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This article aims to explore the political aspects that can be found within the musical thinking & playing initiated by Ornette Coleman considering that this idiosyncratic approach has been displaying a certain force of disruption and dissensus throughout Coleman's lifetime and beyond. Was Coleman a misunderstood genius or a fraud? First, we will briefly evoke the controversies following the reception of jazz music in Europe and in the United States in order to emphasize how Coleman's musical approach is constantly resisting the traditional oppositions between tradition and modernity. This will show us how the very notion of displacement becomes a key element in Coleman's own harmolodic “theoretical practice” which finds its very strength in the reshaping of spaces and temporalities as every individual collectively experiences their own way of “being in the now.” This will enable us to focus in more details on the political value that is contained within the philosophy of harmolodics which keeps questioning our possibilities to invent, individually and collectively, other ways to live and inhabit the world.