Ornette Coleman Of Human Feelings Rar

NYC, October 8, 1959 3865 Una Muy Bonita Atlantic LP 1327, SD 1558, SD 2-3163866 Bird Food Atlantic LP 13273867 Change Of The Century -3868 Untitled Original No. 1 (as Music Always) Atlantic (J) P- The Face Of The Bass Atlantic LP 13274922 Una Muy Bonita, Part 1 Atlantic 3 Una Muy Bonita, Part 2 -. Atlantic LP 1327, SD 1327 Ornette Coleman - Change Of The Century.

Atlantic SD 1558 The Best Of Ornette Coleman. Atlantic SD 2-316 Various Artists - The Jazz Years-25th Anniversary. Atlantic (J) P-10085A Ornette Coleman - To Whom Who Keeps A Records. Atlantic 45-5008 Ornette Coleman - Una Muy Bonita, Part 1 & 2 Don Cherry, cornet; Ornette Coleman, alto sax; Charlie Haden, bass; Billy Higgins, drums.: same personnel. NYC, July 19, 1960 4723 Untitled No. 1 (as Little Symphony) Atlantic SD 15884724 Untitled No.

2 (as Kaleidoscope) Atlantic LP 13534725 Untitled No. 3 Atlantic unissued4726 Untitled No. 4 -4727 Untitled No.

5 (as Blues Connotation) Atlantic LP 13534728 Untitled No. 6 Atlantic unissued4729 Untitled No. Unless One Has Atlantic (J) P-10085AThe Tribes Of New York Rhino R2 71410Rise And Shine -Mr. People -I Heard It Over The Radio -Revolving Doors -. Atlantic SD 1588, SD 8810 Ornette Coleman - Twins. Atlantic LP 1353, SD 1353 The Ornette Coleman Quartet - This Is Our Music.

Atlantic (J) P-10085A Ornette Coleman - To Whom Who Keeps A Records. Rhino R2 71410 Ornette Coleman - Beauty Is A Rare Thing: The Complete Atlantic Recordings Don Cherry, cornet; Ornette Coleman, alto sax; Charlie Haden, bass; Ed Blackwell, drums.: same personnel. NYC, July 26, 1960 4734 Untitled No. 1 (as Joy Of A Toy) Atlantic SD 15884735 Untitled No. 2 (as Brings Goodness) Atlantic (J) P- Untitled No.

3 (as Humpty Dumpty) Atlantic LP 13534737 Untitled No. 4 (as The Fifth Of Beethoven) Atlantic SD 15724738 Untitled No. 5 (as Moon Inhabitants) -4739 Untitled No. 6 (as The Legend Of Bebop) -4740 Untitled No. 7 unissued4741 Embraceable You Atlantic LP 1353, SD 15584742 Down unissuedTo Us All Atlantic (J) P-10085ASome Other -Motive For Its Use -. Atlantic SD 1588, SD 8810 Ornette Coleman - Twins. Atlantic (J) P-10085A Ornette Coleman - To Whom Who Keeps A Records.

Atlantic LP 1353, SD 1353 The Ornette Coleman Quartet - This Is Our Music. Atlantic SD 1572 Ornette Coleman - The Art Of The Improvisers. Atlantic SD 1558 The Best Of Ornette Coleman Don Cherry, cornet; Ornette Coleman, alto sax; Charlie Haden, bass; Ed Blackwell, drums.: same personnel. NYC, December 19, 1960 5232 Abstraction Atlantic LP 1365. Atlantic LP 1365, SD 1365 John Lewis Presents Contemporary Music - Jazz AbstractionsRobert DiDomenica, flute; Eric Dolphy, bass clarinet, alto sax, flute; Ornette Coleman, alto sax; Eddie Costa, vibes; Bill Evans, piano; Jim Hall, guitar; George Duvivier, Scott LaFaro, bass; Sticks Evans, drums; & The Contemporary String Quartet: Charles Libove, Roland Vamos, violin; Harry Zaratzian, viola; Joseph Tekula, cello; Gunther Schuller, composer; Nesuhi Ertegun, John Lewis, supervisor.

