V.V.(2) Re: Sphere and Monk

[s~Z]

"He plays all the notes Bird missed,"

from http://www.ejn.it/mus/coleman.htm
Bebop ruled jazz in the 1950's and initially while in Los Angeles, Coleman,
like everybody else, playing bebop at jam sessions. "I could play and sound
like Charlie Parker note-for-note, but I was only playing it from method. So
I tried to figure out where to go from there," Coleman said.

"Horn and alto together favored sixths and minor fourths and when this
happened it was like a knife fight or tug of war: the sound was consonant
but as if cross-purposes were in the air."

"...he played disregarding chord changes completely."

http://www.bostonphoenix.com/alt1/archive/music/reviews/12-01-95/ORNETTE_COL
EMAN.html
Harmolodic [Coleman's brand of music] has been defined only by example, but
in general it's a musical theory of egalitarianism. All instruments play in
their "natural" key, so horns don't transpose in order to be consonant with
keyboards, etc. It does away with conventional harmonic structures.
Instruments may play a melody in unison but in different keys. For Ornette,
the consonance, or "unisons," his music describes comes not from patterns of
agreed-upon chord changes but from each musician's focusing naturally on the
melody.