opened the door to a horn I was already very curious about. In practice however,
we had conflict in that I had two Bb instruments. One day while playing music, hetook my bass clarinet and placed it in another room and handed me my trumpet.
He felt the trumpet was my natural voice. He held the instrument in high regard
and pointed out the flaw of the saxophone: The saxophone is built like a scale, and143
thus leads the player directly into theory. The trumpet escapes the connotationand is pure melody.
In Coleman’s next application of Harmolodics to my playing, I reached theapex of my experience with him, one that changed me forever. Bassist Charnett
Moffett came over and we were improvising a duo when Coleman stopped us.

You didn’t resolve your idea.

Moffett offered an example. For me, this was a huge confrontation, because
at that time I was simply not aware of or concerned with idea of resolution.
Resolution could be as simple as ending with a major or minor third interval, or
what might be a chord resolution from wherever I was at. The theory wasn’t asimportant as that what I played was coherent on some level. It had to sound like itmade musical sense, regardless of theory. I learned how idea resolution is reallysourced in the way the human ear works. Idea resolution became the core issue
between us, and he would stop me playing whenever I fell into this self-createdtrap. At one point, Coleman seemed agitated when I attempted a Johnny Hodges
type glissando the length of a fifth. While I thought he would be impressed, theopposite result was achieved, and he asked, “How can have an idea if you don’t
speak with words?” Coleman stopped me a third time and said “I know what you
sound like, and now you’re playing like somebody else. Why would you play likesomeone that wasn’t you?” This was a serious and unexpected problem to him, and144
I offered no solution. I eventually understood the answer, which was that I wastrying keep up with Moffett! Coleman may have offered a path away fromconventional harmonic thinking, but he still expected musicians to use functionalmusical language. I soon had the epiphany that in Harmolodics, while harmony
was no longer a prison of sorts, there were other aspects of music used in jazz that
became even more important. Melody was elevated in status just as much as
harmony was reduced. At this point, constructing harmonically free melodic ideasthat resolved, became my core process and I spent several years developing it,
checking in with Coleman. At one point I started playing all microtones and hesaid “I’m telling you that you’ve found a new way to play. Stop proving it and start
using it.”
A key part of Harmolodics is that musical relationships are humanrelationships first. Charlie Haden is the supreme example of this. Haden naturally
adapted to Coleman’s concept, and then resolved to support him in practiceperhaps more than any other musician. Coleman trusted Haden, and together
their shared intuition speaks to the kind of human understanding that can one cansense between, say, Billie Holiday and Lester Young. Coleman became emotional
when I asked him about drummer Ed Blackwell and he explained that the problem
I had wouldn’t exist for him with Blackwell, because he could finish Coleman’sphrases and even resolve his ideas. Throughout his life, Coleman sought to getbass players and drummers to abandon any role-playing responsibility, and to
replace it with their human responsibility. I played a Charles Gayle trio record for

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Coleman who said, “Well, he certainly wasn’t waiting for anyone to tell him what
to do.”
Coleman’s Harmolodic process also pushed the envelope in other more
abstract areas. He observed: “I see you have a sexual relationship with your horn.”
Sex was a popular topic with Coleman, and he often would relate music to maleand female dynamics. It was through discussions with him that I started a large
ensemble of an equal amount of men and women seeking a new balance of energy.
Coleman also had Greg Osby over for a pre-interview and immediately after sitting
down, stated a belief and asked him a question at the same time.

The major is white, and the minor is black. Isn’t that so? Do you agree?

Coleman attached philosophy and spiritual concepts more and more as hebecame older. In our last conversation by phone, I called him demoralized fromhaving been forced into a foot-messenger job out of desperation. He quickly
turned the conversation into looking at broad spiritual and musical concepts andsaid that sound, and the soul, are eternal.
I’ll shift now to more evidence of the functions of Harmolodics throughmusicians that played with Coleman. In the earliest explorations of the process,
Coleman himself wrote an essay in Downbeat, taking quite a scientific approach.
What is Harmolodics? Harmolodics is the use of the physical and mental of
one’s own logic made into an expression of sound to bring about the musicalsensation of unison executed by a single person or with a group. Harmony,
melody, speed, rhythm, time, and phrases all have equal position in the results

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that come from the placing and spacing of ideas. This is the motive and action ofHarmolodics.228
Coleman wrote an additional essay about Harmolodics for a book title Free
Spirits, The Insurgent Imagination.
Harmolodics can used in almost any kind of expression. You can think
Harmolodically, you can write fiction and poetry in Harmolodic. Harmolodics
allows a person to use a multiplicity of elements to express more than one
direction. The greatest freedom in Harmolodics is human instinct.229

Don Cherry is of course a vital source on Harmolodics as one of Coleman’sclosest and well-known collaborators.
Harmolodics is a profound system based on developing your ears alongwith your technical proficiency on your instrument. In the early days people feltthat we didn’t really know our instruments, that we were just playing anything.
But Harmolodics is based on a system on notation. We have to know the chord
structure perfectly, know all the possible intervals, and then play around it. The
system gives you the freedom to phrase differently each time you play a song.230

Returning to electric bassist Jamaaladen Tacuma, he was asked about how
Coleman approached harmony in Prime Time, providing another perspective andcontinuing to dispel the myth that chords were irrelevant in Harmolodics.

228

Coleman, Ornette. "Prime Time for Harmolodics." Downbeat, July 1983, 54-55.

229"Harmolodic-Higher Instinct: Something to think about" Buhle, Paul. Free Spirits:
Annals of the Insurgent Imagination. San Francisco: City Lights Books, 1982.
230

Silvert, Conrad. "Old and New Dreams." Downbeat, June 1980, 17-19.

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There is a certain melody that is played. We might play it in harmony orindividually. From the melody we go into compositional structure. We set up
bridges constantly, and we actually go through the whole maze of chordal
structure in music, period. Ornette might have one person play I-V, a C to a G, andhave another person play C, Eb, and Bb, which can still hook up musically. Heshows us different ways chords can hook up; it’s incredible, he’s like a wizard
because he’ll show you so many ways to combine chords. Ornette got me in a raw
stage and what he did was just create a monster. He says I’m the master of thesequence 231

In 1990, Howard Mandel spoke to three additional Prime Time members.
Keyboardist David Bryant, the great tabla player Badal Roy, and bassist Al
MacDowell about playing in a Harmolodic band.
Bryant: Ornette’s not getting rid of the soloist, he’s getting rid of theaccompanist by elevating the role to the soloist’s height.
Roy: Ornette wants me to never play the same thing more than four times. I
can get a groove going, but he says, ‘I’m always changing; keep playing so I cankeep playing around you.’ For Ornette, 30 seconds of the same thing is too long.
MacDowell (who started playing with Coleman right out of high school in1975): Harmolodics is music before it’s orchestrated. Jazz is live composing on the
spot; Harmolodics is that, but even with a melody, it’s not what you can playaccording to somebody else. If Ornette plays a C, he may be in C Major, but maybe
C minor, or F; and he might be playing any of the three clefs. Harmolodics is myinterpretation of what his playing possibilities are.232

Finally, I return to Coleman for more of his ideas concerning himself andHarmolodics. Howard Mandel had a unique connection with Coleman, and

231

232

Tinder, Cliff. "Electric Bass in the Harmolodic Pocket." Downbeat, April 1982, 19-21.

Mandel, Howard. "Ornette Coleman's Prime Time Primeval Update." Downbeat,
November 1990, 30-31.

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believed Coleman had two ideas as strong as commandments: the primacy of theindividual, and the possibility of a perfect world modeled on musical rapport. He
got unique responses from Coleman over the years.

