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Portland Jazz Fest: Ornette the Wise

I tried to keep up with Ornette Coleman’s onstage conversation Friday with jazz writer/historian Howard Mandel, one of the many Portland Jazz Festival activities this week.

It wasn’t easy. Was what he was saying at any given time actually making sense? Was there a thread to his interview, a philosophy embedded somehow? Was he answering the questions, or questioning the answers? Was he here with us, and if so, could I remember enough of what he said, once I’d figured out what it was, to record it in my notebook? Ornette, you are one tough cookie to convert to print. And the heroic Mandel was by turns bewildered and frustrated as he attempted to corral Ornette’s responses into something the rational mind might contemplate without throwing up its hands.

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As I was squeezing the things that made sense out of my notes and reciting them to Marty Hughley, longtime arts writer for The Oregonian (after Ornette’s evening concert but before the SFJazz Collective played Friday night), a music fan behind us piped up: “I can’t believe you got all of that from the talk.” And another friend had earlier described what Ornette had said as “gibberish.” But come on! Ornette Coleman! Even random sonic expressions are going to have meaning! Aren’t they? Yes, they are…

Five life-changing things Ornette said on Friday.

1. “You don’t have to make a sound to hear, right?”

2. “We’re all breathing life, but what is life breathing?”

3. “I don’t think I’m making music. I’m translating something because of what I feel.”

4. “Everything we do is about being better and more precise… We would never exchange creativity for repetition.”

5. Mandel: “Is your music improving?” Ornette: “Every day (emphatically). The only thing I have to do is learn how to play it.”

6. “We cry and we pray because that’s all we know how to do. I cry because of the meaning I can’t express of the quality of the thing that’s making me feel that way.”

OK. I know. That was six. A bonus! It could have been 10. Maybe. Some sentences in my notes started out promisingly but dwindled into nothing as I struggled to make sense of Ornette’s thoughts. We can look at them one by one.

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Herbie Hancock v. Ben Ratliff

I’m listening to River: The Joni Letters, Herbie Hancock’s interpretation of Joni Mitchell songs that won the Album of the Year Grammy on Sunday. This was a surprise, if only because this little album had sold so few copies (50,000 according to Soundscan) and was facing the twin Goliaths of this year’s Grammy awards, Kanye West and Amy Winehouse. OK, calling Winehouse a Goliath is perhaps going too far.

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But apparently it wasn’t a surprise to Ben Ratliff of the New York Times with whom I’m about to have an argument. Which isn’t smart on my part. Ratliff is knowledgeable about music, I bet even obsessive. Worse for me, from reading him, you can tell that he hears music with the keenest of ears. And finally, he writes about it clearly and intelligently. I’m a fan of his book “Coltrane: The Story of a Sound.” So I have no doubt that this is going to go badly…

OK. Tina Turner is singing “Edith and the Kingpin,” Wayne Shorter is finding some impish sax lines and Lionel Loueke has this funny clucking going on his guitar, while Hancock himself is enjoying himself by finding some chords that clearly amuse him. Tina Turner? Yeah, and she’s just fine, thanks.

Ratliff’s argument in the Tuesday New York Times: If a “jazz” album was going to win Album of the Year, it’s predictable that it was an album like River, because it resembles the non-jazz albums that frequently win — “soft-edged, literate and respectable.” And these are fighting words for jazz fans, though Ratliff also praises elements of River. But it’s not REAL jazz, he implies; it’s a combination of jazz and singer-songwriter. And jazz fans shouldn’t take any comfort in Hancock’s victory, by considering it some sort of sign of the form’s return to the middle of the musical discourse.
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