Gargaz/Test · Datasets at Hugging Face

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3450 A few weeks after Of Human Feelings was recorded , Mwanga went to Japan to negotiate a deal with Trio Records 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 press the album once Mwanga provided the label with the record stamper . Coleman was also set to perform his song " Skies of America " with the NHK Symphony Orchestra , 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 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 . Billboard 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 .
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3451 According to jazz writer Francis Davis , " 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 radio airplay 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 pop charts , only charting on the Top Jazz Albums , 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 . Sound & Vision 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 out of print .
66.6561508178711 200 WikiText2
3452 Of Human Feelings received considerable acclaim from contemporary critics . In a review for Esquire , Gary Giddins hailed it as another landmark album 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 transmuted conventional polyphony and would be the most challenging part for listeners , whom he said should concentrate on Coleman 's playing and " let the maelstrom resolve itself around his center " . Kofi Natambu from the Detroit Metro Times said Coleman 's synergetic approach displayed 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 African @-@ American music over the previous century . Robert Christgau found the music heartfelt and sophisticated in its exchange of rhythms and simple pieces of melody , writing in The Village Voice , " 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 . "
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3453 Purist critics in jazz complained about the music 's incorporation of danceable beats and electric guitar . In Stereo Review , Chris Albertson deemed the combination of saxophone and bizarre funk occasionally captivating but ultimately unfocused . Dan Sullivan of the Los Angeles Times argued that the album 's supporters in " hip rock circles " had overlooked flaws ; he felt Tacuma and Coleman 's playing sounded like a unique " beacon of clarity " amid an incessant background . Leonard Feather wrote in the Toledo Blade deemed the music stylistically ambiguous , potentially controversial , and difficult to assess but interesting enough to warrant a listen . At the end of 1982 , Billboard editor Peter Keepnews named Of Human Feelings the year 's best album , calling it a prime example of fusing free jazz with modern funk . In year @-@ end lists for The Boston Phoenix , James Hunter and Howard Hampton ranked the album number one and number four , respectively . It was voted 13th best in the Pazz & Jop , 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 .
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3454 Coleman received $ 25 @,@ 000 for the publishing rights 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 royalties . 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 option 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 .
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3455 In a 1986 article for The New York Times on Coleman 's work with Prime Time , Robert Palmer 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 test pressing in 1979 , the album 's mix of jazz improvisation and gritty , punk 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 . " AllMusic critic Scott Yanow believed that 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 The A.V. Club recommended Of Human Feelings as the best album for new listeners of Coleman 's harmolodics @-@ based music , while Chicago Tribune rock critic Greg Kot 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 , New York 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 scene in the previous 40 years ; Of Human Feelings exuded what he described as a spirit of sophistication with elements of funk , Latin , and African music , all of which were encapsulated by music that retained a jazz identity .
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3456 = = Track listing = =
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3457 All compositions by Ornette Coleman .
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3458 Side one
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3459 " Sleep Talk " – 3 : 34
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3460 " Jump Street " – 4 : 24
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3461 " Him and Her " – 4 : 20
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3462 " Air Ship " – 6 : 11
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3463 Side two
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3464 " What Is the Name of That Song ? " – 3 : 58
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3465 " Job Mob " – 4 : 57
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3466 " Love Words " – 2 : 54
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3467 " Times Square " – 6 : 03
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3468 = = Personnel = =
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3469 Credits are adapted from the album 's liner notes .
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3470 = = = Musicians = = =
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3471 Denardo Coleman – drums
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3472 Ornette Coleman – alto saxophone , production
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3473 Charlie Ellerbee – guitar
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3474 Bern Nix – guitar
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3475 Jamaaladeen Tacuma – bass guitar
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3476 Calvin Weston – drums
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3477 = = = Additional personnel = = =
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3478 Susan Bernstein – cover painting
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3479 Peter Corriston – cover design
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3480 Joe Gastwirt – mastering
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3481 Ron Saint Germain – engineering
