But don't mistake it for a retread of stale ideas. At 72, his music sounds fresh and new, and edgy as ever - but never self-consciously so. To many 1955 ears, it would probably be unlistenable, but for those of us that grew up in Ornette's world, it was music to our ears.

The second hour was especially strong. Ornette played his trademark sax and also a few bits of trumpet, but he brought down the house with his violin. Coleman's self-taught, left-handed violin sound is a natural for his musical themes. If anything, his violin is even more unconventional than his saxophone, but it's hardly a gimmick - and he's clearly no amateur. (I read today that he's been playing it for 40 years.)

I have only one minor complaint: I don't know what any of this new music might be called. The program didn't provide titles for either the set or any of the songs, and if they were in the press kit, the SF Chronicle reviewer didn't mention them.

That said, it was one of the best shows I've seen in a long time. With any luck, Ornette Coleman will play more live shows next year and we'll hear this music on CD. If he comes to your town, you know what to do.

(A version of this review also appears on the writer's home blog, Robbed by a Fountain Pen.)

Further listening: for an introduction to Coleman, start with 1959's The Shape of Jazz to Come. It's not just famous and "important," it's good listening that gets better every time. For an introduction to his funky band Prime Time, try Tone Dialing.