The rhythm and sound are like a man and a woman, they have to get alongwith one another or else they’ll start to fight.233
We can all play together, and if we all play with honesty, full attention, andfreedom, the music will coalesce as it would.234
I always tell people I think of myself as a composer who plays.235
The melody can be the bass line, the modulation line, the melody, or thesecond or third part. That’s how I see Harmolodics. You can take any melody, anduse it as a bass line, or a second part, or as a lead, or as a rhythm. I do it in all themusic I play. Melody is only unison, it’s not melody. Melody is only unison, butthere are as many unisons as there are stars in the sky.236

Coleman told Bill Kohlhasse.

I’m very scientific about the way I approach writing and playing. I’m always
investigating different kinds of musical concepts, keys and ways to cue them, andusually my melodies, my unisons, come out of that. I’ve searched for those things

233

Mandel, Howard. "Ornette Coleman The Creator As Harmolodic Magician." Downbeat,
October 78, 17-56.
234

Ibid.

235

Ibid.

236

Mandel, Howard. "The Color Of Music." Downbeat, August 1987, 17-19.

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that you can’t hear, that you have to know. That’s one of the reasons that
Harmolodics has been so useful in my way of dealing with musicians and music.237

Pianist and educator Dr. Lewis Porter held a workshop with Coleman for his
students at Brandeis University. Coleman had the following instructions for his
ensemble, which resulted in interesting results.238

Bass: play whole steps
Trumpet: play only 4ths
Alto: play only half steps
Piano: play only thirds

One day when I was studying with Ornette, it was just the two of us. He
played alto saxophone and I played alto clarinet. We played for about forty
minutes. On several occasions we were playing together, and both ended up
playing extended sound in the upper, very vocal ranges of the instruments. On twoor three moments we ended up holding out the same pitches, literal unisons.
Afterword’s Coleman looked at me and said, “There’s really nothing better thanthat in life.”
The unison.

237

Kohlhaase, Bill. "Coleman Classics." LA Weekly, July 1988.

238 As told to the author.

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SECTION V: INTERVIEWS
14. Denardo Coleman

Denardo Coleman is of course Coleman’s only son, first discussed in mychapter on Coleman and the drums. Besides being the living master of Harmolodic
drums, he remains his father’s number one supporter and the caretaker of his
legacy since his death on June 11th, 2015. In the interview we speak about his
currant activity teaching Harmolodics worldwide through connections he madebetween both of his parents. He still uses Ornette’s loft in Chelsea to rehearse
music and conduct business related to Ornette. While I was studying with
Ornette, I never met Denardo. We first met at Sam Ash music where I worked
during the day selling trumpets and saxophones after Ornette’s death. When tenor
saxophonist Joshua Redman left behind sheet music for a concert of Ornette’s
music from the soundtrack to Naked Lunch at the store on 34th St., management at
Sam Ash music contacted me at Michiko Studios (where I currently work), notknowing who the music belonged to but believing that I would. I then called Bern
Nix to acquire Denardo’s telephone number to tell him I had the music, andDenardo and I agreed to meet. Shortly after this in May 2017, I discovered Nix in
his room, also in Chelsea, dead from a heart attack. I immediately contacted
Denardo who considered him a brother. A year later I reached out to Denardo for
the interview, which then took place in May 2018 at Ornette’s loft. This was the151same loft that I studied with Ornette in, and we were in the same music room, or
laboratory that we had played in. Ornette’s many paintings and library were
exactly as I remembered, with the addition of the actual telephone from the coverof Tone Dialing placed nearby near where we sat.

Matt Lavelle: So, Bern talked about Ornette and Harmolodics a lot. And
then of course, almost a year today we found out that Bern had moved on. Since
then, I've started seeking more Harmolodics knowledge from different sources.
I’ve been talking to Kenny Wessel about “Kathelin Gray.” Kenny Wessel sent me
his lead sheet from the rehearsals. Then I met Dave Bryant and he sent me his lead
sheets. Then I found Pat Metheny had a real book and he had his version. There
was an author named Steven Rush who did a book and he had another one. Plus,
online a saxophone player named James Mahone did a transcription, So, now I had
five different versions of it to try to put it together, and I'm still trying to put it
together.
Denardo Coleman: Damn. Man. So, how different were the versions?
ML:

They were all different. And some of the guys took hardcore

positions about what certain things were. Some of them I agreed with, some ofthem I didn't. The key was in question. The more I investigated it, I think what I
learned is that maybe Ornette intentionally created something elusive? Kenny said
he would change the chords anyway. Finding out that he was dictating chords to
the guys was something for me. I think a lot of people decided what they think

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Ornette's music is, or what Harmolodics is, or they've decided to put a label or astyle on it, but they don't really know what it is and it's misunderstood.
DC: So, the fact that he was dictating chords might not go along with?
ML: Yeah. Some musicians I’ve spoken with thought you could just play.
But I would really like to talk about your musical world.
DC: (Coleman spoke at length here without any questions) Yeah, yeah. But
before we do that, just what you touched upon in terms of having those different
versions of “Kathelin Gray,” and none of them is not necessarily the definitive oneor the one that's supposed to be right. Because if you listen to it, people will justsay, "Okay. Well, it's a pretty understandable melody." But then you've hit on
something that's so central, meaning you can't lock it into a key or just a chord
progression or structure that easily fits into something. And which is an interesting
thing when my father would write a song. And I remember another musician, they
had been working together on something. My father wrote a song and the otherperson put some chords to it. So, he felt he was a co-writer with the song until myfather really explained to him, "Well, those chords can change all the time. The
next performance, we might change those chords." So, not coming at it from thatplace when you just lock into the formality of that, compared to the information of
the idea. It's the idea. And that's the problem with the ... Well, not what we'll calla problem, but it's ... When you try to create a theory to match the information. If
somebody puts some information, you create a theory, so you can teach thistheory, and somehow become the authority on that information, creating work for153
yourself and institutionalizing stuff. When that person that came up with theidea, they didn't say, "Well, okay. This is a sub-dominant of this and I'm going tomove it to the this or that." No. Somebody came by later and fitted into theirknowledge. And they may be limited. Their knowledge could be limited. But now
you're bound by their limitations. That gets fossilized and passed around as if
that's the thing. But then, somebody comes along and reveals that, "Well, that was
just an idea. Your whole thing is just an idea." It's like somebody stepping outside
the room and maybe figuring out they're not the only world. There’re other worlds.
And yet, like you're saying, when you were talking about how that B is a D, thatjust totally shifted this whole perception. Then you question everything at thatpoint, because your thing is built on, "This is what it is." That’s the beauty of myfather and the way he just thinks. He doesn't come at it with a mindset of things
stop, that where they stop is that absolute place where they can go. Because now,
he's getting into the sound. He's just really getting into the properties of sound.
Because obviously, around the world different cultures treat sounds in differentways.
DC: So, why is it for us in this fixed system and for these other folks, they
can use it for a different purpose, and it doesn't involve any of the scales that weknow or any ... It's sound, so sound, nobody can contain it. And nobody cancontain how it activates you. It's energy. So, he's looking at it from going into theproperties of it.

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DC: And so now, if sound can energize and activate it, emotion, or if it can
activate healing cells in the body, or has all these powers to it, why would you thentry to regulate it to some container and then have everybody's ideas just comefrom that container? And so, I don't think he was trying to bring everybody's
attention to the fact that there was a container.
DC: I think he was just his own thinker and was just thinking of beyond
that anyway. And since his medium was jazz and saxophone, he was in that
territory where it was contrast to what had been agreed upon. Then the idea thatsomebody's going against that became a focus. But he wasn't going against it. He
was already outside and saw the other possibilities.
DC: And so, he was already passed it. But you could be out of sync then.
The rest of the world as we know, they've all agreed on something. And you don't
agree with ... It's not that you don't agree with what they agreed upon. You don't
agree that it should even be an agreement. You know what I mean?
DC: So, you're just not participating in that whole line of thinking, because
you realize there's this expansion of ideas and ways of thinking. And people have
proven it, because whether you believe it works for you. If it was an absolute, thatsame thing would have to apply to everybody. But it doesn't apply to everybody.
DC: If you believe frogs are God, frogs are God. You know what I mean? If
you believe frogs are not God ... But it works for you. If that believe, whatever yourbelief is, works for you, get you through, powers you, gives you energy, gives youthat strength. And so, how are you to somebody else, "That doesn't exist?"

