“Harmolodics is a base of expanding the melody, the harmonic structure, the rhythm, and above all the free improvised structure of a composition beyond what they would be if they were just played as a regular 2-5-1 structure, or if they were played with the concept of a melody having a certain arrangement to know when to start and stop.”
“If a word means something else in another language, and it’s spelled and sounds the same, that’s very harmolodic. So, when you’re able to play like that, it expresses what sounds could be if they weren’t programmed to represent a certain territory. It has to do with what you base a concept of unity on. Unity in Europe comes from shared territories, not like America where unity is created out of shared conditions.”
“Harmolodics doesn’t change something from its original state. It expresses the information a melody has within its structure without taking it apart to find out why its sounds that way.”
Today would have been Coleman’s 90th birthday! Above, performing in 2008 (photo by Frank Schindelbeck; below, a performance from Coleman’s harmolodic funk period.