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In his review for AllMusic, Scott Yanow wrote, "The funky yet creative music has less crowded ensembles than Coleman's upcoming records would, and serves as a fine showcase for the talented and strikingly original altoist who contributed six of the eight numbers".
The St. Petersburg Times wrote: "Taking polyrhythmic cues from Africa, Coleman has derived a freewheeling funk beat that eschews taut 4/4 patterns." [ 17 ] The New York Times concluded that, "though the record has copious amounts of improvisation and complicated rhythmic and harmonic movement masquerading as funk, it is basically an ...
Metheny was a longtime admirer of the saxophonist, recording Coleman compositions on Bright Size Life (1976), 80/81 (1980), and Rejoicing (1984) (which features Coleman alumni Charlie Haden and Billy Higgins). During the three weeks leading up to the recording, Coleman and Metheny spent "between 6 and 12 hours a day every day, playing, hanging ...
It was released in September 1995 by Coleman's Harmolodic record label, in partnership with Verve/PolyGram. [1] [2] It was the Harmolodic label's first release, and "the first disc fully devoted to Coleman's music in eight years." [2] Regarding the album title, Coleman, in an interview, commented: "Information comes to people in the form of ...
In a contemporary review for The Village Voice, Robert Christgau said Opening the Caravan of Dreams "lacks the studio-engendered beginning-middle-end that focuses Of Human Feelings and for that matter Metheny/Coleman's Song X. When it threatens to break altogether 'free,' its risks seem more like entropy than thrills and chills.
The Best of Gary B.B. Coleman is a compilation album by American bluesman Gary B.B. Coleman. [ 3 ] [ 4 ] The album was released in 1991 by Ichiban Records label and contains 12 compositions from previous Coleman's releases.
In All Languages is a 1987 double album by Ornette Coleman.Coleman and the other members of his 1950s quartet, trumpeter Don Cherry, bassist Charlie Haden, and drummer Billy Higgins, performed on one of the two records, while his electrified ensemble, Prime Time, performed on the other.
Scott Yanow of AllMusic stated: "The music is essentially a quirky version of straight-ahead jazz with generally strong solos from the diverse players, hints of Coleman's M-Base music, and some blues. Intriguing but not essential."
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