Good old England, good old Yob-land. Even if the Russians are better-prepared, fitter, and, not for the first time in their history, fighting on home soil, I still have faith in our hooligans to show their mettle and do us proud. We want England to be non-racist, non-homophobic, non-misogynistic and all that, but, God knows, however much we hate yobs, we don’t ever want England to be yob-free. No one will ever put it better than D.H. Lawrence of Nottingham Forest FC who considered himself “English in the teeth of all the world, even in the teeth of England.”
It hardly needs emphasizing that the desire for freedom in jazz is bound up with the larger dreams of freedom itself. Ornette Coleman tended to play down the connection between his musical project and the larger social turbulence of which it might have seemed a product and expression. When did it begin, this longing for freedom of which Ornette’s music is the undying expression?
The interest of recordings from John Coltrane’s final phase—in which his playing became increasingly frenzied and the accompaniment more abstracted—lies partly in what they preserve and partly in any hints they contain as to where Trane might have headed next.