<BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">One of my professors who's really into Ornette told me once that Harmolodics at its simplest is more or less just improvised counterpoint. If you think about it, you have one line (probably a horn) and another line (probably a bass line) interacting to create harmonies that drive the piece. I know that it is only about 1/10th of the whole sha-bang, but at least its a place to start.<BR>
<BR>
</BLOCKQUOTE>OK, I'll offer my simplistic, unresearched, 2-cent take on how I've been listening to Ornette. In "traditional" jazz improvisation, the players generally improvise vertically, based on the chord progression. What I seem to hear in Ornette's harmolodic improvising style, is/are the player(s) improvising horizontally, on the melodic line - regardless of how it relates to the key or chord progression. Does this make sense to anyone else, or have I completely missed the boat and fallen off the dock?<BR>
<BR>
Dale.<BR>
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Date: Tue, 22 Jan 2002 14:11:52 -0800 (PST)
From: Scott Handley <thesubtlebody@yahoo.com>
Subject: Re: Spy vs. Spy
> > can't be had elsewhere, better. Jim O'Rourke
> > syndrome.
>
> What exactly do you mean by this?
Actually, I rather regretted this comment after
sending the aforementioned e.mail, since Jim O has
done some interesting work. I have personally found
O'Rourke's work to be fun but a lot less durable,
interesting, and substantial than a lot of his
influences'---as a confluence of several ways of
working, and several micro-traditions, I think his
work is pretty nifty. This might not be fair, but let
me venture a parallel of sorts:
John Fahey + Tony Conrad = O'Rourke's "Happy Days"
grindcore + energy free-jazz + Ornette heads =
Spy v.Spy
Totally reductive, yeah...but those two works give
themselves to reduction. Pastiche comes apart so
easily. I'm not particularly hungry for unity, but I
am suspicious of mere juxtaposition; it doesn't seem
to go far enough. Not enough distillation. I think I
have some probelms with "record collection rock" for
this reason.
Just some ideas, I don't want to come across as
trolling some hardworking cats. Incidentally, the
NEWS FOR LULU project seems to me to be a much better
thought-out pastiche, much more interesting and
suggestion, and much more a speaking through hard bop
using Zorn's filmic nonlinearity, esp. Zorn's and
Frisell's contributions to those records. Collage
bop! A great idea. Zorn's Sonny Clark record sucks,