NYC, January 31, 1961 5316 Untitled Atlantic unissued5317 W.R.U. Atlantic LP 13785318 Check Up Atlantic SD 15885319 T & T Atlantic LP 13785320 C & D Atlantic LP 1378, SD 15585321 R.P.D.D. Atlantic LP 13785322 The Alchemy Of Scott LaFaro Atlantic SD 1572Proof Readers Rhino R2 71410. Atlantic LP 1378, SD 1378 The Ornette Coleman Quartet - Ornette!.

Atlantic SD 1588, SD 8810 Ornette Coleman - Twins. Atlantic SD 1558 The Best Of Ornette Coleman. Atlantic SD 1572 Ornette Coleman - The Art Of The Improvisers. Rhino R2 71410 Ornette Coleman - Beauty Is A Rare Thing: The Complete Atlantic RecordingsDonald Cherry, pocket trumpet; Ornette Coleman, tenor sax; Jimmy Garrison, bass; Ed Blackwell, drums. 'Town Hall', NYC, December 21, 1962 1. Story Teller Blue Note BLP 42102.

Sadness Blue Note BLP 4211; ESP-Disk' 4506, ESP 10063. The Ark Blue Note BLP 4211; ESP-Disk' ESP 10064.

Taurus Blue Note unissued; ESP-Disk' unissued5. I Don't Love You Blue Note BLP 42106. Children's Books -.

Blue Note BLP 4210 Ornette Coleman At The Town Hall, Vol. 1 (not released). Blue Note BLP 4211 Ornette Coleman At The Town Hall, Vol. 2 (not released). ESP-Disk' ESP 1006 Ornette Coleman - Town Hall - 1962= ESP-Disk' (G) ESP 1006-2, (US) ESP 1006 Ornette Coleman - Town Hall, 1962.

ESP-Disk' 4506 Ornette Coleman - Sadness / Albert Ayler - Holy FamilyChris Towns, piano; Nappy Allen, guitar; Barney Richardson, bass. 'Town Hall', NYC, December 21, 1962 Architecture Blue Note BLP 4210Play It Straight Blue Note unissued; ESP-Disk' unissuedDoughnut Blue Note BLP 4211; ESP-Disk' ESP 1006Just For You Blue Note unissued; ESP-Disk' unissued. Blue Note BLP 4210 Ornette Coleman At The Town Hall, Vol. 1 (not released).

Blue Note BLP 4211 Ornette Coleman At The Town Hall, Vol. 2 (not released). ESP-Disk' ESP 1006 Ornette Coleman - Town Hall - 1962= ESP-Disk' (G) ESP 1006-2, (US) ESP 1006 Ornette Coleman - Town Hall, 1962 1965Ornette Coleman, alto sax, trumpet; Pharoah Sanders, tenor sax; David Izenzon, bass; Charles Moffett, drums; unidentified large studio band, Joseph Tekula, director. 'Fairfield Halls', Croydon, London, England, August 29, 1965 Sadness Freedom (E) FLP 40102Clergyman's Dream -Falling Stars Freedom (E) FLP 40103Silence -Happy Fool -Ballad -Doughnuts -. Freedom (E) FLP 40102 Ornette Coleman In Europe, Vol. 1= Black Lion (G) BLM 51503 An Evening With Ornette Coleman = Arista Freedom AL 1900 Ornette Coleman - The Great London Concert.

Freedom (E) FLP 40103 Ornette Coleman In Europe, Vol. 2= Black Lion (G) BLM 51504 An Evening With Ornette Coleman = Arista Freedom AL 1900 Ornette Coleman - The Great London Concert Ornette Coleman, alto sax, trumpet, violin; David Izenzon, bass; Charles Moffett, drums.: same personnel. Paris, France, early 1966 January Jazz Atmosphere IRI 5006Sortie Le Conqard -Dans La Neige -The Changes -Better Get Yourself Another Self -The Duel-Two Psychic Lovers And Eating Time -The Lovers And The Alchemist (aka The Mis-Used Blues) Jazz Atmosphere IRI 5007The Poet -Wedding Day And Fuzz -Fuzz / Feast / Breakout / European Echoes / Alone And The Arrest -. Jazz Atmosphere IRI 5006 Ornette Coleman - Who's Crazy, Vol. 1= Affinity (E) AFFD 102 Ornette Coleman - Who's Crazy. Jazz Atmosphere IRI 5007 Ornette Coleman - Who's Crazy, Vol.

