Universal Consciousness is the fifth studio album by Alice Coltrane released in 1971. The album was recorded from April to June, 1971, at A & R Recording, New York City and at the Coltrane home studios, New York.
Recording and production
Universal Consciousness was recorded shortly after Coltrane returned from a trip to India,[2][when?] and was the first album on which she is heard playing the Wurlitzer organ.[3] In an interview, she related her decision to use the instrument to her interest in Indian music, comparing its sound to that of the harmonium and tambura.[3] Her introduction to the organ also marked a turning point in her outlook as a musician; referring to the fact that the instrument has "two or three manuals and complete bass in the pedals," she recalled: "when I began to play the organ, there came the freedom and understanding that I would never have to depend on anyone else musically."[4]
Recording took place at A & R Recording, New York City and at the Coltrane home studio, Dix Hills, New York.
The album was originally released by Impulse! Records in 1971. It was the first in a series of three albums (preceding World Galaxy and Lord of Lords) on which Coltrane appeared with an ensemble of strings.[7]
In 2011, Impulse! reissued the album, along with Lord of Lords, as part of a compilation titled Universal Consciousness/Lord of Lords.[8][9]
In a review for AllMusic, Thom Jurek wrote: "This is art of the highest order, conceived by a brilliant mind, poetically presented in exquisite collaboration by divinely inspired musicians and humbly offered as a gift to listeners. It is a true masterpiece".[5]
The authors of The Penguin Guide to Jazz Recordings called the album "perhaps her finest achievement on record," and described her harp and organ playing as "superlative." They stated: "the personnels reflect quite distinct musical approaches and Alice Coltrane's conviction that every piece of music had its own sufficient orchestra."[10]
Bill Shoemaker of Jazz Times described Universal Consciousness as "an enduring album and arguably Alice Coltrane's masterpiece," calling her debut on organ "stunning," and noting how the instrument "accentuates the Bud Powell-inspired chops" and "immaculate articulation."[12]
Matthew Fiander of PopMatters commented: "The album is a beautiful, if challenging, sound, one that seems to carry all of Alice Coltrane’s musical interests and her devotion to faith and to her husband's memory, and the results are jarring but joyous."[13]
The Vinyl District's Joseph Neff called the album "a truly extraordinary record," and praised its "assurance, lucidity, and mastery of scale and instrumentation." He noted that the omission of horns is more than outweighed by the presence of "an exceptional band," and by the "spaced-out edginess of Coltrane's organ."[11]
Fact (UK magazine) listed the album as the third greatest of the 1970s with Drummer and contributor Eli Keszler citing it as a major influence and commenting: "She managed to merge the zeitgeist into one swelling ball of energy – fusing modal jazz, ecstatic rituals, electronics, eastern influence, multi-directional rhythms and studio experimentation with avant-garde western classical..".[14]
String arrangements on tracks 1, 3 and 4 by Coltrane. Tracks 4 and 5 arranged by Coltrane. Transcriptions on tracks 1, 3 and 4 by Ornette Coleman.
Produced by Alice Coltrane, Ed Michel and Brian Konairz.[5] Engineers at Dix Hills were W. Barneke and Roy Musgnug. Engineer at A&R Recording was Tony May. Mixed by Tony May and Ed Michel.
^Twells, Chris Kelly, Tom Lea, Joe Muggs, Joseph Morpurgo, Mr Beatnick, Chal Ravens, John (2014-07-14). "The 100 Best Albums Of The 1970s". Fact Magazine. Retrieved 2024-02-10.{{cite web}}: CS1 maint: multiple names: authors list (link)
