“The restoration and reissue of Ornette: Made in America, Shirley Clarke’s 1985 portrait of Ornette Coleman, the saxophonist whose recordings and performances in the late ’50′s and early ’60′s were among the most liberating avant-garde breakthroughs in the history of jazz (and who, happily, is still performing, at the age of 82), is cause for celebration—both for its value as a movie and for its exploration of Coleman’s art.” So begins an entry from Richard Brody, accompanied by a clip (2’43″) and a link to his capsule review in the New Yorker. “There’s a lot more to say about it, particularly regarding the way that Clarke uses video technology and dramatic reconstructions to evoke Coleman’s way of thinking, but here I’d like to focus on Coleman’s music—which I’ve been passionate about since I was in high school, in the ’70′s, and still listen to enthusiastically—while noting the ways in which the movie contributes to a better understanding of the music.”