2= Affinity (E) AFFD 102 Ornette Coleman - Who's Crazy Ornette Coleman, alto sax, trumpet, violin; David Izenzon, bass; Charles Moffett, drums.: same personnel. A&R Studios, NYC, May 7, 1968 3018 tk.4 Love Call Blue Note BST 843563019 tk.5 Round Trip Blue Note BST 842873017 tk.7 Just For You Blue Note CDP 7 6 tk.12/16 Broadway Blues Blue Note BST 84287tk.13 Check Out Time Blue Note BST 84356tk.14 The Garden Of Souls Blue Note BST 84287.

Blue Note BST 84356, CDP 7 84356 2 Ornette Coleman - Love Call. Blue Note BST 84287, CDP 7 84287 2 Ornette Coleman - New York Is Now!, Volume 1Dewey Redman, tenor sax; Ornette Coleman, violin, trumpet, alto sax; Charlie Haden, bass; Denardo Coleman as Ornette Denardo, drums. 'Loeb Student Center', New York University, NYC, March 22, 1969 91059 Broken Shadows Impulse! AS-918791060 Comme Il Faut -91061 Space Jungle -91062 Song For Che Impulse! AS-9187, ASH-9253-391063 Trouble In The East Impulse!

AS-9187, ASD-9228-3. Impulse! AS-9187 Ornette Coleman - Crisis. Impulse! ASH-9253-3 Various Artists - The Saxophone.

Impulse! ASD-9228-3 Various Artists - Impulse Energy EssentialsOrnette Coleman, alto sax, violin; Dewey Redman, tenor sax; Charlie Haden, bass; Ed Blackwell, drums; with Emanuel Ghent, electronic devices; overdubs: Ornette Coleman, trumpet.

A&R Studios, NYC, April 6, 1971 Universal Consciousness Impulse! AS-9210Oh Allah Impulse! AS-9210, AS-9232-2. Impulse! AS-9210, 314 589 514-2 Alice Coltrane - Universal Consciousness. Impulse!

Ornette Coleman Of Human Feelings Rar Files

AS-9232-2 Alice Coltrane - Reflection On Creation And Space John Blair, Julius Brand, Leroy Jenkins, Joan Kalisch, violin; Alice Coltrane, organ, harp; Tulsi, tambura; Jimmy Garrison, bass; Jack DeJohnette, Clifford Jarvis, drums; Alice Coltrane, string arranger; Ornette Coleman, transcriber.: add Tulsi, tambura; Clifford Jarvis, drums. Columbia Studio E, NYC, September 9, 1971 1. CO112012 Happy House Columbia FC 380292. CO112013 Broken Shadows -3. CO112014 Written Word unissued4.

CO112015 Elizabeth Columbia FC 380295. CO112016 Civilization Day Columbia KC 310616.

CO112017 Country Town Blues Columbia FC 380297. CO112018 Street Woman Columbia KC 310618. CO112019 School Work Columbia FC 380299. CO112020 The Jungle Is A Skyscraper Columbia KC 3106110. CO112021 Law Years -. Columbia FC 38029 Ornette Coleman - Broken Shadows. Columbia KC 31061 Ornette Coleman - Science FictionDon Cherry, pocket trumpet; Bobby Bradford, trumpet; Ornette Coleman, alto sax, trumpet; Dewey Redman, tenor sax; Charlie Haden, bass; Ed Blackwell, Billy Higgins, drums; Asha Puthli, vocals; David Henderson, poet recitation.

