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Soliloquy of Chaos: Ornette Coleman in Copenhagen, 1965

Soliloquy of Chaos: Ornette Coleman in Copenhagen, 1965 Not Forgotten Soliloquy of Chaos Ornette Coleman in Copenhagen, 1965 by William P y m 76 As a teenager in 1940s Fort Worth, Ornette Coleman supported his family play- ing tenor saxophone on the radio and in regional clubs, honing woozy gutbucket rhythm and blues suitable for partying and abandon. “I was in the South - when mi norities were oppressed, and I identied fi with them through music,” Coleman told the philosopher Jacques Derrida in a 1997 conversation published in Les Inrock- uptibles magazine. “One day, I walked into a place that was full of gambling and prostitution, people arguing, and I saw a woman get stabbed—then I thought that I had to get out of there. I told my mother that I didn’t want to play this music anymore because I thought that I was only adding to all that suffering.” His sense of belonging in that scene ended there, with that epiphany. “It was like I had been re b -aptized,” he said. The sadness, exhaustion, and mania of the tavern scene echoed the pain and tragedy Coleman sensed in Texas culture, and he felt trapped there, unable to grow or create an environment where others http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Southern Cultures University of North Carolina Press

Soliloquy of Chaos: Ornette Coleman in Copenhagen, 1965

Pym, William
Southern Cultures , Volume 24 (3) – Oct 11, 2018
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Publisher
University of North Carolina Press
Copyright
Copyright © Center for the Study of the American South.
ISSN
1534-1488

Abstract

Not Forgotten Soliloquy of Chaos Ornette Coleman in Copenhagen, 1965 by William P y m 76 As a teenager in 1940s Fort Worth, Ornette Coleman supported his family play- ing tenor saxophone on the radio and in regional clubs, honing woozy gutbucket rhythm and blues suitable for partying and abandon. “I was in the South - when mi norities were oppressed, and I identied fi with them through music,” Coleman told the philosopher Jacques Derrida in a 1997 conversation published in Les Inrock- uptibles magazine. “One day, I walked into a place that was full of gambling and prostitution, people arguing, and I saw a woman get stabbed—then I thought that I had to get out of there. I told my mother that I didn’t want to play this music anymore because I thought that I was only adding to all that suffering.” His sense of belonging in that scene ended there, with that epiphany. “It was like I had been re b -aptized,” he said. The sadness, exhaustion, and mania of the tavern scene echoed the pain and tragedy Coleman sensed in Texas culture, and he felt trapped there, unable to grow or create an environment where others

Journal

Southern Cultures – University of North Carolina Press

Published: Oct 11, 2018

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