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DC: How can you say what exists and what doesn't exist? What works, what
doesn't work? And so, then you don't have those kinds of limitations, now you're
exploring. So, that's really what it's about. You are exploring. And then, you're able
to ... When you're open, you're able to make connections to other things that ...
And it wasn't his music.
DC: This is just how he is. He would just put it on his plate. He would put
different combinations of food together that you wouldn't normally think go
together. So, that's why I'm saying that's just how he was in general. And thatwould create a new taste. And some things he would just like. He might, instead ofwhen people mix iced tea and lemonade. That kind of thing.
DC: So, that was his thing. He would mix that kind of thing up. And thatwould be what he would dream, or something like that. And so, it's like the ... So,
James Blood Ulmer. We put this Ornette tribute out that celebrated Ornette, andthey had liner notes for different people.
DC: And so, Blood wrote a liner note. And really, what he was saying was,he was talking about Harmolodics. He said the title of it was, "To be a Harmolodic
player you have to be a Harmolodic person." And that's really what it meant. It
wasn't about a music thing. It's really about the openness of the universe and being
open to the universe.
DC: And the fact that the universe is ... There's so much more to it. There's
so much more there. And so, I'm sure when you talk about my father, you've got a
lot of just that, the philosophy of ... And he had his own language. So, he made

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what he saw was good music ... And when he talks about the unison, he's reallytalking about melody, what people call melody. But he calls it unison and things
like that.
DC: And then, when we would rehearse, and we'd play something, he wouldpull the guys and say, "Okay. Well, what key was that in?" So, when you talk about
the key, everybody had a different answer. But it wasn't because he wanted it to beelusive. It was revealing itself that there's many answers. It doesn't have to be one
answer. That's the whole. It doesn't have to be one answer. It can be many
answers. That's why it can be many versions. But now, what if you're playing all
those keys? Now your ideas it's like wow. And all those clefs. So, now those clefs
open up all those other sounds.
DC: That's why if you've got the four clefs and you run stuff through thedifferent clefs, or you're thinking about it through a different clef and you're
playing something else, it takes you. It's like a device that takes you out of having a
set mindset. And you've now super imposed other things. And once you hear somesuper imposed ideas, that wakes another part of your senses up. And so, now yourideas are traveling in a different place. And so, I think Harmolodics in terms ofmusical theory, it's like a device to get a person into a different space so they canthink in a more expanded way so that ... Because it's hard. It's hard if you think ofscale and chords in a way. If it's lined up in a way. No, you can have great ideas andsound really great and all that. But now, if you don't line them up, if you don't line

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them up then what can happen? But it's like, "How do you not line them up?" It's
like if you get a plate of food and you warm it up, because that's automatic.
DC: It's like, "Alright, I've got to warm my food up." But now, okay. Well.
What if somebody says, "Alright, you've got four things on your plate. Just warm
two things up to this temperature. Warm these other things up and not at all.
Then you get them back together, mix them together." Now you've got a whole
totally different experience of what you think that is or what it isn't.
DC: But it changes your perceptions to a degree to maybe now you don't
treat it as just a routine. Maybe you taste something else. Maybe that taste now
takes you to like, "Oh, wow. You know what? I've got to look at food differently
now." So, to me Harmolodic theory and Harmolodic. Like Kenny, like all of us.
We've been just giving hundreds and hundreds, if not, thousands of lessons, how
to get to all these places.
DC: And with him, he will play what he's talking about. But you've got to ...
Like you're saying, it takes a while to really absorb it and for it to really line up, so
you can translate it to yourself. Because, like I say, he's got his own language. He's
so advanced in what he's figured out that sometimes when he's speaking, he's
speaking from his perspective that he sees clear as day. Maybe the other person
doesn't see it as clearly, so he'll try to demonstrate that. And so, yeah, it's
interesting. So, I'm going to try to do what you're talking about, meaning I've got
to, you know. So, he wanted to put this all together like in the book. And he's
written that book, but he's written it 200 different times. So, we're going to try to

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put that book together. But I think the way you went about it in terms like the“Kathelin Gray,” is a really good way to talk to other musicians about it, because
particularly like you said, the theory guys are guys who really are tuned into all the
aspects of writing and listening. And they can analyze it. And then given theinformation of, "Okay. Well, look at it differently."
DC: If you're analyzing it not from that perspective but in a different way,
what could you get out of it? And the thing is, it just makes sense no matter how
you look at it. Meaning, it's just an idea. And now, if you boil it down to it being anidea, then you can accept it. It doesn't have to fit anything.
DC: You can accept it. It's an idea. So now, he would ... It's like Song X is a
melody. But now, if you put that melody in front of somebody to play, it doesn'tsound like a standard melody. It sounds like an idea. So, that's one of the reasons
why he really, I think liked to play that song, because it clearly is an idea. But it's a
melody.
DC: And that idea then when you get passed that melody should lead you toother ideas, because it's the ... The melody is just like the opening. And if you canmake you improvisations sound stronger than that melody, that's what he's
striving for. So, he'll play a song and play a melody. And again, he'll hear that
melody in his improvisation.
DC: Not necessarily the notes to that melody, but how that idea of that
melody relates to his ideas that came after that. And to me, that's where it's at.
That's where it's at. That's all he ever talked about, were ideas. Now he was able if

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he wanted to, to make the melody and the ideas, and let's just call it moreconventional, he could do that. When he improvised, clearly, he was improvisingin that direction. So, he could line it up that way if he chose to and make it clear.
Or he'd go on a deeper level.
DC: The thing about the other musicians who can play complicated things,
which is great and sounds really great, but his complicated things were more likehe's just his own super computer. It wasn't complicated in a musicianship sort ofway. Complicated in terms of ideas being super imposed over other idea, being
super imposed over other ideas, and being able to do that in micro seconds.
DC: So, it's like, "Okay." So, that's why he's hard to figure out, because you
can't. You can't. Because he wasn't following in any chord thing or something, you
can't figure out his roadmap. But his roadmap is clear, but you just can't figure itout. But it's clear. And that's the good thing about it, because you're not thinkingof it as a map anymore. You're not thinking of it as a map. You're thinking of it as,
he's creating destinations as he goes. Creating destinations as you go. So, now
you're not bound by the math, the environment, any structural thing in terms of
what's already there. That's what makes it an idea. And now, you're taking thatthing. But there's a lot in there, Matt. The things that you're trying to figure out arewhat kind of things?
ML: I feel like after the time I spent with Bern, I got closer and closer totrying to create in that space that you just described. And at the same time, at
Rutgers I've gone through jazz history step by step. And in the beginning, for a160
while I was a totally straight guy, but I really wasn't. I was just looking at the liner
notes to Sound Museum and he was saying that the way that people use style isthat it's like a punishment of free will. And I have, for most of my musical life,
been a slave to stylistic perceptions. In the notes Ornette said, "Sound or music has
been a slave to styles." And so, Harmolodics for me is basically, was freedom. The
word you just said I really like, is unbound. Like it's okay for you to be who you
really are. For me, that's beyond profound. It's like a spiritual thing. It's like letting
people attach themselves to their own soul.
ML: And whatever that is, it's okay. But not only that. From Ornette I felt
that's what he's asking you to do. He's not asking you to follow in a specific set ofrules but come out and play who you are outside of that context. So, for me I'm
coming around full circle to Harmolodics. People want to put styles on me, but
I'm operating from a place where I'm just being who I am. But I don't think I would
have got there if I didn't cross paths with him, for him to encourage that kind ofthing. You know?
DC: Yeah. But now, why do you think it exists in a sense of it gets taughtthat way? The way it gets taught?
ML: And that could be institutionalization. Jazz education is such a big
thing. It seems to have a need to self-validate and self-reinforce. I'm on the
periphery though, new to it.
DC: So, do you think, is it more than one school of thought, or is it prettymuch uniform at this point?

