Misplaced Pages

Of Human Feelings

Article snapshot taken from Wikipedia with creative commons attribution-sharealike license. Give it a read and then ask your questions in the chat. We can research this topic together.

This is an old revision of this page, as edited by Teflon Peter Christ (talk | contribs) at 02:28, 29 July 2014 (Ref 17, McRae & Middleton). The present address (URL) is a permanent link to this revision, which may differ significantly from the current revision.

Revision as of 02:28, 29 July 2014 by Teflon Peter Christ (talk | contribs) (Ref 17, McRae & Middleton)(diff) ← Previous revision | Latest revision (diff) | Newer revision → (diff)

Untitled

Of Human Feelings is a studio album by American jazz saxophonist and composer Ornette Coleman. It was recorded on April 25, 1979, at CBS Studios in New York City with his band Prime Time, which featured guitarists Charlie Ellerbee and Bern Nix, bassist Jamaaladeen Tacuma, and drummers Calvin Weston and Coleman's son Denardo. It followed Coleman's failed attempt to record a direct-to-disc session earlier in March 1979.

Of Human Feelings explores jazz-funk music and continues Coleman's harmolodic approach to improvisation with Prime Time, whom he first introduced on his 1975 album Dancing in Your Head. He drew on rhythm and blues influences from early in his career for Of Human Feelings, which had shorter and more distinct compositions than Dancing in Your Head. Coleman also applied free jazz principles from his music during the 1960s to elements of funk.

Following a change in management, Coleman signed with Island Records, and Of Human Feelings was released in 1982 by its subsidiary label Antilles Records. It was well-received by critics, who praised Coleman's expressive music and harmolodic approach. However, the album made no commercial impact and subsequently went out of print. Coleman enlisted his son Denardo as manager after a dispute with his former managers over the album's royalties, a change that inspired him to perform publicly again during the 1980s.

Background

Jamaaladeen Tacuma (pictured in 2007) was challenged and enthused by harmolodics.

In the mid-1970s, Ornette Coleman decided to stop recording free jazz with acoustic ensembles and sought to recruit electric instrumentalists for his music, based on a creative theory he developed called harmolodics. According to his theory, all the musicians are able to play individual melodies in any key, and all the while sound coherent as a group. He taught his young sidemen a new improvisational and ensemble approach, based on their individual tendencies, and prevented them from being influenced by conventional styles. Coleman likened this group ethic to a spirit of "collective consciousness" that stresses "human feelings" and "biological rhythms", and said that he wanted the music, rather than himself, to be successful. Of Human Feelings continued his application of the theory with Prime Time, an electric quartet whom he introduced on his 1975 album Dancing in Your Head. It comprised guitarists Charlie Ellerbee and Bern Nix, bassist Jamaaladeen Tacuma, and drummer Denardo Coleman.

Tacuma, who was still in high school when he was enlisted by Coleman, first recorded with Prime Time in 1975 for the album Body Meta, which was released in 1978. Tacuma had been fired by jazz organist Charles Earland for what he felt was the excessive amount of attention his playing received from audiences, but Coleman encouraged him to remain what he called a "naturally harmolodic" player. Although Coleman's theory initially challenged his knowledge and perception of music, Tacuma became enthused by the unconventional role each band member was given as a soloist and melodist: "When we read Ornette's music we have his notes, but we listen for his phrases and phrase the way he wants to. I can take the same melody, then, and phrase it like I want to, and those notes will determine the phrasing, the rhythm, the harmony – all of that."

Recording

In March 1979, Coleman went to RCA Records' New York studio and attempted to produce an album with Prime Time by direct-to-disc recording. However, they encountered mechanical problems with the studio equipment, and their recording was ultimately rejected. The failed session was a project under Phrase Text, his music publishing company. Nonetheless, Coleman still wanted to set up his own record company with the same name, so he chose his longtime friend Kunle Mwanga to be his manager. In April, Mwanga arranged another session at CBS Studios in New York City. Coleman and Prime Time recorded Of Human Feelings there on April 25. The session was originally titled Fashion Faces. Ronald Shannon Jackson, Prime Time's original drummer, did not record with the band. Calvin Weston was hired in his place to play with Denardo Coleman on drums.

Coleman recorded Of Human Feelings without any equipment issues and found the production process very simple: "We recorded all the pieces only once, so all the numbers were first takes. And there was no mixing. It is almost exactly as we played it." Unlike most albums at the time, it was recorded with a Sony PCM-1600 two-track digital recorder. Coleman did not want to embellish the album with added effects and avoided the use of overdubbing, multi-tracking, or remixing during its production. According to him, Of Human Feelings was the first digitally recorded jazz album in the United States.

