346:... is a record of high spirits and lively, colliding ideas, like the raucous cross talk of a Mississippi roadhouse combo and the breathless locomotion of an African high-life orchestra. For all of the old free-jazz notions attached to Coleman's music since the late '50s, he and Prime Time now cook with a force akin to that of George Clinton and P-Funk's: jamming in tongues with unity of spirit... despite almost 40 years of rejection and misunderstanding of his music, even by old fans who consider the Prime Time concept a sellout to electric pop, Coleman is still... dancing in his head. There's plenty of room for the rest of us."
205:
Basically, what you are doing in harmolodics is relying on the basic information that goes into composing, playing, and improvising on forms... Your information may be limited, but the way you use the information doesn't have to be limited. Your tone will cause you to change any note to the way you hear it. Your relationship to your tone is based on your emotions. If it wasn't, everybody would sound the same. When you play something and you hear you own tone, that's tone dialing. That's you. If you create music just from the concept of your own tone, you will be doing something no one else has discovered."
318:
260:
313:
308:
303:
298:
255:
250:
245:
240:
36:
200:
Regarding the album title, Coleman, in an interview, commented: "Information comes to people in the form of tone dialing. When you speak of something you speak in the tone of what it means to you. Sending a fax is tone dialing. When someone reads something you wrote, that's tone dialing... These
204:
In a separate interview, Coleman stated: "When you hear the guitar, the bass, and everyone else play what is called their tone dialing sounds, they are not so much playing different notes as they are playing their own tones, a form of the notes they have been given in the clef that they read.
353:... is just plain fun... if you have any interest in Ornette's music, this album is a great place to start... it is complex, challenging and sometimes chaotic. But it is also – more so – just fresh fun funky jazz."
335:
awarded the album 4 stars, stating, "despite the inclusion of one obnoxious rap, this free funk set is well worth picking up by open-minded listeners".
1079:
825:
756:
1055:
889:
562:
833:
17:
201:
songs were written so that the musicians would be able to express their views about the information they were using."
197:. It was the Harmolodic label's first release, and "the first disc fully devoted to Coleman's music in eight years."
1189:
1071:
497:
1194:
1095:
1004:
749:
687:
268:
776:
588:
1162:
1012:
996:
1111:
977:
809:
801:
157:
1103:
969:
742:
629:
457:
1028:
817:
379:
526:
1184:
1087:
905:
531:
448:
8:
921:
793:
658:
1149:
929:
881:
865:
654:
616:
536:
280:
182:
945:
897:
873:
849:
1143:
1047:
857:
765:
463:
432:
178:
126:
116:
48:
1155:
1020:
436:
1178:
1119:
1063:
953:
540:
452:
339:
290:
190:
139:
109:
1137:
713:
177:
is an album recorded in 1995 by the
American jazz composer and saxophonist
100:
404:
332:
186:
105:
72:
35:
16:
This article is about the album. For telecommunications signaling, see
913:
469:
841:
328:
232:
194:
734:
937:
473:
43:
397:"If I Knew as Much About You (As You Know About Me)" – 2:36
77:
185:
ensemble. It was released in
September 1995 by Coleman's
363:
All compositions by
Ornette Coleman except as indicated
490:
1176:
750:
1080:Friends and Neighbors: Live at Prince Street
349:Writing for Jelly, Glenn Brooks commented: "
295:
237:
563:"Musical Tone Dialing With Ornette Coleman"
520:
518:
757:
743:
611:
609:
34:
586:
515:
23:1995 studio album by Ornette Coleman
630:"Robert Christgau: CG: Ornette Coleman"
606:
1177:
685:
560:
524:
1056:At the "Golden Circle" Vol. 1 & 2
738:
218:
681:
679:
653:
479:Avenda Khadija, Moishe Nalm – vocals
445:Chris Rosenberg, Ken Wessel – guitar
764:
686:Fricke, David (December 14, 1995).
561:Zwerin, Mike (September 29, 1995).
18:Dual-tone multi-frequency signaling
13:
714:"Ornette Coleman & Prime Time"
711:
527:"Harmolodic Label Is Pure Coleman"
525:Macnie, Jim (September 16, 1995).