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ML: It's so interesting because in seeing the video that you made, I'm
starting to think that the whole thing is shifting on some levels. The video that you
just made in Cuba to me is not just a subtle movement. It's like a real tectonic shift
to bring those two worlds together. The musicians I cross paths with in their 20s,
more and more of them that I'm encountering, is they're looking for a way out of
the slave to style thing. It's hard for them because there's so much judgment that
goes down. I mean, Jazz Lincoln Center has this thing called the Essentially
Ellington competition that they do. That's not just surface or psychological, it ishard core judgment. They have set of laws. I've been dying to ask you what you
thought about The jazz Lincoln Center Orchestra playing Ornette just a few daysago. As someone who's trying to be outside of styles, I really ... I had a hard timewith it. I saw one set, and I kept thinking what Ornette would think about this.
They said that they did it one time, and Ornette was there. Wynton told theaudience that, "Well, Ornette said ..." Then he goes, "We can't tell you what
Ornette said." He was about to say something that Ornette said, then he decided
not to, so I don't know what it was. (Author’s note: This ended up that Coleman
told arranger Ted Nash that “You can transcribe a solo, but you can’t transcribe anenvironment”.)
ML: They were on this clinic vibe. To me, it was on stage in the process oftrying to take Ornette and now put him into a box. They seemed to be suggestingthat he was cool with their level of. But here they are trying to deliver a lecture
explaining this is what Ornette's music was like, and then they have their162
arrangements. To me, they did these long intricate arrangements, and then theywould try to blow. To me, they were all missing. Everybody was missing the point
They seemed to be in that place, this place where a lot of people go where they
think that if you're in an open space that you can just go anywhere, say anything.
You can just disregard everything and just play some random stuff. There was nosearch for ideas. There was no urgent need to come up with a new melodic idea.
There was no search for that idea that's coming from you that you can really feel,that kind of in-the-moment urgent kind of thing.
DC: Yeah.
ML: I had heard about something like this before with when they did aconcert with Wayne Shorter. I wasn't there, but someone that I know was there,
and he said Wayne didn't look like he was into it because it seemed like they wereliterally putting him into the museum. They were literally taking him ... He's still
alive, and they're trying to put his bust up on the shelf. What you just did in Cuba,
this one of the things I wanted to talk to you about, I looked at your discography
today, and I was checking it out. I mean, of course people associate you with
Ornette .... of course, you're his son. You've been in his band for decades, but yourmom, Jayne Cortez, I’m looking at your discography and the video, you did one ofyour mom's tunes, “I See Chano Pozo”, and brought the Latin thing up. It all came
together. You've got young people, you got a cross cultural thing going on. You got
women involved ... there's a woman on percussion, there's a woman on flute ...
dancers. Then the rapper comes out, and he's rapping in Spanish. The question I

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wanted to ask you was he doing his own thing, or was he taking your mom's words
and doing them in Spanish, or a combination of both?
DC: Well, what happened ... He was doing a take off her words. Originally, I
was ... There's a good friend of my mother in Cuba who is the national poet of
Cuba named Nancy Morejón ... a woman similar to my mother, and they're reallyclose friends. I was going to have Nancy do the poem and the rapper responding to
the poem. But then, kind of like how our weather was this winter where the winterwas ... never went away ... it was unusually cold out in Cuba this winter. Everybody
down there was sick this winter, so she got sick. We were rehearsing with her andbrought the rapper in. She ended up not doing it because she got sick. By thattime, we had been rehearsing and rehearsing, and he had it. He had the vibe ... you
know what I mean. He was inside the poem. I said, "Let's just go with it." It wasn't
those words, but it was the spirit of what she was talking about, in terms of justCuba, Chano Pozo today and honoring the whole thing and going forward.
DC: That's what I'm saying, man. It was ... For me ... You're right, and you
hear it, merging all that stuff, all my ... this who I am ... and try to keep going
forward. That's what it's about.
ML: I mean, maybe what Ornette is calling for is inevitable. The boundaries
between everybody ... maybe they must come down somehow, because in mygroup that's what it's all about. I've got everybody. I've got a rapper in there, andI've got big-time multi-generational ... I've got 19 to 65. Culture thing is mixed up,
the sex thing is mixed up.

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DC: Well, the thing is I don't think it's just about everybody playing theirpersonal sound, because I think there's also progress when you are playing it, but
you actually are delving in or chasing your own concept of what that is, whichtakes it away from this randomness. That's the things ... Some people think
everybody can just play what they want and play together ... they just go thisrandom freedom of sound. It's okay ... that's okay. But my father, day after day, isin there studying the properties and how those properties relate to one another ...
those molecules, get into the DNA of it and really ... as a science. He's, every day,studying it, and you move this to there and how that affects this over here, you
shift that around to there. He's constantly been writing new things. We come in
and rehearse, he's got a whole new set of songs to play based on what he was doing
the night before. We'll do that, we'll play. He'll listen to that, and he'll write
something else the next day, but it's all in that study and search that he's goingsomewhere with it. It's not about just ... There's nothing wrong with freely playing,
but that's not what he was doing. It sounded free because it wasn't theconventional. Because it wasn't conventional, it didn't sound like the conventional,
so it sounded random. The fact that he let other people have the freedom to havetheir own voice made it sound even more random to those folks who were moreconventional, but he was coming from his own concept.
DC: I think people should explore their own concepts. Then when they dothat, you hear more depth to what they're doing because then it's ... like I said,
those ideas. Ideas mean that there's something behind it. There's something

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behind it. Using music for some purpose, it's for some purpose. That could be justto feel good or move and dance, or reflection. When you talk about something like
rap and jazz and all that ... I mean, it's all one thing. To try to make it not, we get
into the social aspect and the commercial aspects of it.
DC: Unfortunately, the state of black folks today is not very good, and thatmusic reflects what that is today. In 1940s, that blues reflected what it was then.
It's just a reflection of what it is. It's not a ... whether what it is has been imposed
or whether that's closer. 1960s, black people ... It was ... The pride was able toemerge more. You had strong voices reflecting lots of different information andpeople being able to make their own statements more and more.
DC: Now, this is my own personal reflection. But by the time that became
too powerful, then black society was inundated with crack. That is what we'reliving with today, because I can't think of anything more powerful than when aperson starts killing their own parents for five dollars or whatever. When it turns
you into that, and now the children, grandchildren of that, of course ... then added
upon that, the institutions that promote that. Now everything got turned on its
head.
DC: What you hear reflected in rap is that it glorifies you being in thegutter. The more gutter you are, the more glorified you are, in terms of what'scommercially pushed. That is true. I mean, the reflection ... That's not a reflectionof black people. That's a reflection of the condition they've been put in andpsychologically contorted into, but that's what it is. It's really a matter of