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3482 Ron Goldstein – executive direction
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3483 Harold Jarowsky – second engineering
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3484 Steven Mark Needham – photography
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3485 Ken Robertson – tape operation
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3486 = Dangerously in Love Tour =
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3487 The Dangerously in Love Tour was the debut concert tour by American recording artist Beyoncé . Although the tour was intended to showcase songs from her debut solo album , Dangerously in Love , ( 2003 ) the set list also contained a special segment dedicated to Beyoncé 's girl group Destiny 's Child and featured songs from her 2003 film The Fighting Temptations . The stage was simple and featured a large LED screen in the back that displayed video images of Beyoncé and her dancers , as well as some images from her music videos and some prerecorded images . The tour was reviewed negatively by Dave Simpson of The Guardian who graded it with two stars out of five . The Dangerously in Love Tour only reached Europe and Beyoncé 's performance at the Wembley Arena in London , was filmed and later released on the CD / DVD Live at Wembley ( 2004 ) .
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3488 = = Background and development = =
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3489 The Dangerously In Love Tour was the debut solo concert tour by American recording artist Beyoncé . The tour was intended to showcase songs from Beyoncé ' debut solo album , Dangerously in Love released in 2003 . However , the set list also contained a special segment of her show dedicated to her girl group Destiny 's Child and songs from Beyoncé ' 2003 film The Fighting Temptations ( " Fever " and " Summertime " ) . The stage was simple and featured a large LED screen in the back that moved up and down throughout the entire show and displayed video images of Beyoncé and her dancers , as well as some images from her music videos and some prerecorded images with special effects . The show also featured a small staircase and platforms on both side of the stairs for her band . Beyoncé later toured alongside Missy Elliott and Alicia Keys as ensemble for the Verizon Ladies First Tour ( 2004 ) in North America .
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3490 = = Synopsis and reception = =
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3491 Dave Simpson of The Guardian described the opening of the show during his review : " Some while after Beyoncé is due on stage , a voice announces that the support act won 't be appearing and that Beyoncé will be with us ' in a moment ' . Like everything else – hits , boots , hair and sponsorship deals – moments are very big in Beyoncé world . An age later , cheers erupt for the raising of a curtain which revealed , er , a roadie fiddling with a drum kit . An hour later , the piped music is getting gradually louder to drown boos and the cries of small children whose parents are moaning it 's getting past their bedtime . " The show opens with " Baby Boy " which Beyoncé sang while being lowered onto the stage upside down . A highlight for many fans was her performance of " Dangerously in Love 2 " . During the tour , a special 8 @-@ minutes rendition of the song was performed .
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3492 Simpson of The Guardian reviewed the opening show of the tour negatively , grading it with two out of five stars . He was negative about Beyoncé ' clothing during the show , saying : " The delays may well be down to Beyoncé 's wardrobe , which could trouble Imelda Marcos . There are skimpy skirts , tails ( for a note perfect if pointless version of Peggy Lee 's Fever ) and a general theme of low material , high glitz . But often , the main sparkle is on Beyoncé 's outfit . " He also added that " The dancers ' ' naked suits ' make the former church girl a raunchy rival to Kylie [ Minogue ] . But there 's an interminable section where they pretend to be homies , and when Beyoncé disappears for long periods it feels like an expensive night with Legs and Co . " He concluded his review by saying ,
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3493 " Clearly , the armies of industry professionals that put Beyoncé together aren 't sure of her core audience . A vague Saturday night TV , family entertainment feel gradually gives way to a more intriguing cross between Liza Minelli showbiz and thumping R & B. However , a ticker tape festooned Crazy In Love and a belting Work It Out suggest Beyoncé is best sticking to her roots . Bizarrely , if implausibly , she puts the carnage down to her tour manager falling off stage , but at least she 's grasped one showbiz adage : the show must go on . "
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3494 = = Broadcasts and recordings = =
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3495 On November 10 , 2003 , Beyoncé performed at the Wembley Arena in London ; this was later put on a DVD , titled Live at Wembley , which was released in April 2004 . It was accompanied by a CD comprising three previously @-@ unreleased studio recorded songs and one remix each of " Crazy in Love " , " Baby Boy " and " Naughty Girl " . Behind @-@ the @-@ scenes footage can be also seen on the DVD . The album debuted at number seventeen on the Billboard 200 , selling 45 @,@ 000 copies in its first week . The DVD has been certified double platinum by the Recording Industry Association of America for shipping 200 @,@ 000 copies . According to Nielsen SoundScan , it had sold 264 @,@ 000 copies in the US by October 2007 , while as at October 6 , 2010 , it had sold 197 @,@ 000 digital downloads . In an interview with The New York Times in 2007 , American singer Miranda Lambert revealed that Live at Wembley inspired her to " take little bits from that [ Beyoncé ' performance ] " for her live shows .
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3496 = = Set list = =
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3497 " Baby Boy "
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3498 " Naughty Girl "
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3499 " Fever "