NYC, October, 1987 1. 3 Wishes Portrait PRT 443012. Bourgeois Boogie -3. Happy Hour -4.

Virgin Beauty -5. Healing The Feeling -6. Singing In The Shower -7. Desert Players -8.

Honeymooners -9. Chanting -10. Spelling The Alphabet -11. Unknown Artist -. Portrait PRT 44301; Columbia RK 44301 Ornette Coleman - Virgin Beauty 1988Ornette Coleman, alto sax, trumpet, violin; Charles Ellerbee, Bern Nix, guitar; Al MacDowell as Al McDowell, Chris Walker as Chris Wilker, bass guitar; Denardo Coleman, Calvin Weston, drums. Los Angeles, CA, August, 1991 Naked Lunch Milan (It) 35614 2Hauser And O'Brien / Bugpowder -Mugwumps -Centipede -The Black Meat -Simpatico / Misterioso -Fadela's Coven -Interzone Suite -William Tell -Mujahaddin -Intersong -Dr.

Benway -Clark Nova -Dies -Ballad/Joan -Cloquet's Parrots / Midnight Sunrise -Nothing Is True -Everything Is Permitted -Welcome To Annexia -Writeman -. Milan (It) 35614 2 Howard Shore - Naked Lunch (Soundtrack) 1995Ornette Coleman, alto sax; Yochk'o Seffer, sax; Debora Seffer, violin; Didier Levallet, bass; Tony Marsh, drums.

Released1982 ( 1982)RecordedApril 25, 1979Studioin New York City,Length36: 21Ornette Colemanchronology(1978)Of Human Feelings(1982)(1985)Of Human Feelings is an by American saxophonist, composer, and bandleader. It was recorded on April 25, 1979, at in New York City with his band, which featured guitarists Charlie Ellerbee and, bassist, and drummers Calvin Weston and Coleman's son. It followed the saxophonist's failed attempt to record a session earlier in March of the same year and was the first jazz album to be in the United States.The album's music continued Coleman's approach to improvisation with Prime Time, whom he introduced on his 1975 album. He drew on 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 principles from his music during the 1960s to elements of.Following a change in management, Coleman signed with, and Of Human Feelings was released in 1982 by its subsidiary label.

Critics generally praised the album's expressive music and harmolodic approach, but it made little commercial impact and went. Coleman enlisted his son Denardo as manager after a dispute with his former managers over the album's, a change that inspired him to perform publicly again during the 1980s. Coleman in 1982By the end of the 1960s, Ornette Coleman had become one of the most influential musicians in after pioneering its most controversial subgenre, which jazz critics and musicians initially derided for its deviation from conventional structures of.

In the mid-1970s, he stopped recording free jazz, recruited electric instrumentalists, and pursued a new creative theory he called. According to Coleman's theory, all the musicians are able to play individual melodies in any, and still sound coherent as a group. He taught his young sidemen this 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 ' that stresses 'human feelings' and 'biological rhythms', and said that he wanted the music, rather than himself, to be successful. He also started to incorporate elements from other styles into his music, including influences such as the electric guitar and non-Western rhythms played by Moroccan and Nigerian musicians.Of Human Feelings was a continuation of the harmolodics approach Coleman had applied with, an electric quartet introduced on his 1975 album. The group comprised guitarists Charlie Ellerbee and, bassist, and drummers and, Ornette Coleman's son. Tacuma was still in high school when Coleman enlisted him, and first recorded with Prime Time in 1975 for the album, which was released in 1978. Tacuma had played in an ensemble for jazz organist, but Earland dismissed him as he felt audiences gave excessive attention to his playing.

Coleman found Tacuma's playing ideal for harmolodics and encouraged him not to change. Although Coleman's theory initially challenged his knowledge and perception of music, Tacuma came to like the unconventional role each band member was given as a soloist and melodist: 'When we read Ornette's music we have his, but we listen for his 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 and production. Prime Time bassist, photographed in 2007In March 1979, Coleman went to ' New York studio to produce an album with Prime Time.

