{"id":6595,"date":"2015-04-23T12:35:44","date_gmt":"2015-04-23T19:35:44","guid":{"rendered":"http:\/\/www.artsjournal.com\/rifftides\/?p=6595"},"modified":"2015-04-23T22:57:45","modified_gmt":"2015-04-24T05:57:45","slug":"correspondence-compatible-quotes-coleman-and-geller","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/rifftides\/2015\/04\/correspondence-compatible-quotes-coleman-and-geller\/","title":{"rendered":"Correspondence: Compatible Quotes\u00e2\u20ac\u201dColeman And Geller"},"content":{"rendered":"<p><em>Rifftides<\/em> reader David Perrine writes:<\/p>\n<blockquote><p>In the spirit of your occasional feature, I offer the following quotes. (As you know, a notated F# on alto sax would normally be a concert A\u00e2\u20ac\u201d except in the quantum physics-like world of harmolodics.)<\/p>\n<p><a href=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2015\/04\/Ornette-Coleman1.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-6598\" src=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2015\/04\/Ornette-Coleman1.jpg\" alt=\"Ornette Coleman\" width=\"196\" height=\"209\" \/><\/a><em>\u00e2\u20ac\u02dcPoise\u00e2\u20ac\u2122 has an F# for its tonic on the Eb alto and a D concert for the transposed key.<\/em>\u00e2\u20ac\u201dOrnette Coleman<\/p>\n<p><a href=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2015\/04\/Herb-Geller1.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-6599\" src=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2015\/04\/Herb-Geller1.jpg\" alt=\"Herb Geller\" width=\"200\" height=\"213\" \/><\/a><em>[Ornette] took his saxophone out, and I notated what he played. I asked him what chord he was using, and he blew the arpeggio of a G chord thinking it was a B minor.<\/em>\u00e2\u20ac\u201dHerb Geller<\/p><\/blockquote>\n<p><a href=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2015\/04\/Ornette-pointing.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-6600\" src=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2015\/04\/Ornette-pointing.jpg\" alt=\"Ornette pointing\" width=\"200\" height=\"200\" srcset=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2015\/04\/Ornette-pointing.jpg 200w, https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2015\/04\/Ornette-pointing-150x150.jpg 150w, https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2015\/04\/Ornette-pointing-100x100.jpg 100w\" sizes=\"auto, (max-width: 200px) 100vw, 200px\" \/><\/a><\/p>\n<blockquote><p><em>No one has to learn to spell to talk.<\/em>\u00e2\u20ac\u201dOrnette Coleman<\/p><\/blockquote>\n<div align=\"center\"><iframe loading=\"lazy\" src=\"https:\/\/www.youtube.com\/embed\/mfYr6OK7-Xc?rel=0\" width=\"540\" height=\"360\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/div>\n<p>Coleman, alto saxophone; Don Cherry, trumpet; Charlie Haden, bass; Ed Blackwell, drums. August 2, 1960.<\/p>\n<p>&#8220;Poise&#8221; is included in Coleman&#8217;s <a target=\"_blank\">Complete Atlantic Recordings<\/a>.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Rifftides reader David Perrine writes: In the spirit of your occasional feature, I offer the following quotes. (As you know, a notated F# on alto sax would normally be a concert A\u00e2\u20ac\u201d except in the quantum physics-like world of harmolodics.) \u00e2\u20ac\u02dcPoise\u00e2\u20ac\u2122 has an F# for its tonic on the Eb alto and a D concert [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":6598,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[4],"tags":[],"class_list":{"0":"post-6595","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-main","8":"entry"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/6595","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/comments?post=6595"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/6595\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media\/6598"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media?parent=6595"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/categories?post=6595"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/tags?post=6595"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}