More reflections on the great fall SF Jazz Festival this year. I had the privilege of taking Butch Morris to see Ornette Coleman at Davies Symphony Hall. A legend himself, Butch holds Ornette in such high regard that he told me a standing room ticket would be OK if that was all I could find. Fortunately there were still good tickets available. Ornette of course is one of our living masters, and I’ve had the good fortune to see him many, many times, in many settings. The last few years has been with two acoustic bass payers, and his son Denardo on drums. Like all true masters, Ornette craves change, and this group had an electric bass, acoustic bass, and Denardo. The electric bass player was in the higher register; almost guitar-like, which gave the group a little more open sound.
Perhaps because I’ve entered a new level of understanding, but a few years ago Ornette started to sound “inside” to me. Still fresh, and strange and beautiful (to paraphrase Jimi) but very much like “home”. (In truth, the Prime Time band of the early eighties, with Blood Ulmer, Berne Nix, Jamaldeen Tacuma, another bass player and drummer, plus Denardo, was SERIOUSLY harmolodic).
“The Shape of Jazz to Come” and “Out to Lunch” and “Conference of the Birds” all seem rooted in the blues to me, if not overtly. It’s been said that Charlie Parker played the blues over ballads, and ballads over the blues. This night Ornette would occasionally start a melodic line on alto, and finish it on trumpet or violin. It was a triumphant concert in Ornette’s 80th year.
Gregory James
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