They had mechanical problems with the studio equipment and the recording was rejected. The failed session was a project under Phrase Text, Coleman's. He wanted to set up his own record company with the same name, and chose his old friend Kunle Mwanga as his manager.

In April, Mwanga arranged another session at in New York City, and Coleman recorded Of Human Feelings there on April 25; the session was originally titled Fashion Faces. Jackson did not record with the band; instead, Calvin Weston was hired in his place to play simultaneously with Denardo Coleman. They recorded all the album's songs on the first take without any equipment problems.The album's recording session was captured using a Sony two-track, a rare item at the time.

According to journalist Howard Mandel, the played by the band sounded neither very soft or loud on the album, because it had been with a middle- range. Because of the equipment used, Coleman did not embellish the album with added effects and avoided,. According to him, Of Human Feelings was the first jazz album to be digitally recorded 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.—, 1981According to (2004), Of Human Feelings features, a type of music that originated around 1970 and was characterized by intricate rhythmic patterns, a recurrent bass line, and elements. Lloyd Sachs of the wrote that, although Coleman was not viewed as a artist, the album can be described as such because of its combination of free jazz. Disagreed and felt its boisterous style had more in common with the genre and the artists of New York City's scene such as.

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. According to Barry McRae, 'it was as if Coleman was translating the concept of the famous double quartet' from his 1961 album to what was required to perform jazz-funk. Coleman (middle), accompanied by guitarists Charlie Ellerbee (left) and (right)Coleman incorporated traditional and rhythms, and other elements from the music he had played early his career. According to Mandel, the album's simple, brisk 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 to make each pair of guitarist and drummer responsible for either the rhythm or melody. Ellerbee provided and Nix played variations of the song's melody, while Denardo Coleman and Weston played both and backbeats. On songs such as 'Jump Street' and 'Love Words', Ellerbee incorporated into his guitar playing, which gave the songs a thicker.

Tacuma and Ornette Coleman's instrumental 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 accordingly. The band made no attempt to harmonize their radically different parts while playing. A 21-second sample of 'Sleep Talk'Problems playing this file?

See.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 were played concurrently and transfigured by Prime Time. The theme from 'Forgotten Songs', originally from Coleman's 1972 album, was used as a. 'Jump Street' is a piece, 'Air Ship' comprises a six- riff, and the 'Times Square' has futuristic dance themes. 'Love Words' heavily uses, a central feature of harmolodics, and juxtaposes Coleman's extended solo against a dense, rhythmically complex backdrop.

Nicholson observed rhythms and collective improvisation rooted in on 'Love Words', and suggested that 'Sleep Talk' was derived from the opening solo in 's 1913 orchestral work. Release and promotion A few weeks after Of Human Feelings was recorded, Mwanga went to Japan to negotiate a deal with to 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 the album once Mwanga provided the label with the. Coleman was also set to perform his song 'Skies of America' with the, but cancelled both deals upon Mwanga's return from Japan. Mwanga immediately quit after less than four months as Coleman's manager. In 1981, Coleman hired Stan and as his managers, who sold the album's recording tapes to. He signed with the record label that year, and Of Human Feelings was released in 1982 on Island's subsidiary jazz label.

Magazine published a front-page story at the time about its distinction as both the first digital album recorded in New York City and the first digital jazz album recorded by an American label.According to jazz writer, 'a modest commercial breakthrough seemed imminent' for Coleman, who appeared to be regaining his celebrity. German musicologist Peter Niklas Wilson said the album may have been the most tuneful and commercial-sounding of his career at that point. The album's clean mix and relatively short tracks were interpreted as an attempt for by Mandel, who described its production as 'the surface consistency that would put it in the pop sphere'. Of Human Feelings had no success on the American, only charting on the, where it spent 26 weeks and peaked at number 15. Because the record offered a middle ground between funk and jazz, McRae argued that it consequently appealed to neither demographic of listeners. Critic 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 hokey image of jazz that many of the genre's fans preferred.

The album later went. Coleman and Prime Time at the in 1985Coleman received $25,000 for the to Of Human Feelings but said his managers sold it for less than the recording costs and that he did not receive any of its. According to Stan Bernstein, Coleman had financial expectations that were 'unrealistic in this business unless you're Michael Jackson'.

Antilles label executive Ron Goldstein felt the $25,000 Coleman received was neither a great nor a fair amount for someone in jazz. After he had gone over budget to record a follow-up album, Island did not release it nor pick up their on him, and in 1983, he left the Bernstein Agency. He chose Denardo Coleman to manage his career while overcoming his reticence of public performance, which had 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. Critical reception Professional ratingsReview scoresSourceRating10/10A+Of Human Feelings received considerable acclaim from contemporary critics. Reviewing the album for in 1982, hailed it as another landmark recording from Coleman and his most accomplished work of harmolodics, partly because of compositions which he found clearly expressed and occasionally timeless. In his opinion, the discordant keys radically transmute conventional and may be the most challenging part for listeners, who he said should concentrate on Coleman's playing and 'let the maelstrom resolve itself around his center'. Giddins also highlighted the melody of 'Sleep Talk', deeming it among the best of the saxophonist's career. Kofi Natambu from the wrote that Coleman's synergetic approach displays expressive immediacy rather than superficial technical flair while calling the record 'a multi-tonal mosaic of great power, humor, color, wit, sensuality, compassion and tenderness'.

He found the songs inspirational, danceable, and encompassing developments in over the previous century. Called its 'warm, listenable harmolodic funk' an artistic 'breakthrough if not a miracle'. He found its exchange of rhythms and simple melodies heartfelt and sophisticated, writing in, '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.' Critics in jazz complained about the music's incorporation of danceable beats and electric guitar. In, deemed the combination of saxophone and bizarre funk occasionally captivating but ultimately unfocused.

Dan Sullivan of the believed the album's supporters in 'hip rock circles' had overlooked flaws, arguing that Tacuma and Coleman's playing sound like a unique 'beacon of clarity' amid an incessant background. Wrote in the that the music is stylistically ambiguous, potentially controversial, and difficult to assess but interesting enough to warrant a listen.At the end of 1982, Of Human Feelings the year's best album by Billboard editor Peter Keepnews, who viewed it as a prime example of fusing free jazz with modern funk. In year-end lists for, James Hunter and Howard Hampton ranked the album number one and number four, respectively.

It was voted 13th best in the, an annual poll of American critics nationwide, published in The Village Voice. Christgau, the poll's supervisor, ranked it number one in an accompanying list, and in 1990 he named it the second-best album of the 1980s.The album also received acclaim in retrospective appraisals. In a 1986 article for on Coleman's work with Prime Time, said Of Human Feelings was still innovative and radical by the standards of other music in 1982, three years after it was recorded. Because writers and musicians had heard its in 1979, the album's mix of jazz improvisation and gritty, and funk-derived energy sounded 'prophetic' when it was released, Palmer explained.

'The album is clearly the progenitor of much that has sounded radically new in the ongoing fusion of punk rock, black dance rhythms, and free jazz.' Critic said although Coleman's compositions never achieved popularity, they succeeded within the context of an album that showcased his distinctive saxophone style, which was high-brow yet catchy. Joshua Klein from recommended Of Human Feelings as the best album for new listeners of Coleman's harmolodics-based music, while rock critic included it in his guide for novice jazz listeners; he named it one of the few albums that helped him both become a better listener of rock music and learn how to enjoy jazz. In 2008, magazine's Martin Johnson included it in his list of canonical albums from what he felt had been New York's sceneless yet vital jazz of the previous 40 years; Of Human Feelings exuded what he described as a spirit of sophistication with elements of funk, Latin, and, all of which were encapsulated by music that retained a jazz identity.

Track listing All compositions were written by Ornette Coleman. Side oneNo.TitleLength1.' Sleep Talk'3:342.' Jump Street'4:243.' Him and Her'4:244.' Air Ship'6:11Side twoNo.TitleLength1.' What Is the Name of That Song?'

Job Mob'4:573.' Love Words'2:544.'

Times Square'6:03Personnel Credits are adapted from the album's liner notes.Musicians. –. –,. Charlie Ellerbee –.

– guitar. –. Calvin Weston – drumsAdditional personnel. Susan Bernstein – cover painting. – cover design. –. –.

Ron Goldstein – executive direction. Harold Jarowsky – second engineering. Steven Mark Needham – photography. Ken Robertson –See also.;, pp. 62–63., p. 97. ^., p. 52. ^.;, p. 170., p. 313;, p. 5280., p. 161.

^, p. 162. ^, p. 170., p. 170;., p. 170;, p. 207. ^.

^, p. 207., p. 573., p. 152., p. 10. ^, p. 574.

^, p. 67., p. 241., pp. 162–163., p. 4;. ^, p. 4., p. 4;, p. 574., p. 143;, p. 109., p. 143;, p. 143., pp. 152, 170., pp. 142–3., p. 206.;, p. 33. ^, p. 68., p. 238., pp. 143–4., p. 144. ^, p. 109. ^., p. 43., p. 46. ^., p. 19., p. 39., p. 83., p. K80., p. 3., p. 68., p. 12.;.;, p. 1. ^.Bibliography.

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Butterworth, Brent (2013). From the original on August 25, 2013. Retrieved April 11, 2013. (1982). The Village Voice (June 1).

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Retrieved April 11, 2013. Christgau, Robert (1990). The Village Voice (January 2). From the original on July 6, 2013. Retrieved April 11, 2013. Cohen, Thomas F.

Playing to the Camera: Musicians and Musical Performance in Documentary Cinema. Cooper, Kim; Smay, David, eds. Lost in the Grooves: Scram's Capricious Guide to the Music You Missed. (1986).

(1982). Retrieved April 11, 2013. (July 1982). 'High Notes: The Five Best Recent Releases'. 98 (1). Giddins, Gary (1985).

Oxford University Press. Harrison, Max;; Thacker, Eric; Nicholson, Stuart (2000). The Essential Jazz Records: Modernism to Postmodernism. The Essential Jazz Records. Mansell. Johnson, Martin (2008).

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Klein, Joshua (2002). From the original on July 6, 2013. Retrieved April 11, 2013. (1998).

Arts & Entertainment section. From the original on July 6, 2013.

Retrieved April 11, 2013. (1998). 7 (3rd ed.). Litweiler, John (1992). Ornette Coleman: A Harmolodic Life. Mandel, Howard (2007).

Miles, Ornette, Cecil: Jazz Beyond Jazz. Routledge. McRae, Barry; Middleton, Tony (1988). Ornette Coleman. Jazz Masters Series.

Apollo. Morrison, Buzz (June 24, 1982).

'Of Human Feelings'. (372). Natambu, Kofi (1982).

'The Blues in 4-D: Of Human Feelings by Ornette Colement and the Prime Time Band'. (June). Nelson, Nels; Bittan, Dave; Takiff, Jonathan; Carrier, Jerry (1982). 'Kool Jazz Players'. (June 4). Nicholson, Stuart (1990). Nicholson, Stuart (1998).

Jazz Rock: A History. (1982). From the original on December 21, 2014. Retrieved December 21, 2014. Palmer, Robert (1986). The New York Times (July 16).

From the original on July 6, 2013. Retrieved April 11, 2013. Rinzler, Paul (2008). The Contradictions of Jazz. Sachs, Lloyd (1997). Chicago Sun-Times (July 27). Retrieved April 11, 2013.

(subscription required). Sullivan, Dan (1982). Retrieved April 11, 2013. (subscription required).

Swenson, John, ed. New York:. Tinder, Cliff (April 1982). 'Jamaaladeen Tacuma: Electric Bass in the Harmolodic Pocket'. 49 (4). Weisbard, Eric; Marks, Craig (1995).

'Ornette Coleman'. New York:. Wilson, Peter Niklas (1999). Berkeley Hills Books. (n.d.). From the original on July 6, 2013. Retrieved April 11, 2013.External links.

at (list of releases).