Page 2

Ornette
Coleman Concert

By Michael Wilson

| feel funny about writing
areview. Most of the ones
I’ve read in the ‘‘legiti-
mate’’ press (at least the
daily papers around here)
seem to have been written
by pompous buffoons who,
in spite of their implied
expertise and grand eloq-
uence, continue to get even
basic facts of instrumenta-
tion and history wrong.
Such pieces also often
include lists of song titles,
incorporating half baked
attempts to actually des
cribe the music in words.

 

“Sorry | was edited, M.W.’
So anyway, the Ornette
Coleman concert (March
4th, Commodore) proved to
be the enlightening and

nurturing event | had anti-
cipated. Lots of people
involved in the new popular
music have spoken of the
need to work cooperatively
within the context of a
musical group - that is, the
quality of the .music_ is
directly dependent upon the
quality of communication

within the group. The
Talking Heads are one
notable example. This /

 

Possible training fields

You should have a degree in one of
these: '

Archeology; Anthropology; Museo-
logy; Architecture; Tropical Medi-

notion has been central to
Coleman’s approach in all
his bands from the late
fifties to present. This has
resulted in the -coming
together of extraordinary

musicians, people for whom
music is a context in which
they express their love for
each other, the world at
large, and themselves.

The Other Press

Such alumni as _ Charlie
Haden, Ed Blackwell, Don
Cherry, and Dewey Redman
have graced his bands.

The present group contin-
ues Coleman’s tradition of
unusual instrumental com-
binations - in this case two
electric guitars, two electric
basses, and two drummers,
along with Coleman on alto
saxophone, trumpet, and
violin (which, unfortunately,
we didn’t hear because it’s
amplification system failed)

The music is free in the
sense’ that any note is
allowed at anytime, but is

disciplined in the sense
that the musicians are
encouraged to express
themselves in relationship
with each other, and within
the emotional context of the
particular composition.

For me the high-points of
the event were watching
Jamaaladeen Tacuma play-
ing a sort of lead bass
while dancing with the joy
and abandon of a child
listening to Denardo
Coleman (Ornette’s son)
actually play discernable
melodies on the drums; and
watching Mr. Coleman

March 18th to April 1st 1982

preside over his band like a )
father who is proud of his
family.

The music was by and
large joyous and energetic,
and powerful without being
aggressive. The result for
me was a feeling of being
welcome to be who | was,
and the renewed realization
that the human family
truly does exist across lines
of race and background.

A beautiful evening with a
beautiful man. ‘

 

 

 

Employment and
Immigration Canada

at

¢ a Canadian citizen

_ Its special taste
made it famous.

Empioi et
Immigration Canada

+ between 18 and 30 years of age
* a graduate of a post-secondary institu-
tion (students graduating in Spring,

1982 may also apply)
« able to work in Spanish

YOU ARE ELIGIBLE

to apply for a career-oriented practical

traineeship in Mexico

Bursaries and Benefits

The Canadian Government pays
trainees a monthly allowance of
approximately $800 including return
air fare. The Mexican Government

     

» pays for emergency medical and
dental care (excluding prosthesis)
as well as life and accident insu-
rance.

cine; Agronomy; Plant Genetics;
Seismology; Tourism; Petroleum
Industry; Meteorology; Geophysics;
and Marine Biology.

Duration of traineeship

Four to twelve months

Departure date

March 5, 1983

If you are interested, write to:

Xth Canada-Mexico Exchange Pro-
gramme

Canada Employment and Immigra-
tion Commission

Application deadline i ge pie
Applications will be accepted until Ottawa/Hull

May 28th, 1982. K1A 09

The Canada-Mexico Exchange Programme is funded by the Department of External Affairs and adminis-
tered by the Canada Employment and Immigration Commission.

Canada