Pianist and vibraphone player Karl Berger cites Ornette Coleman as a close friend and mentor; Coleman's ways of playing jazz are certainly reflected in Berger's concept, more so than any other vibist one could name. Berger eschews four-mallet technique; his style is all single-line, with little (if any) chordal playing. Berger's compositions are brief, songlike free-bop heads in the manner of Ornette, with free/modal solo sections sandwiched in between the theme statements. At his best, Berger's improvisations have much in common with his tunes; they are strongly and logically rhythmic, played over a swinging pulse, and mostly tied to tonal centers. Like Coleman, Berger is not as radical in the hearing as one might expect; both their musics are based on the core elements of swing and coherent melody.