400:"When Will I See You Again" – 2:46
189:record label, in partnership with
14:
1206:
676:
297:
239:
356:
316:
311:
306:
301:
296:
258:
253:
248:
243:
238:
705:
647:
622:
580:
554:
1:
1096:Opening the Caravan of Dreams
659:"Jazz (1940–50s) (Reference)"
587:Shoemaker, Bill (July 2006).
535:. BPI Communications: 1, 84.
498:"Ornette Coleman discography"
483:
426:
385:"Sound Is Everywhere" – 3:34
208:
7:
10:
1211:
1013:To Whom Who Keeps a Record
997:The Art of the Improvisers
619:accessed November 28, 2011
403:"Kathelin Gray" (Coleman,
273:
269:Christgau's Consumer Guide
15:
1130:
1112:Colors: Live from Leipzig
1039:
988:
978:Sound Museum: Three Women
810:The Shape of Jazz to Come
802:Tomorrow Is the Question!
785:
772:
388:"Miguel's Fortune" – 6:04
226:
223:
158:Colors: Live from Leipzig
133:
125:
115:
99:
83:
71:
63:
55:
42:
33:
28:
1104:Prime Design/Time Design
970:Sound Museum: Hidden Man
502:Jazz Discography Project
372:"Search for Life" – 7:32
342:, David Fricke stated: "
442:Dave Bryant – keyboards
419:"Local Instinct" – 2:56
416:"Family Reunion" – 4:07
1190:Ornette Coleman albums
1029:Beauty Is a Rare Thing
818:Change of the Century
413:"Tone Dialing" – 1:45
380:Johann Sebastian Bach
369:"Street Blues" – 4:58
1195:Verve Records albums
1088:The Belgrade Concert
906:Dancing in Your Head
589:"Dialing Up Ornette"
214:Professional ratings
634:robertchristgau.com
391:"La Capella" – 4:32
215:
989:Compilation albums
922:Soapsuds, Soapsuds
794:Something Else!!!!
593:Point of Departure
422:"Ying Yang" – 2:56
375:"Guadalupe" – 4:10
213:
59:September 26, 1995
1172:
1171:
930:Of Human Feelings
866:The Empty Foxhole
826:This Is Our Music
460:– bass, keyboards
451:, Al MacDowell –
439:, trumpet, violin
325:
324:
170:
169:
166:
165:
1202:
1131:Related articles
946:In All Languages
898:Skies of America
874:New York Is Now!
850:Ornette on Tenor
759:
752:
745:
736:
735:
729:
728:
726:
724:
709:
703:
702:
700:
698:
683:
674:
673:
671:
669:
651:
645:
644:
642:
640:
626:
620:
613:
604:
603:
601:
599:
584:
578:
577:
575:
573:
558:
552:
551:
549:
547:
522:
513:
512:
510:
508:
494:
378:"Bach Prelude" (
338:In a review for
321:
320:
319:
315:
314:
310:
309:
305:
304:
300:
299:
275:
263:
262:
261:
257:
256:
252:
251:
247:
246:
242:
241:
216:
212:
135:
134:
95:
94:
90:
38:
26:
25:
1210:
1209:
1205:
1204:
1203:
1201:
1200:
1199:
1175:
1174:
1173:
1168:
1165:" (composition)
1158:" (composition)
1144:Denardo Coleman
1126:
1048:Town Hall, 1962
1035:
984:
890:Science Fiction
858:Chappaqua Suite
781:
768:
766:Ornette Coleman
763:
733:
732:
722:
720:
712:Brooks, Glenn.