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conscious. Consciousness got too strong coming up 40, 50, 60 ... all the way backto the 70s, 80s. It got too strong and too threatening, and people get that
conscious. Anything to crush that is what has happened since, and what gets
promoted to the masses is that contorted image now.
ML: Yeah.
DC: Let's talk about that. I hate to say jazz is not that much further awayfrom that. Jazz got so super advanced ... super advanced ... and that came fromblack culture and what it produced, in terms of how you had to survive. It's likesoul food ... take the scraps and create incredible nourishment. You take theinstruments, you take what you know, and you create something that's reallyadvanced, never been here before. Now they call it jazz. Where it was in 1950
doesn't mean that's where it ... That was just how it was exploding. It was
exploding all this time, then it got cut off. It got cut off because it was too
advanced. What if it hadn't got cut off for these past 50 years? Well, it would havemaybe outdated what they call classical music. It was a threat to all of that, so it
got cut off. The growth was cut. Somebody else can now take ownership of it anduse it how they want, in the same way that black culture can be destroyed on acertain level so other people can take ownership of it and use it how they want.
That's just consciousness. That's why I'm saying ... You were talking about
my mother and other folks who are understanding that level. That's the level of thegame. That's what I'm saying. But if you're bottled up into the limitations of the167
prescribed thinking, you just can't see the bigger picture. The picture is just somuch bigger than all of that.
DC: That's the thing. It goes ... Like you said, it goes so far back. When you
get to people and talk to people who are really knowledgeable, they'll tell you
something that's related so far back so you understand really close to what thegenesis of the thinking and thought process is. Then you start to really understandthe layers of it ... you're not just reacting on the surface. Even if that surface is 100
years ... I'm talking about 500 or 1,000 years ... People understand how the society
formed, because the way the society formed is still how we are today.
Understanding how society formed and this move to that, then you start tounderstand really how we got where we are and who we are.
ML: I was also thinking about you and Bern in both groups, Prime Time andFire-spitters, and both groups existing at the same time. I know you spoke about
Bern a little bit. For a certain period of time, you were in both bands together. It's
really the same energy, because it wasn't like ... It really wasn't like two different
experiences. It was the same experience.
ML: Yeah.
DC: Yeah. I mean, the thing ... My mother, she really wanted that exact
same thing. That's the thing about harmolodics and now having all of that territory
over there to work with. That means your ideas can flow ... you're really breathing
fire. That's exactly what she wanted.
ML: Would you say she was also Harmolodic?

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DC: Oh, yeah.
DC: Well, I think the thing is there's a lot of people who are Harmolodic.
You are Harmolodic.
ML: Yeah. Thank you.
DC: Yeah. No, that's the thing about it. That person may not call themselves
that, but those people who really are in expanded universe ... That's all it is. That's
all harmolodics is, is expanded universe. You're harmolodic. I mean, that's how myfather would explain what that energy is.
DC: There's lots of Harmolodic people. Cecil Taylor wouldn't call his music
Harmolodic ... I would call it Harmolodic. We're just talking about from aphilosophical point of view, it's not from a theoretical point of view. It's the factthat he's in an expanded place ... his universe is way expanded. He was able to get
to ideas and play the way he played, which ... It's just him. It's him, but he knew
exactly what he was doing. He could play something for hours. It wouldn't repeat
itself, but he could play that same thing again if he wanted to. He had concept. He
had his concept. The way he played, and the sound became a healing sound. I
mean, I could see him as the leader of some community. When they needed tohave certain things bring things to another level of understanding, they could have
him play and that would happen.
DC: That's what my father would call that ... and my mother. That's the one
thing about great artists, so to speak, is they're usually great because they've
expanded things. They've somehow expanded how you can hear things or their

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writing or their voice, their way of thinking. They keep expanding where we're at
as people. He calls that energy Harmolodic.
DC: My mother is ... Then you have those types of people who are reallylooking to expand, they're on a mission to expand. That's one of the harder things
to do as an artist, if you consider an abstract artist. You're on a hard mission.
DC: I mean, it's an easy mission and a hard one, easy in the sense thatyou're on your own mission, you're not trying to ... you're not worried about being
judged by some other people's conditions, so that's good. But then you have toreally challenge yourself. You have to really challenge yourself to ... so you can seethat thing and you're able to manipulate that thing. It's very interesting.
ML: Man, I keep looking at your drums. I wanted to ask you about ... Inrealms of the drums themselves and harmolodics, were there certain things that
Ornette ... Anything harmolodic or anything drum specific ... You have your own
sound universe.
DC: Well, you know what, he brought me up in a totally Harmolodic way.
ML: Right.
DC: You know? So, I was interested in drums and always liked his
drummers and always watched them. Took some drum lessons, but then we
started playing together. He said, "Alright, you're another instrument. Don't worry
about the role of the drums. You know ... We are equal soloists."
ML: Right.
DC: So, alright, I'm eight years old.

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ML: Right.
DC: So that's how I approached it. You know, now, obviously, in terms of ...
the drums having that rhythmic role, he said, "Yeah, the drums have that rhythmicrole. But you can keep a pulse by what you're playing. You don't have to keep time
to keep a pulse". That's the key right there.
ML: Yeah.
DC: You know, and you can still keep a pulse in terms of that aspect of thedrums. You know? But you can do it by any ideas what you play, how you play it,
your approach. It's different ways to do it, without it just being strictly a timething. You know. Nothing wrong with being time as part of it. But you're notbound by that, where you have to ... You know what that's like. You're the train
and that's the track you're on. You're just on that track, regardless. You know,
you're not worried about ... You got to stay on that track. If you know where you'regoing, then you just know where you're going. You don't have to worry about thetrain being on the track. You know where you're going. And you can hear it, likewhen he plays, it's all there. I mean the tempo, swing, it's all there. You know. And
if he wanted to break that up into something else, he would break it up into
something else. And it had its own tempo and swing. You know, so. But justbecause that's the way I came up, I assumed that's how you're supposed to play thedrums. You know. So yeah, for me, if I play with somebody, I'm naturally going tostart playing with them. As opposed to maybe just holding the tempo, keeping

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time. It's just how I hear it. And so, without really knowing it, I just came up in aharmolodic way- of learning the instrument.
DC: But then, I didn't work as hard as he worked. I mean, he worked sohard. So even though he's going into the properties of sound, you're going into
that, but you're also a master of playing your instrument. because to me that it's an
instrument. You know what I mean? Instrument meaning, it's a tool to get you
some place. It's a tool you're using. You know what I mean? You always say don't
let the instrument play you, you know? And so, that's what it is, it's an instrument.
And so, you use that instrument to get to where you're trying to get to. So, thedrums, they're just an instrument now.
DC: One thing nice about the drums though, because that's probably one of
the most ancient musical devices. People used it for so many different things. It's
like, going to Cuba. You know. The nice thing about it is, being in a really different
culture. It's just a good thing to experience, being in a different culture. Seeing
how the musicians respond in that video. It's like, you've given them ... Like wewere saying, they now find themselves in the environment, and you're playing withthem, and they can just be.
ML: And they seem to be really happy. The positivity is palpable in thevideo.
DC: You know? They're really happy to be there. To be in that situation.
ML: They're free of all that you have to do this, you have to do that.

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DC: Yeah, yeah. I know. I think, you know, that's the reason why I had to be
there a lot. Because, if you don't experience that thing, there's no way for you toknow it.
ML: Yeah.
DC: You know. You've got to experience. Like, if you hadn't been in herewith my father, someone can tell you about it on paper, or you can read about it,
but when you experience it, it then is possible. Then that world that somebody's
talking about, you're in that world now all of a sudden. Or you're outside of yournormal thing, and your eyes are now more open, or your senses are more open tothings. And so, yeah that was good. Because, they were open to come on thejourney, so to speak. And it opened more and more as we played, so the more
open it became. You know. So that okay, they didn't have to stay locked in tosomething, you know. And then we could now have conversations, and it canmove around the room, and we can come back. So, they absorbed it, you know.
They absorbed it, in terms of just the Harmolodic, you know, sort of, energy. So,
that's what I'm kind of, interested in doing with that. I'm going to go to some otherplaces, and just start Harmolodic bands.
ML: Yeah!
DC: You know? Cause ...
ML: Almost like an ambassador. You set up Harmolodics in different partsof the world.

