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Maratona em honra do centenário da grande Shirley Clarke filme #10.
Se eu estava buscando uma definição para o cinema de Clarke aqui ficou mais claro de maneira quase a não se achar possível, seu cinema éw o exato contraponto do free e avant-garde jazz de Coleman, ao mesmo tempo unindo improvisação com composição inusitada na forma de sua edição. É isso, melhor do que tá não fica, talvez o suprassumo dos filmes sobre jazzistas.
PirateBay

While certainly flawed, this film comes closer than any other I've seen to an accurate cinematic representation of jazz. Shirley Clarke's editing has a great sense of rhythm that perfectly marries sound and vision. But she also understands the importance of solos. Sometimes the music gets to be front and center. Sometimes the visuals are allowed to take the lead. It's a delicate tapestry of new and old media that is filled to the brim with recurrent themes that are both aural and visual. Even the incorporation of video games seems to suggest the ways in which jazz assimilates new styles and techniques. As far as I know Shirley Clark didn't play an instrument, but through this film she pulls of a remarkable duet with one of American Music's most original voices ever.

Gave away just enough to not strip him of the mysticism that makes him who he is. The old live footage was amazing to see and the montages mightve been a lil weird but wrked in context. idk if I learned too much about Ornette Coleman in this, but it captured his spirit and thats all that rlly matters.

It seems only fair that Ornette would have such an abstract and visually stylized film made in his honor. There's snippets of some great footage here, including the orchestra + Prime Time for Skies of America, trio with Charlie and Denardo, and a bit of Ornette playing musette (!) in San Francisco. I can't imagine how the '80s digital effects were received at the time, but the recognition for Ornette is a triumph regardless.

Gave away just enough to not strip him of the mysticism that makes him who he is. The old live footage was amazing to see and the montages mightve been a lil weird but wrked in context. idk if I learned too much about Ornette Coleman in this, but it captured his spirit and thats all that rlly matters.

A musical documentary that plays with the form to tell the story of a unique and talented composer and jazz musician. It could have been a lot more conventional, but there is a great stylistic approach that mirrors the work of Coleman in telling the story.

Was curious. Popped up in my "This week in things you should watch" feed. I knew/know not a ton about Ornette Coleman, and while I know a little more, it's balanced by the accompanying loss of a small part of my sanity in watching this.

Seriously, maybe the weirdest "documentary" I've ever watched, between the trippy interlude music, weird repeating light sequences, and decision to both have the real Coleman, and a series of actors play him throughout. If you're looking for a ton of information on Coleman, you won't necessarily find it here, since it's a lot of anecdotal material about his upbringing and adult friendships.

Free jazz! Good document for Coleman fans. Nice footage. Very cool.

(The cliche trippy smash jump cuts seemed both appropriate and a bit much.)

Maratona em honra do centenário da grande Shirley Clarke filme #10.
Se eu estava buscando uma definição para o cinema de Clarke aqui ficou mais claro de maneira quase a não se achar possível, seu cinema éw o exato contraponto do free e avant-garde jazz de Coleman, ao mesmo tempo unindo improvisação com composição inusitada na forma de sua edição. É isso, melhor do que tá não fica, talvez o suprassumo dos filmes sobre jazzistas.
PirateBay

Fantastisch inszenierter, fotografierter, erzählter Film über Jazz-Pionier Ornette Coleman. Von der ersten bis letzten Sekunde fesselnd; gefüllt mit genialen ästhetischen Einfällen; experimentell, aber auch bodenständig; philosophisch, aber nie unverständlich. Ein Meisterwerk des Dokumentarfilms.

Shirley Clarke's style here seems more in conversation with Coleman's work than a traditionally made documentary would be, and there are some profound moments that arise from this synthesis. However, the second half is definitely weaker, with a ridiculous space sequence and unbelievably awkward use of sound and animation during a part where Coleman describes his sexual ineffectiveness.

Whilst I enjoyed the structure, the backdrop of the concert, and the very fluid way in which the film was built around the music; I don't feel like I actually gained all that much insight into Coleman.

It was fine for what it was, but let me wanting more.