Composition

People have started asking me if I'm really a rhythm-'n'-blues player, and I always say, why, sure. To me rhythm is the oxygen that sits under the notes and moves them along and blues is the colouring of those notes, how they're interpreted in an emotional way.

— Ornette Coleman, 1981

According to The Concise Oxford Dictionary of Music (2004), Of Human Feelings features jazz-funk, a type of music that originated in 1970 and was characterized by intricate rhythmic patterns, a recurrent bass line, and Latin rhythmic elements. Lloyd Sachs of the Chicago Sun-Times remarked that, although Coleman was not viewed as a jazz fusion artist, the album can be described as such because of its combination of free jazz and funk. Jazz writer Stuart Nicholson viewed it as the culmination of Coleman's musical principles that dated back to his free jazz music in 1960, but reappropriated with a funk-oriented backbeat. According to jazz critic Barry McRae, "it was as if Coleman was translating the concept of the famous double quartet" from his 1961 album Free Jazz to "the needs of funk jazz".

Coleman also drew on the rhythm and blues he had played early his career and incorporated traditional structures and rhythms. According to journalist Howard Mandel, the album's "snappy" and "unpretentious" music was more comparable to a coherent R&B band than jazz fusion. Although Coleman still performed the melodies on a song, he employed two guitarists for contrast in an effort to make each pair of guitarist and drummer responsible for either the rhythm or melody. Nix strummed variants on the melodies while Ellerbee provided accented linear counterpoint. Coleman and Tacuma's instrumental responses were played as the foreground to the less prominent guitars. McRae remarked that Coleman and Prime Time exchanged "directional hints" throughout the songs, as one player changed key and the others "modulated" accordingly. The band made no attempt to harmonize their radically different parts. However, the album's mix was generally in the middle-frequency range and had compressed dynamics, which resulted in neither extremely loud nor soft passages.

Of Human Feelings features shorter and more distinct compositions than Dancing in Your Head. "Sleep Talk", "Air Ship", and "Times Square" were originally performed by Coleman during his concerts in 1978 under the names "Dream Talking", "Meta", and "Writing in the Streets", respectively. "What Is the Name of That Song?" was titled as a sly reference to two of his older compositions, "Love Eyes" and "Forgotten Songs" (also known as "Holiday for Heroes"), whose themes were played concurrently and transfigured by Prime Time. The theme from "Forgotten Songs", originally from Coleman's 1972 album Skies of America, was used as a refrain. "Air Ship" comprises a six-bar riff, the atonal "Times Square" has futuristic dance themes, and "Jump Street" is a blues piece with a bridge. "Love Words" heavily uses polymodality, a central feature of harmolodics, and juxtaposes Coleman's extended solo against a dense, rhythmically complex backdrop. Nicholson observed West African rhythms and collective improvisation rooted in New Orleans jazz on "Love Words", and opined that "Sleep Talk" was derived from the opening bassoon solo in Igor Stravinsky's The Rite of Spring.

Release and promotion

A few weeks after Of Human Feelings was recorded, Mwanga went to Japan to negotiate a deal with Trio Records that would have the album released on Phrase Text. Trio, who had previously released a compilation of Coleman's 1966 to 1971 live performances in Paris, prepared to press the album once Mwanga provided the label with the record stamper. However, Coleman, who was also set to perform his song "Skies of America" with the NHK Symphony Orchestra, cancelled both deals upon Mwanga's return from Japan. He immediately quit after less than four months as Coleman's manager. In 1981, Coleman hired Stan and Sid Bernstein as his managers, who sold the album's recording tapes to Island Records. He signed with the record label that year, and Of Human Feelings was released in 1982 on Island's subsidiary jazz label Antilles Records.

According to jazz writer Francis Davis, "a modest commercial breakthrough seemed imminent" for Coleman, whose celebrity appeared to be "on the rise again". German musicologist Peter Niklas Wilson said that the album may have been the catchiest and most commercial-sounding of his career at that point. The album's clean mix and relatively short tracks were interpreted as an attempt for radio airplay by Mandel, who described its production as "the surface consistency that would put it in the pop sphere". Its distinction as both the first digital album recorded in New York City and the first digital jazz album recorded by an American label made front-page news in Billboard magazine.