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DC: Exactly. You got to get that energy. That energies got to go. And then,even Cuba, you know. It's not like, do that and then leave, I'm going to be goingback and forth there, keeping it ongoing, you know. Ongoing. In the meanwhile,
like I said, I'm trying to take this harmolodic, all these lessons, and put it intosome sort of format. So that people can get into it, you know. And really, it's just adevice, you know, to open the door and let you see that, you know, you're just in aroom. It's just a device to get you out the room.
ML: Yeah.
DC: You know, it's not like you have to play like him, or sound like him, or
be a jazz musician, you know. It's just a device to get you out the norm. But it's got
lots of ways to try to get you out of that norm. It's hard to get out the norm youknow.
ML: Yeah.
DC: But, you know, it's a way to maybe help find the door, to open the door.
And like, okay, that means there's something else. Just the fact that there's a door.
You know because, when you think this is the whole world, this is the wholeworld.
ML: Yeah.
DC: So, I'm going to try to provide something ...
ML: It really feels like it's the logical next step. Like, for, you know, for thephilosophy, for it to open up and be spread out around the world.

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DC: Yeah, yeah. Because it's just unlocking that energy. You know. And
then where it goes is where it goes. You know. It's like, if everybody is now
weighed down with the same thing, we got to start to unlock that thing, you know.
And let that energy out, because jazz, I don't think it was meant to be what it has
become.
ML: Yeah.
DC: You know. It was something that was just growing. I mean, that waswhere it was at that time, that person came with their energy, and they took thatsound, and that way of doing things, and moved it. Then that person moved it.
Then that person moved it. You know? So, it's moving. Wasn't meant to just get
chopped, and then institutionalized. You know, it got chopped because it got too
powerful. It was getting too powerful. You know, consciousness of black people in
the USA got chopped because it was getting too powerful.
ML: It's like a friend of mine told me, whoever controls Africa, controls theworld.
DC: Mm-hmm (affirmative)ML: Right? And, my wife is from Zimbabwe and I spent a few weeks inSouth Africa and Zimbabwe at the turn of the year. And, I saw a choice, like theSouth African segregation thing is so deep.
ML: And I wonder, I'm real curious now about the musicians that I met in ...
The African musicians that I've met, how much they'd be open to harmolodics.
DC: I have a way to find out. I'm going to Senegal.

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ML: (laughing) Alright!
DC: I'm going to start band over there. I'm going to hit Senegal first,
Nigeria, Ghana, South Africa, Ethiopia. But we'll start with Senegal. Yeah, yeah.
ML: Cool.
DC: Yeah. And you know, I met some musicians. Because my mother has ahouse there.
ML: In Senegal?
DC: In Senegal. She has a house there. And so, I haven't been in a little
while. But when I went ... You know, I met some musicians the last time, which
was a few years ago. Then I played with some musicians over here who came for a
program.
ML: In regard to your own craft, we only played together that one time atBern’s memorial.
DC: Yeah, yeah. Well. And that comes from my father's and my mother'senergy.
Matt Lavelle: Yeah.
DC: Being just, those type of people. Where it was just, real.
ML: Yeah.
DC: You know, you know. And, in that way, so natural and free flowing. So,
it's like, you know, you can be easy going, and intense at the same time.
ML: There was one time, I was a foot messenger, when I was studying with
Ornette, and I got so demoralized. I was out on the streets, grinding. And it was176raining, I was just having the worst day... And I was like, "You know what, I got tofind some way to ... I need to change direction because I'm going really dark. So, I
just stopped, and I just called Ornette on the phone. I didn't even know what I wasgoing to talk about. Right away, he got into deep spirituality and he said, "The soulis eternal".
DC: So, that was just his normal way of going, you know? And so, but as you
reach for something, and you get there, that makes you want to keep going. That's
the thing, you know, that's the push, you know. And that's a good thing. Yeah,
because, you know, then you start having a conversation with yourself, and thenthat expands to other people, and you know, that's that movement, that's thatmovement.

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15: Kenny Wessel

Kenny Wessel was previously mentioned in my discussion of the guitar inHarmolodics. Wessel teaches where I work at Michiko rehearsal studios in Times
Square, New York City. Our conversations quickly became centered around
Ornette after I told him I worked with Bern Nix and asked him about Coleman’s
great piece “Kathelin Gray.” As I was closing the section on the guitar, he offered to
discuss Harmolodics by phone. We had the interview on the evening of February
5th, 2018. Wessel was very generous with his perspective and took me deep into thelaboratory with Coleman. Prime Time has been largely misunderstood, and Wesselshows how it was the most harmolodic of all of Coleman’s projects.

Matt Lavelle: So Prime time collaborated with Pat Metheny?
Kenny Wessel: Yes, in 1988 at the Montreux Jazz Festival. Metheny was theguest artist at the festival so he was sitting in with different bands. It was afterSong X. Metheny wanted to sit in with the band.
ML: How did you and Chris feel about Metheny sitting in?
KW: I'm a fan so I was cool with it. Metheny had a lot of equipment
ML: Did Prime Time have roadies?
KW: There were three guys that helped set up and run the show and work
the monitors.

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ML: So, you were with Ornette for 12 years 1988 to 2000. You guys
performed Skies of America with Prime Time.
KW: Yes, We did that several times.
ML: I know of one bootleg of one of these performances. Prime Time played
through the entire Symphony or interludes or?
KW: It was orchestrated. Ornette got together with John Giordano. A
conductor from Texas with the Houston Symphony. They figured out how to haveus play with the orchestra. There were times when we played ourselves, othertimes the Orchestra played by themselves, and sometimes the orchestra held out
chords and we would be blowing over that. Ornette put some thought into it. It’s agreat piece. It was a lot of stuff from the original recording, but he worked in newmaterial for Prime Time. Tunes like “Compute” and “Spelling the Alphabet.”
ML: I was watching a prime-time concert in Lugano and in the third part
there was an extremely fast tempo for you and Chris to play over. It sounded like it
might have been very difficult to play lines at that speed.
KW: I would shed that Melody at home like crazy with the metronome. I
would get it to where I think Ornette would want it. Then as soon as I got it inrehearsal, he would want it to be much faster.
ML: Beyond the metronome.
KW: I would try to execute the notes. Like Ornette or like the saxophone. I
tried to play the pitches that he wrote, and Chris started doing these gestures,
running his hands up the strings fast and down doing a gestural approximation of179
what the line was. To be honest with you I think Chris got closer to the spirit of thesong than I did. I was always way behind Ornette. He was always faster. Chris had
the shape of it. It was sort of like hearing Don Cherry. The quartet with Don
Cherry was playing while I was in Prime Time, where we did a couple of tunes withthem and when we were on the same bill. I went to some rehearsals just to checkout that quartet with Charlie and Billy and Don. I remember one-time Ornette had
this new music, typical Ornette with fast sinewy lines. They were trying to pull it
together as a new tune. Ornette said, “Hey Don, let me hear you play that melody
by yourself.” Don played it, and it sounded terrible. He was missing notes andflubbing. Ornette said, “Okay let's play it together again.” They played it again andDon's chops were not in good shape. He had problems with drugs and his healthand stuff. But the way he was playing, he was hitting all the right gestures at theright time. When they played together it sounded really great. It sounded like theold records, though by himself it didn't sound good at all. It was an interesting
lesson for me. It wasn't always about the pitches and the right articulation, it wasmore about the feeling, the shape, and the gestures.
ML: Ornette didn’t give him a hard time, interesting. In 70s Prime TimeBern was the melody guy and Ellerbee was like a rock and disco guy. At the Prime
Time reunion Lincoln Center, it looked like Denardo booked the two different
Prime Times. The Bern version seemed to have a 70s vibe and you guys had an 80's
and 90's thing. Did you and Chris choose your own territory or did Ornette try tosteer you into different positions like Bern and Ellerbee?

