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“Just Me, Just Me” is his lockdown-era play on “Just You, Just Me” — though it’s got more in common with Ornette Coleman’s wily harmolodics than with any prewar jazz standard.

Most impressively, perhaps, she devotes a sizable section to Coleman’s cryptic and elliptical philosophy of music, which he called Harmolodics, without straining to defend it with academic triple-talk or dismissing it.

In Clarke’s masterly film, which features footage of Coleman in 1968 and again in 1983, he explains the thinking behind harmolodics — the enigmatic term he coined to signify a utopic vision of music-making.

Garcia was a longtime fan and occasional collaborator with the late jazz saxophonist Ornette Coleman, whose theory of harmolodics was reflected in the Dead's democratic approach to jamming.

He gave his theory of things the name “harmolodics”—a concept that most of his listeners and even many of his collaborators could only vaguely describe or apprehend.