Despite its commercial potential, Of Human Feelings had no success on the American pop charts. It charted at number 15 on the Top Jazz Albums, where it spent 26 weeks. According to Steve Lake of The Wire, the album offered only a "funk/jazz compromise" to consumers and consequently appealed to neither market. Sound & Vision magazine's Brent Butterworth speculated that it was overlooked because it had electric instruments, rock and funk drumming, and did not conform to what he felt was the simple, romantic image of jazz that many of the genre's fans prefer.

Critical reception

"Sleep Talk" The melody of "Sleep Talk" was said to be among Coleman's best by critics Gary Giddins and Greg Kot.
Problems playing this file? See media help.

Of Human Feelings was acclaimed by contemporary critics. In his review for Esquire, jazz journalist Gary Giddins hailed it as another landmark album from Coleman and his most accomplished work of harmolodics, with compositions that are clearly expressed and occasionally timeless. He remarked that its discordant keys radically transmute conventional polyphony and may be the most challenging for listeners, but recommended they concentrate on Coleman's playing and "let the maelstrom resolve itself around his center". Conversely, Rolling Stone magazine's Buzz Morrison wrote that it is "both challenging and accessible" in a four-star review. Kofi Natambu of the Detroit Metro Times believed that Coleman's synergetic approach displayed expressive immediacy rather than superficial technical flair and called the album "a multi-tonal mosaic of great power, humor, color, wit, sensuality, compassion and tenderness". He found its songs inspirational, danceable, and encompassing African-American music developments over the past century. Robert Christgau, writing in The Village Voice, was impressed by how the music relieves listeners of tension with its sophisticated exchange of rhythms and simple pieces of melody: "The way the players break into ripples of song only to ebb back into the tideway is participatory democracy at its most practical and utopian."

In a mixed review for Stereo Review magazine, Chris Albertson criticized Coleman's production and felt that the combination of saxophone and bizarre funk can be captivating, but ultimately loses clarity. Leonard Feather, writing in the Toledo Blade, said that the saxophone and guitar passages lack rapport when played in unison and believed that the stylistically ambiguous music is potentially controversial and "unratable, but worth checking out". Dan Sullivan of the Los Angeles Times felt that the album's supporters in "hip rock circles" have overlooked flaws such as the dilutive digital production and occasionally disjointed, one-dimensional playing, although he ultimately praised Tacuma's playing and Coleman's phrasing as a unique "beacon of clarity" amidst an incessant background. Musician magazine's J. D. Considine said that he would rate the album higher than its predecessor Body Meta, but below the "pivotal" Dancing in Your Head, although he remarked that his more knowledgeable friends consider Of Human Feelings to be the best of the three albums because of its composition and the players' execution.

In his year-end list for Billboard, editor Peter Keepnews named Of Human Feelings the best album of 1982 and wrote that it is "the definitive statement to date on how to mix the best elements of so-called 'free jazz' with the best elements of contemporary funk". In their year-end lists for The Boston Phoenix, critics James Hunter and Howard Hampton ranked it number one and number four, respectively. Of Human Feelings was voted as the thirteenth best album of 1982 in the Pazz & Jop, an annual critics poll run by The Village Voice. Christgau, the poll's creator and supervisor, ranked it number one in an accompanying list, and in 1990 he named it the second best album of the 1980s. At that point, Of Human Feelings was one of only 18 albums to have received his "A+" grade.

Aftermath

Coleman performing in 1982

Since the album's release, Coleman and the Bernstein Agency have expressed conflicting views of their deal and its aftermath. According to Coleman, his managers sold Of Human Feelings for less money than it had cost him to record, and he "never saw a penny of the royalties". Stan Bernstein claimed that Coleman made financial demands that were "unrealistic in this business unless you're Michael Jackson". Coleman was paid $25,000 for the publishing rights to the album, which Antilles label executive Ron Goldstein said was neither a "terrific" nor "modest sum" for a jazz artist.

After Coleman had gone over budget to record a follow-up album, Island did not release it nor pick up their option on him, and in 1983, he left the Bernstein Agency. He chose his son Denardo to manage his career and consequently overcame his reticence of public performance, which had also been rooted in his distrust of doing business with a predominantly White music industry. According to Nicholson, "the man once accused of standing on the throat of jazz was welcomed back to the touring circuits with both curiosity and affection" during the 1980s. Coleman did not record another album for six years and instead performed internationally with Prime Time. Of Human Feelings later went out of print.

After showcasing his style of avant-garde jazz on the album, Tacuma became widely viewed as one of the most distinctive bassists since Jaco Pastorius. He subsequently formed his own group and recorded albums that incorporated more commercially accessible melodies, but retained Prime Time's elaborate harmonies.