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3450 A few weeks after Of Human Feelings was recorded , Mwanga went to Japan to negotiate a deal with Trio Records 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 press the album once Mwanga provided the label with the record stamper . Coleman was also set to perform his song " Skies of America " with the NHK Symphony Orchestra , 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 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 . Billboard 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 .

45.79936599731445 196 WikiText2

3451 According to jazz writer Francis Davis , " 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 radio airplay 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 pop charts , only charting on the Top Jazz Albums , 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 . Sound & Vision 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 out of print .

66.6561508178711 200 WikiText2

3452 Of Human Feelings received considerable acclaim from contemporary critics . In a review for Esquire , Gary Giddins hailed it as another landmark album 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 transmuted conventional polyphony and would be the most challenging part for listeners , whom he said should concentrate on Coleman 's playing and " let the maelstrom resolve itself around his center " . Kofi Natambu from the Detroit Metro Times said Coleman 's synergetic approach displayed 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 African @-@ American music over the previous century . Robert Christgau found the music heartfelt and sophisticated in its exchange of rhythms and simple pieces of melody , writing in The Village Voice , " 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 . "

107.17094421386719 214 WikiText2

3453 Purist critics in jazz complained about the music 's incorporation of danceable beats and electric guitar . In Stereo Review , Chris Albertson deemed the combination of saxophone and bizarre funk occasionally captivating but ultimately unfocused . Dan Sullivan of the Los Angeles Times argued that the album 's supporters in " hip rock circles " had overlooked flaws ; he felt Tacuma and Coleman 's playing sounded like a unique " beacon of clarity " amid an incessant background . Leonard Feather wrote in the Toledo Blade deemed the music stylistically ambiguous , potentially controversial , and difficult to assess but interesting enough to warrant a listen . At the end of 1982 , Billboard editor Peter Keepnews named Of Human Feelings the year 's best album , calling it a prime example of fusing free jazz with modern funk . In year @-@ end lists for The Boston Phoenix , James Hunter and Howard Hampton ranked the album number one and number four , respectively . It was voted 13th best in the Pazz & Jop , 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 .

83.73735809326172 228 WikiText2

3454 Coleman received $ 25 @,@ 000 for the publishing rights 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 royalties . 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 option 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 .

107.70173645019531 212 WikiText2

3455 In a 1986 article for The New York Times on Coleman 's work with Prime Time , Robert Palmer 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 test pressing in 1979 , the album 's mix of jazz improvisation and gritty , punk 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 . " AllMusic critic Scott Yanow believed that 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 The A.V. Club recommended Of Human Feelings as the best album for new listeners of Coleman 's harmolodics @-@ based music , while Chicago Tribune rock critic Greg Kot 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 , New York 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 scene in the previous 40 years ; Of Human Feelings exuded what he described as a spirit of sophistication with elements of funk , Latin , and African music , all of which were encapsulated by music that retained a jazz identity .

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3456 = = Track listing = =

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3457 All compositions by Ornette Coleman .

449.1774597167969 6 WikiText2

3458 Side one

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3459 " Sleep Talk " – 3 : 34

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3460 " Jump Street " – 4 : 24

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3461 " Him and Her " – 4 : 20

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3462 " Air Ship " – 6 : 11

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3463 Side two

4064.872802734375 2 WikiText2

3464 " What Is the Name of That Song ? " – 3 : 58

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3465 " Job Mob " – 4 : 57

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3466 " Love Words " – 2 : 54

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3467 " Times Square " – 6 : 03

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3468 = = Personnel = =

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3469 Credits are adapted from the album 's liner notes .

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3470 = = = Musicians = = =

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3471 Denardo Coleman – drums

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3472 Ornette Coleman – alto saxophone , production

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3473 Charlie Ellerbee – guitar

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3474 Bern Nix – guitar

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3475 Jamaaladeen Tacuma – bass guitar

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3476 Calvin Weston – drums

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3477 = = = Additional personnel = = =

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3478 Susan Bernstein – cover painting

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3479 Peter Corriston – cover design

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3480 Joe Gastwirt – mastering

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3481 Ron Saint Germain – engineering

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3482 Ron Goldstein – executive direction

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3483 Harold Jarowsky – second engineering

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3484 Steven Mark Needham – photography

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3485 Ken Robertson – tape operation

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3486 = Dangerously in Love Tour =

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3487 The Dangerously in Love Tour was the debut concert tour by American recording artist Beyoncé . Although the tour was intended to showcase songs from her debut solo album , Dangerously in Love , ( 2003 ) the set list also contained a special segment dedicated to Beyoncé 's girl group Destiny 's Child and featured songs from her 2003 film The Fighting Temptations . The stage was simple and featured a large LED screen in the back that displayed video images of Beyoncé and her dancers , as well as some images from her music videos and some prerecorded images . The tour was reviewed negatively by Dave Simpson of The Guardian who graded it with two stars out of five . The Dangerously in Love Tour only reached Europe and Beyoncé 's performance at the Wembley Arena in London , was filmed and later released on the CD / DVD Live at Wembley ( 2004 ) .