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KW: He did that occasionally. He would give one of us chords to play, or I
want you to play this rhythmic figure, lock in with this person, and the otherperson he might give a countermelody, or he would play the melody with him.
Chris was more the Rhythm guy and I was the Counterpoint Melody guy. Afterrehearsing with the 70s guys it really seems that they were coming from an R&B
place. Our Prime Time was more jazz, more interaction and less funky. We weremore abstract. it's just a feeling I had after hanging out with both Prime Times.
Those guys are so funky.
ML: So, you and Badal Roy joined Prime Time on the same day.
Wessel: True, we started a band writing music together back then, and stillplay together. I was still playing straight-ahead jazz on the side too when Prime
Time wasn’t working. I would be running to a gig at the 55 bar after an 8-hourrehearsal with Ornette. I would say, okay that's the other side of the brain I have toaccess now.
ML: I heard about Marathon rehearsals with Ornette from Bern.
KW: 6 to 8 hours, but Al McDowell was in both Prime Times and he said
what he did in the second Prime Time was nothing compared to what he didduring the first. Ornette would hire a chef so that they wouldn't even have toleave. They wouldn't break, the chef would be cooking while they were playing. 12
or 13 hours was typical. I would be in the studio nine or ten hours. I would get
there at 12 or 1 and we would finish at 10. The call would be for noon, and maybe
one or two guys would get started. At least 7 hours was not unusual. The chef

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happened with the old group. Those guys even lived together in Paris for 6
months, rehearsing the whole time.
ML: When I was studying with Ornette, he told me to quit all the bands I
was in and move in. That's when I blinked, and I couldn't do it. Those intensivesthat you guys experienced, I only experienced about six or seven of those.
KW: You got the vibe. The rehearsals were like classes, you're in school with
Ornette. He might be talking about why a half-step is really a fifth. What is an A
and B? You would say it's a whole step. He would say no, it's a flat fifth. What's thefifth of D? (A) What's the minor third of A-flat? (B) What’s D and A flat? (flat five!)
KW: He would work these intervallic relationships. I wouldn't take him
serious at first, but he kept doing that for years with us. He'd say what's E and F,
you would say a half step, he would say no it's a sixth. At a certain point, I thought
I would either lose my mind or figure out a way to understand this. I wanted tofind some sense in this, he's serious about this. One of the things he would say, hewould quote Buckminster Fuller, “If you think there's such a thing as up and down
your living in the Dark Ages.” A and B is a whole step, but A is also the fifth of D, A
is also the seventh of B, the second of A. It also has all these properties andrelationships. If you don't see those relationships, you just limit yourunderstanding of A and B as a whole step, and you're losing some possible
connections and information that you can use in your playing. Ornette heard thisstuff and understood it intellectually, all these different references. When I hear A
and B maybe I can use a D and A flat chord. It gives you other information and182
other pathways. One of the things that I feel is important in understanding
harmolodics is that Ornette was always trying to generate more information fromthe information that was there. More relationships from the simple relationships.
He never spoke about anything more complicated than the intervals from 1 to 8.
Major Minor triads, Seventh chords, Major scales. He never talked about alteredscales or half whole diminished or a flat 13. He used simple pieces of things and put
them together in very unusual ways. That’s why he liked playing over Prime Timebecause there was so much information. there was so much information that wewere presenting all the time with all of these people playing simultaneously,
Ornette was just floating over the top synthesizing our lines into his own stuff.
One time I told Ornette that I really enjoyed a concert by the quartet, andhe said, “yeah that's just tombstoning.” The promoters wanted him to do stuff fromthe old days. Nobody liked Prime Time. We were expensive, We were a loudgroup, dissonant, the critics didn't like us, the promoters didn't like us. Somepeople did, but I think a lot of people preferred the acoustic quartet. He wanted toplay with Prime Time, that was his concept. All that counter information
happening at the same time. His ear was pretty incredible. He could hear stuff andgenerate lines based on what we were playing. I could always hear it. He justpicked up that line or that motive.
ML: I heard Haden say he couldn’t get Ornette away from Prime Time. Do
You consider yourself Harmolodic today?

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KW: Definitely. He opened my ears up. He opened my approach to music
up. The way I write. The way I lead a band. The way I think and listen. He had a
big impact on me. I’m grateful. He knocked me out of my comfort zone for a longtime.
ML: Bern had this running joke about Harmolodics anonymous.
KW: Yeah, when we met, he said welcome to Harmolodics anonymous.
Bern had a complicated relationship with Prime Time.
ML: Bern Described a type of psychological warfare, that sometimes
bordered on manipulation. So how did Prime Time reach a conclusion?
KW: I never really knew that it was over. We were touring like crazy in the
beginning. Three weeks in Europe. Three weeks in the states. As time went on the
tours became shorter. A long tour would be a week. He became more selective
about what he was accepting. We were never finished, we just stopped working.
We were still part of the family. I still feel like I'm part of this Harmolodic family.
ML: Do you have students in Harmolodics?
KW: Some. I’ve done a bunch of workshops, some in Europe. I’ll force it onsome of my straight-ahead students.
ML: I started my chapter on Ornette and the guitar with Blood.
KW: He made a Harmolodic guitar chart if I can find it.
ML: Song X is like bomb in the middle.
KW: I think it’s a great record, Metheny was an Ornette fan. He had his
triadic thing. One thing though, Pat said he wrote the chords, but they sound like

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Ornette chords. I was around Ornette enough to know how he put chords
together, and how he puts his tunes together. It’s possible that he may havesuggested a couple of things if Ornette was reading the chords off, but then I could
have said the same thing. There were a couple times I would say hey Ornette how
about a B-flat there? He wouldn't come in with the chords written. He would havea melody and compose a chord progression there, so I would imagine that's what
happened on “Kathelin Gray.”
ML: The live version of “Kathelin Gray” that I heard you guys play was
totally different from any other version I’ve heard.
KW: He would change things and change chords from rehearsal to the next.
He wasn’t married to it.
ML: This has been extraordinarily helpful, I really appreciate this Kenny.

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SECTION V: Conclusion

One of the goals in writing my thesis has been to challenge the idea that
Ornette Coleman did not know what he was doing. Suspicious of the rules ofWestern harmony as a teenager, Coleman spent his entire life investigating how
music and sound function from his perspective, the way he heard music. Allevidence shows that Coleman may have spent more time playing in search ofanswers than any other jazz musician. The evidence also shows that he knew
exactly what he was doing. He didn’t find his voice and then speak it for the rest of
his life. His entire life was a musical vision quest. He was never content to just findand then document the answers to his questions through music. There werealways more questions to ask and answer, always new music to find and play, justaround the corner. Composing was intrinsic to his process, and evidence shows hespent a great deal of time writing as well. Over and over, from recording toconcert, he continually searched for the musically unknown. In his later years I
witnessed him pick up the alto saxophone on several occasions and try to
improvise something completely new with a great deal of conviction, as if he wereon stage at the Five Spot with Miles Davis and John Coltrane in the front row.
Ornette was still going for it after decades years of doing just that. When he wasn’t
playing music, the search into the unknown continued as he would endlessly

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question and discuss the mysteries of life, constantly in awe of birth, death, love,and sex and how all of it related to music. His process came to be called
Harmolodics as I have shown. In time Coleman’s process became more and more aspiritual practice. His honesty, fearlessness, and humble dedication to his own
identity changed the jazz world forever. Coleman didn’t invent the term free jazz,
but his arrival in New York and the attention he received opened the doors thatcountless musicians have gone through ever since. Today in 2019 there are
hundreds, maybe thousands of serious musicians that are engaged in committed
improvisation, especially in New York City. All of them exist by way of Coleman’s
successful mission as the great metaphysical inventor in jazz history. Coleman
knew he would find things in his quest, and he knew how to look. Along the way
he formed key alliances with musician’s that became pillars in his story. Don
Cherry, Charlie Haden, David Izenzon, Charnett Moffett, Jamaaladeen Tacuma,
Billy Higgins, Ed Blackwell, Charles Moffett, Bern Nix, Kenny Wessel, and Denardo
Coleman will forever be known for their part in Coleman’s story. A story that
didn’t just change music but changed the world. Ornette Coleman’s music willcontinue to change lives for centuries to come.

