With my mind on guitarists, it seems fitting to reflect for a few minutes on Bern Nix, who passed away recently at the age of 69. I’m no Nix expert; I’m not even that well versed in Ornette Coleman’s Prime Time years. But I appreciate the music and what Nix brought to it.
Former New York Times reporter Nate Chinen, now working at WGBO-FM, produced a fantastic obit, as usual, with the added detail that Nix was rehearsing regularly with Denardo Coleman’s band for an Ornette Coleman Festival. That festival is happening next month.
I like Chinen’s description of Nix playing a “subtle yet central” role in Prime Time, alongside the flashier Charles Ellerbee. And I like his choice of this live clip from 1987. During moments when Nix is on camera, such as the few seconds after 7:07, you can correlate his hand motions to what he’s playing. When I did that, I discovered he was creating ongoing threads of melody and calm riffs — a trail that I wouldn’t have noticed amid the whole band, but which became vital once I was aware of it. Nix fleshes out mood and color, doing his own thing but in a way that adds depth to the overall group sound.
Chinen also calls out Nix’s solo acoustic album Low Barometer (Tompkins Square, 2006), noting that the results “warrant comparison with analogous recordings by Derek Bailey, John Fahey and Marc Ribot.” Derek Bailey is a particularly interesting inclusion there, because Nix’s acoustic guitar shares that same curt sound, almost as if he’s taking advantage of the instrument’s lack of sustain.
But Chinen is talking about a mixture of Bailey with more melodic players. On Low Barometer, Nix traces recognizable and even pleasant routes — melodies, projected onto a tilted harmelodic plane. I’m actually reminded of Joe Pass’ self-titled solo album. Tracks like “Generic Ballad” and “Love’s Enigma” drift by, patiently, like a slow river in summer, and I realize that with this music, Nix is delivering his own fitting elegy.