Ornette Coleman and Harmolodics by Matt Lavelle
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Ornette Coleman and Harmolodics by Matt Lavelle A Thesis submitted to the Graduate School-Newark Rutgers, The State University of New Jersey in partial fulfillment of the requirements for the degree of 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 jazz history. 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 also delved 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 and Coleman’s need to challenge conventional Western music theory in pursuit of providing 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 then examined. 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 never recorded. 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 the actual 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 formal interview 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 unique logic with the goal of opening doors to deeper levels of human expression, inside the context of seeking a deeper understanding of humanity overall iii ACKNOWLEDGEMENTS Photographer John Rogers introduced me to Ornette Coleman in 2005 and my 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 this process. Through countless hours of playing, Nix allowed me a safe space to develop 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 were willing 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 my researching 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 thank Ornette 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 an environment.” -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 through Fort 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’s parents were Rosa Rhodes, a seamstress, and Randolph, a mechanic.4 Coleman was close 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. 2 the violence he encountered in the clubs. He came home and told his mother that he thought that his music was influencing violence and she responded, “You want these 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 him that he didn’t have to worry, she knew who he was. She heard his music in the sixties, 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 saxophone in the first grade. Even then, Coleman felt a strong enough attraction to the horn that 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 and Jordan 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. 3 earning money. According to Jordan, Coleman already had, and was developing his own approach to music. In the