710:
706:
696:
694:
684:
677:
667:
665:
652:
648:
638:
636:
628:
627:
623:
617:Allmusic Review
614:
607:
597:
595:
585:
581:
571:
569:
559:
555:
545:
543:
523:
516:
506:
504:
496:
495:
491:
486:
464:Denardo Coleman
433:Ornette Coleman
429:
394:"O.A.C." – 2:47
359:
317:
312:
307:
302:
259:
254:
249:
244:
211:
179:Ornette Coleman
161:
152:
143:
127:Ornette Coleman
121:Denardo Coleman
92:
88:
87:
51:
49:Ornette Coleman
24:
21:
12:
11:
5:
1208:
1198:
1197:
1192:
1187:
1170:
1169:
1167:
1166:
1159:
1156:Broadway Blues
1152:
1147:
1141:
1134:
1132:
1128:
1127:
1125:
1124:
1116:
1108:
1100:
1092:
1084:
1076:
1068:
1060:
1052:
1043:
1041:
1037:
1036:
1034:
1033:
1025:
1021:Broken Shadows
1017:
1009:
1001:
992:
990:
986:
985:
983:
982:
974:
966:
958:
950:
942:
934:
926:
918:
910:
902:
894:
886:
878:
870:
862:
854:
846:
838:
830:
822:
814:
806:
798:
789:
787:
783:
782:
780:
779:
773:
770:
769:
762:
761:
754:
747:
739:
731:
730:
704:
688:"Tone Dialing"
675:
646:
621:
605:
579:
567:New York Times
553:
514:
488:
487:
485:
482:
481:
480:
477:
467:
461:
455:
446:
443:
440:
437:alto saxophone
428:
425:
424:
423:
420:
417:
414:
411:
410:"Badal" – 4:42
408:
401:
398:
395:
392:
389:
386:
383:
376:
373:
370:
366:
365:
358:
355:
323:
322:
293:
287:
286:
283:
277:
276:
271:
265:
264:
235:
229:
228:
225:
221:
220:
210:
207:
168:
167:
164:
163:
154:
145:
131:
130:
123:
122:
119:
113:
112:
103:
97:
96:
85:
81:
80:
75:
69:
68:
65:
61:
60:
57:
53:
52:
47:
40:
39:
31:
30:
22:
9:
6:
4:
3:
2:
1207:
1196:
1193:
1191:
1188:
1186:
1183:
1182:
1180:
1164:
1160:
1157:
1153:
1151:
1148:
1145:
1142:
1139:
1136:
1135:
1133:
1129:
1122:
1121:
1120:Sound Grammar
1117:
1114:
1113:
1109:
1106:
1105:
1101:
1098:
1097:
1093:
1090:
1089:
1085:
1082:
1081:
1077:
1074:
1073:
1069:
1066:
1065:
1064:Ornette at 12
1061:
1058:
1057:
1053:
1050:
1049:
1045:
1044:
1042:
1038:
1031:
1030:
1026:
1023:
1022:
1018:
1015:
1014:
1010:
1007:
1006:
1002:
999:
998:
994:
993:
991:
987:
980:
979:
975:
972:
971:
967:
964:
963:
959:
956:
955:
954:Virgin Beauty
951:
948:
947:
943:
940:
939:
935:
932:
931:
927:
924:
923:
919:
916:
915:
911:
908:
907:
903:
900:
899:
895:
892:
891:
887:
884:
883:
879:
876:
875:
871:
868:
867:
863:
860:
859:
855:
852:
851:
847:
844:
843:
839:
836:
835:
831:
828:
827:
823:
820:
819:
815:
812:
811:
807:
804:
803:
799:
796:
795:
791:
790:
788:
786:Studio albums
784:
778:
775:
774:
771:
767:
760:
755:
753:
748:
746:
741:
740:
737:
719:
715:
708:
693:
692:Rolling Stone
689:
682:
680:
664:
660:
656:
650:
635:
631:
625:
618:
612:
610:
594:
590:
583:
568:
564:
557:
542:
538:
534:
533:
528:
521:
519:
503:
499:
493:
489:
478:
475:
471:
468:
465:
462:
459:
456:
454:
450:
449:Bradley Jones
447:
444:
441:
438:
434:
431:
430:
421:
418:
415:
412:
409:
406:
402:
399:
396:
393:
390:
387:
384:
381:
377:
374:
371:
368:
367:
364:
361:
360:
357:Track listing
354:
352:
347:
345:
341:
340:Rolling Stone
336:
334:
330:
294:
292:
291:Rolling Stone
289:
288:
284:
282:
279:
278:
272:
270:
267:
266:
236:
234:
231:
230:
222:
219:Review scores
217:
206:
202:
198:
196:
192:
188:
184:
180:
176:
175:
160:
159:
155:
151:
150:
146:
142:
141:
140:Virgin Beauty
137:
136:
132:
128:
124:
120:
118:
114:
111:
107:
104:
102:
98:
86:
82:
79:
76:
74:
70:
66:
62:
58:
54:
50:
45:
41:
37:
32:
27:
19:
1163:Lonely Woman
1138:Jayne Cortez
1118:
1110:
1102:
1094:
1086:
1078:
1070:
1062:
1054:
1046:
1027:
1019:
1011:
1003:
995:
976:
968:
962:Tone Dialing
961:
960:
952:
944:
936:
928:
920:
912:
904:
896:
888:
880:
872:
864:
856:
848:
840:
832:
824:
816:
808:
800:
792:
723:February 19,
721:. Retrieved
717:
707:
697:February 19,
695:. Retrieved
691:
666:. Retrieved
662:
649:
637:. Retrieved
633:
624:
598:February 19,
596:. Retrieved
592:
582:
572:February 19,
570:. Retrieved
566:
556:
544:. Retrieved
530:
507:November 28,
505:. Retrieved
501:
492:
476:, percussion
458:Chris Walker
362:
351:Tone Dialing
350:
348:
344:Tone Dialing
343:
337:
326:
203:
199:
174:Tone Dialing
173:
172:
171:
156:
149:Tone Dialing
148:
147:
138:
44:Studio album
29:Tone Dialing
1185:1995 albums
1040:Live albums
777:Discography
663:tomhull.com
405:Pat Metheny
333:Scott Yanow
1179:Categories
1150:Prime Time
615:Yanow, S.
546:August 10,
484:References
331:review by
187:Harmolodic
183:Prime Time
129:chronology
106:Harmolodic
1140:(ex-wife)
914:Body Meta
882:Love Call
834:Free Jazz
655:Hull, Tom
541:0006-2510
532:Billboard
470:Badal Roy
427:Personnel
209:Reception
842:Ornette!
668:March 4,
657:(n.d.).
407:) – 4:41
382:) – 5:40
329:AllMusic
281:Tom Hull
233:AllMusic
195:PolyGram
181:and his
117:Producer
64:Recorded
56:Released
46: by
639:24 July
466:– drums
162:(1996)
153:(1995)
144:(1988)
1123:(2006)
1115:(1997)
1107:(1986)
1099:(1985)
1091:(1971)
1083:(1970)
1075:(1969)
1072:Crisis
1067:(1968)
1059:(1966)
1051:(1965)
1032:(1995)
1024:(1982)
1016:(1975)
1008:(1971)
1000:(1970)
981:(1996)
973:(1996)
965:(1995)
957:(1988)
949:(1987)
941:(1986)
938:Song X
933:(1982)
925:(1977)
917:(1976)
909:(1976)
901:(1972)
893:(1971)
885:(1968)
877:(1968)
869:(1966)
861:(1965)
853:(1962)
845:(1962)
837:(1961)
829:(1961)
821:(1960)
813:(1959)
805:(1959)
797:(1958)
539:
227:Rating
224:Source
84:Length
1146:(son)
1005:Twins
718:Jelly
474:tabla
191:Verve
110:Verve
101:Label
73:Genre
725:2022
699:2022
670:2020
641:2019
600:2022
574:2022
548:2012
537:ISSN
509:2011
453:bass
327:The
78:Jazz
67:1995
1181::
716:.
690:.
678:^
661:.
632:.
608:^
591:.
565:.
529:.
517:^
500:.
472:–
435:–
285:B+
274:A−
93:01
89:66
1161:"
1154:"
758:e
751:t
744:v
727:.
701:.
672:.
643:.
602:.
576:.
550:.
511:.
193:/
108:/
91::
20:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
.jpg)