32.26792907714844 159 WikiText2

3488 = = Background and development = =

1034.3458251953125 7 WikiText2

3489 The Dangerously In Love Tour was the debut solo concert tour by American recording artist Beyoncé . The tour was intended to showcase songs from Beyoncé ' debut solo album , Dangerously in Love released in 2003 . However , the set list also contained a special segment of her show dedicated to her girl group Destiny 's Child and songs from Beyoncé ' 2003 film The Fighting Temptations ( " Fever " and " Summertime " ) . The stage was simple and featured a large LED screen in the back that moved up and down throughout the entire show and displayed video images of Beyoncé and her dancers , as well as some images from her music videos and some prerecorded images with special effects . The show also featured a small staircase and platforms on both side of the stairs for her band . Beyoncé later toured alongside Missy Elliott and Alicia Keys as ensemble for the Verizon Ladies First Tour ( 2004 ) in North America .

38.9035530090332 171 WikiText2

3490 = = Synopsis and reception = =

654.6809692382812 7 WikiText2

3491 Dave Simpson of The Guardian described the opening of the show during his review : " Some while after Beyoncé is due on stage , a voice announces that the support act won 't be appearing and that Beyoncé will be with us ' in a moment ' . Like everything else – hits , boots , hair and sponsorship deals – moments are very big in Beyoncé world . An age later , cheers erupt for the raising of a curtain which revealed , er , a roadie fiddling with a drum kit . An hour later , the piped music is getting gradually louder to drown boos and the cries of small children whose parents are moaning it 's getting past their bedtime . " The show opens with " Baby Boy " which Beyoncé sang while being lowered onto the stage upside down . A highlight for many fans was her performance of " Dangerously in Love 2 " . During the tour , a special 8 @-@ minutes rendition of the song was performed .

85.92977142333984 181 WikiText2

3492 Simpson of The Guardian reviewed the opening show of the tour negatively , grading it with two out of five stars . He was negative about Beyoncé ' clothing during the show , saying : " The delays may well be down to Beyoncé 's wardrobe , which could trouble Imelda Marcos . There are skimpy skirts , tails ( for a note perfect if pointless version of Peggy Lee 's Fever ) and a general theme of low material , high glitz . But often , the main sparkle is on Beyoncé 's outfit . " He also added that " The dancers ' ' naked suits ' make the former church girl a raunchy rival to Kylie [ Minogue ] . But there 's an interminable section where they pretend to be homies , and when Beyoncé disappears for long periods it feels like an expensive night with Legs and Co . " He concluded his review by saying ,

76.97283172607422 162 WikiText2

3493 " Clearly , the armies of industry professionals that put Beyoncé together aren 't sure of her core audience . A vague Saturday night TV , family entertainment feel gradually gives way to a more intriguing cross between Liza Minelli showbiz and thumping R & B. However , a ticker tape festooned Crazy In Love and a belting Work It Out suggest Beyoncé is best sticking to her roots . Bizarrely , if implausibly , she puts the carnage down to her tour manager falling off stage , but at least she 's grasped one showbiz adage : the show must go on . "

154.6968231201172 106 WikiText2

3494 = = Broadcasts and recordings = =

646.933349609375 7 WikiText2

3495 On November 10 , 2003 , Beyoncé performed at the Wembley Arena in London ; this was later put on a DVD , titled Live at Wembley , which was released in April 2004 . It was accompanied by a CD comprising three previously @-@ unreleased studio recorded songs and one remix each of " Crazy in Love " , " Baby Boy " and " Naughty Girl " . Behind @-@ the @-@ scenes footage can be also seen on the DVD . The album debuted at number seventeen on the Billboard 200 , selling 45 @,@ 000 copies in its first week . The DVD has been certified double platinum by the Recording Industry Association of America for shipping 200 @,@ 000 copies . According to Nielsen SoundScan , it had sold 264 @,@ 000 copies in the US by October 2007 , while as at October 6 , 2010 , it had sold 197 @,@ 000 digital downloads . In an interview with The New York Times in 2007 , American singer Miranda Lambert revealed that Live at Wembley inspired her to " take little bits from that [ Beyoncé ' performance ] " for her live shows .

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3496 = = Set list = =

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3497 " Baby Boy "

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3498 " Naughty Girl "

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3499 " Fever "