Legacy

In a retrospective article for The New York Times on Coleman's work with Prime Time, Robert Palmer said that Of Human Feelings was "still very much in the forefront of musical developments" in 1982, even though it had been recorded three years earlier. Lloyd Sachs of the Chicago Sun-Times ranked it eighth on his 1986 list of "great-sounding" jazz CDs and wrote that it made the most sense out of Coleman's harmolodic theory. In a retrospective review for AllMusic, jazz critic Scott Yanow gave it four stars and wrote that, although they never achieved popularity, Coleman's compositions succeeded within the context of an album that showcased his distinctive saxophone and "often witty and free (but oddly melodic) style". Jazz journalist Todd S. Jenkins felt that it was more successful than Body Meta, even though Coleman's simple, repetitive compositions were less accessible.

According to Joshua Klein of The A.V. Club, Of Human Feelings is the best album for new listeners of Coleman's harmolodics-based music. Rock critic Greg Kot of the Chicago Tribune included the album in his guide for novice jazz listeners and named it one of the select albums that helped him both become a better listener of rock music and learn how to enjoy jazz, which he said is "like learning a new language". In 2008, New York magazine's Martin Johnson included Of Human Feelings in his list of canonical albums from what he felt had been New York's sceneless yet vital jazz scene in the previous 40 years. He said that the album "brims with urbane energy" and elements of funk, Latin, and African music, all of which are encapsulated by music that retains a jazz identity.

Track listing

All compositions by Ornette Coleman.

Side one
  1. "Sleep Talk" – 3:34
  2. "Jump Street" – 4:24
  3. "Him and Her" – 4:20
  4. "Air Ship" – 6:11
Side two
  1. "What Is the Name of That Song?" – 3:58
  2. "Job Mob" – 4:57
  3. "Love Words" – 2:54
  4. "Times Square" – 6:03

Personnel

Credits are adapted from the album's liner notes.

Musicians
Additional personnel

References

  1. Cohen 2012, p. 97.
  2. ^ Palmer 1986.
  3. Nelson et al. 1982, p. 52.
  4. ^ Nicholson 1998, p. 313.
  5. Larkin 1998, p. 5280.
  6. Mandel 2007, p. 161.
  7. ^ Mandel 2007, p. 162.
  8. ^ Litweiler 1992, p. 170.
  9. ^ Anon. 1982a.
  10. Litweiler 1992, p. 170; Wilson 1999, p. 207.
  11. ^ Butterworth 2013.
  12. ^ Wilson 1999, p. 207.
  13. Harrison et al. 2000, p. 573.
  14. Kennedy & Bourne 2004, p. 152.
  15. Sachs 1997, p. 10.
  16. ^ Harrison et al. 2000, p. 574.
  17. ^ McRae & Middleton 1988, p. 67.
  18. Giddins 1985, p. 241.
  19. Mandel 2007, pp. 162–3.
  20. ^ Giddins 1982, p. 4.
  21. ^ Davis 1986, p. 143.
  22. ^ Nicholson 1990, p. 109.
  23. Davis 1986, p. 143; McRae & Middleton 1988, p. 67
  24. Davis 1986, pp. 142–3.
  25. Wilson 1999, p. 206.
  26. Litweiler 1992, pp. 152, 170.
  27. ^ McRae & Middleton 1988, p. 68.
  28. Anon. n.d.
  29. Anon. 1982b, p. 33.
  30. Giddins 1982, p. 4; Kot 1998, p. 1.
  31. Tinder 1982, p. 19.
  32. Morrison 1982, p. 43.
  33. Natambu 1982, p. 39.
  34. Christgau 1982.
  35. Albertson 1982, p. 83.
  36. Feather 1982, p. 3.
  37. Sullivan 1982, p. K80.
  38. Considine 1982, p. 73.
  39. Keepnews 1983, p. 68.
  40. Anon. 1983a, p. 12.
  41. Anon. 1983b.
  42. Christgau 1983; Christgau 1990
  43. Anon. 1990.
  44. Davis 1986, pp. 143–4.
  45. Davis 1986, p. 144.
  46. Cooper & Smay 2004, p. 238.
  47. Sachs 1986, p. 4.
  48. Yanow n.d.
  49. Jenkins 2004, p. 97.
  50. Klein 2002.
  51. Kot 1998, p. 1.
  52. Johnson 2008.

Bibliography

External links

Categories: