In All Languages

Occupation

In All Languages ​​is a jazz album by Ornette Coleman. The two plates are recorded with different ensembles: the first plate with his original quartet (which had met for the first time in 1957 and since 1959 jointly recorded ), the second with his electric band Prime Time. The album, which was initially as several more albums released on an independent label Texas ( in the Coleman's hometown of Fort Worth also ran a venue ), in 1997 re-released as a double CD of his own label and distributed by Verve Records.

Genesis

Coleman joined since 1957 with his own music and wanted to put the 1987 with the album In All Languages ​​, and some events, a monument. The inside of the double - LP is therefore overwritten with the heading 30 Years of Harmolodic Music. Coleman went in February 1987 not only with his regular band Prime Time in the studio, but also with his old quartet, with whom he had worked most recently in 1976.

For In All Languages ​​Coleman took sixteen compositions, of which only two had played in the repertoire of Primetime (but not yet published); seven compositions were interpreted by both groups. Coleman was highly satisfied with the interpretations of his old quartet: " For me, it sounded just like when we met for the first time; as if we would have to start all over again, only that you can hear, that each of us plays his instrument now a few decades longer "However, the recordings of the quartet were partially reworked. In Peace Warrrior a digital echo was added in Space Church overdubs added to the synthesizer and put some more high tech accents.

After the recordings, Coleman went to prime time on tour. In Boston, he played a concert with two formations where they also played a common plant DNA Meets that is not documented on record. At concerts in Germany with Prime Time in the summer of 1987, Don Cherry was there.

Title list

A. The Quartet

B. Prime Time

All compositions are by Ornette Coleman and published in Phrase Text Music ( ASCAP ). The designated with * piece missing on the first CD edition.

Reception

Scott Yanow points out in his review for Allmusic indicates that it constitutes an " unusual and very stimulating double CD" and gives it four out of five points. For Coleman biographer John Litweiler the album was despite the unusual cast a " disappointment " because of the relatively short pieces and electronic processing. In contrast, emphasized downbeat Bill Shoemaker: "In every piece of the program makes it clear that Coleman's always revolution was a revolution of unlimited melody and is. "

Peter Niklas Wilson lifts the " downright didactic character," the album out, " as if Coleman the skeptics who mourn the old quartet that Primetime can be made in a direct comparison. " When comparing the rehearsed by both formations numbers one is not only " fascinated by the continuity in Coleman's musical thinking", but also " by the different colors in which show identical melodic contours in the two different contexts ." This was especially clear to pursue in the title track of the album: "Will the theme put forward by the Quartet after the manner of the well-known free tempo ballads, with painted bass and subtle Beck accompaniment " as among lay Denardo Coleman " the melody a heavy electronic backbeat, the counter- sets by Swing style phrased figures second drummer Calvin Weston, while the two guitarists and bassists build dense textures in every way harmolodischen art. "

Similarly also emphasized Ralf Dombrowski, who has recorded the album in its selection of the top jazz albums that the harmolodische " idea through the juxtaposition of the interpretive approaches not only transparent" do, but documenting that "you on both levels " of the game " plenty of fun could have making music. "

Coleman was elected in 1987 by the readers of Down Beat "Jazz Musician of the Year ".

Record label Genre Jazz fusion Don Cherry (trumpeter) Song X Fort Worth, Texas Overdubbing Ballad#Pop and rock ballads Cymbal
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