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TRANSCRIPTIONS AND ANALYSIS
16. Kathelin Gray
“Kathelin Gray” was recorded on the album Song X released in December of
1985. It was recorded again by Ornette in 1995 with Prime Time on the album Tone
Dialing. It’s been recorded as many as nine times by others, as a type ofHarmolodic ballad. Coleman doesn’t solo but repeats the melody a second time for
Pat Metheny to solo over. Kenny Wessel who played the piece with Coleman andprovided insight, provided me with a copy of his personal lead sheet with chords
dictated to him from Coleman, please see page 193. I also used Pat Metheny’s
transcription from his personal fakebook as well as a transcription I found online
by James Mahone and a fourth transcription by Stephen Rush. I debated with Rushover the key of the piece. I transcribed Charlie Haden’s bass line.

Key points that I discovered through analysis:

1- Coleman played his music based on knowledge of Western harmony anda simultaneous need to not be bound by established rules. He said that what hereally wanted more than anything was to be able to play whatever he felt without
having to worry about whether it was right or wrong.

188
2- Ornette does use conventional harmony to an extent, on his own terms.
Sound and idea resolution are practiced, but proper voice leading is irrelevant.

4-He wants the music to be in a constant state of becoming and give thelistener just enough to hold on to.

5- “Kathelin Gray” works based on the strength of the ideas delivered withemotional expression. Metheny and Haden are essential to this. I will discuss theuse of chords throughout. Metheny and Haden used them, while Ornette and the
melody were the core focus. Metheny adds chords, and Haden outlines chords
using roots and 5ths. I have broken the piece down into four sections. Please see
pages 192-195.

Section A (8 bars)

1- A 2-5-1 progression in A Major begins the piece and Ornette told Stephen
Rush there was a 2-5-1 present. It is only a starting point. An A Maj chord returns
in measure 6.
2- At the end of measure 5, Metheny adds a C Maj chord that Haden uses
on both choruses.
3- The melody in measures 6 and 7 are direct outlines of minor chords.
While Ornette told Kenny there was an A Maj at measure 7, both Metheny and189
Haden play C#-, which is also in the melody. Kenny said that while these chords
were the ones Ornette gave them, he would change them all the time and in 3
months they might be told 3 different chords.
4-. Kenny also said the piece is more about the movement of a 4th andsection A measures 2, 4, 5, and 6 move up a 4th

Section B (8 bars)
1- In measure 7 Metheny plays F#-7b5 B7 and E- in place of Coleman’s G2- Measures 2-4 have more 4th movement
3-In measures 1-4 Haden uses Coleman’s chords and in measures 5-8 heuses the Metheny chords.
3- Measures 2 and 3 are a whole step apart
4- Ornette frequently uses the third of the chord as the melody note. Seemeasures 2,3, 4 and 5
5- Section B is 3 ideas strung together

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Section C (10 bars)

1- In measures 4-10 the melody is an outline of the Coleman chords
2-Measures 1-4 Haden plays both the Ornette and Metheny chords
3-In measures 9 and 10 Metheny adds rising 4th’s (Eb7 and F) Is he trying toresolve the harmony to end the section?

Section D (7 bars)

1-In Measures 1 and 2 Haden uses the Metheny chords
2- In measures 5 and 6 Metheny adds chords to connect the melodic
phrases using the melody note as a b5 in 5 and a +5 in 6.
3- 4th movement continues in bars 1 3 and 4.
4- Measures 5-7 use Chord function II V III V I
5- the 33-bar piece that started in A ends in Ab

Previously discussed pianist and keyboardist Dave Bryant recorded a second
version of “Kathelin Gray.” He toured with Prime Time for five years before Tone
Dialing was recorded in Harlem. Their collaboration on the piece began with
Coleman handing him the lead sheet and telling him it was his feature. They

191
rehearsed the piece at Coleman’s Rivington St studio in the Bowery, when writer
Kathlin Gray herself arrived, who was in a relationship with Johnny Dolphin.
Bryant believes the reason Ornette chose to re-record the piece after theversion with Pat Metheny on Song X was that Metheny was taking composer cocredit for adding the chords that he included in the Pat Metheny fakebook.
Coleman wrote out a new lead sheet and told Dave that he wanted to work out thechanges, and they spent several days working on the composition as a duo before
the full band rehearsal. By recording without Metheny present, Bryant believes
Coleman reclaimed the tune. He would change the chords at any given time,
confirmed by Kenny Wessel and Bern Nix. Bryant’s lead sheet contains the notes
dictated to bassist Al MacDowell, encircled above the measures. Of further interestis that on the Coleman-Bryant lead sheet all three clefs are listed, including theHarmolodic clef. Bryant’s lead sheet has all half notes with bar lines separating
melodic episodes without rests, serving as a guide or blueprint to learn the tune byplaying it. Bryant suggested that the guitar parts might have completely different
rhythmic notation.

192
Kathelin Gray Lead Sheet from Coleman from David Bryant

193
Kathelin Gray A

194
Kathelin Gray B

195
Kathelin Gray C

196

Kathelin Gray D

197
Klactoveedsedstene

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DISCOGRAPHY: COMMERCIAL ALBUMS

Something Else!!!! (Contemporary, 1958)
Tomorrow Is the Question! (Contemporary, 1959)
The Shape of Jazz to Come (Atlantic, 1959)
Change of the Century (Atlantic, 1959)
This Is Our Music (Atlantic, 1960)
Free Jazz (Atlantic, 1960)
Ornette! (Atlantic, 1961)
Ornette on Tenor (Atlantic, 1961)
The Art of the Improvisers (Atlantic, 1959-61 [1970])
Twins (Atlantic, 1961 [1971])
To Whom Who Keeps a Record (Atlantic, 1959-60 [1975])
Town Hall, 1962 (ESP Disk, released 1965)
Chappaqua Suite (Columbia, 1965)
An Evening with Ornette Coleman (Polydor International, 1965)
Who's Crazy Vol. 1 & 2 (1965)
The Paris Concert (1965)
Live at the Tivoli (1965)
At the "Golden Circle" Vol. 1 & 2 (Blue Note, 1965)
The Empty Foxhole (Blue Note, 1966)
The Music of Ornette Coleman - Forms & Sounds (1967)

280
The Unprecedented Music of Ornette Coleman (1968)
Live in Milano 1968 (1968)
New York Is Now! (Blue Note, 1968)
Love Call (Blue Note, 1968)
Ornette at 12 (Impulse! 1968)
Crisis (Impulse! 1969)
Friends and Neighbors: Live at Prince Street (Flying Dutchman, 1970)
Broken Shadows (Columbia, 1971)
Science Fiction (Columbia, 1971)
European Concert (1971)
The Belgrade Concert (1971)
Skies of America (Columbia, 1972)
Dancing in Your Head (A&M, 1976)
Body Meta (Artists House, 1976)
Soapsuds, Soapsuds (Artists House, 1977)
Of Human Feelings (Antilles, 1982)
Opening the Caravan of Dreams (Caravan of Dreams, 1983)
Prime Design/Time Design (Caravan of Dreams, 1983)
Song X (Geffen, 1986)
In All Languages (Caravan of Dreams, 1987)
Live at Jazzbuehne Berlin (1988)
Virgin Beauty (Portrait, 1988)

281
Naked Lunch (Milan, 1991)
Tone Dialing (Harmolodic/Verve, 1995)
Sound Museum: Hidden Man (Harmolodic/Verve, 1996)
Sound Museum: Three Women (Harmolodic/Verve, 1996)
Colors: Live from Leipzig (Harmolodic/Verve, 1997)
Sound Grammar (Sound Grammar, 2006)
Croydon Concert (Free Factory, 2008)
Live in Paris 1971 (Jazz Row, 2008)
The 1987 Hamburg Concert (Ais, 2011)