World Galaxy
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Track listing
Show track credits
- A1 My Favorite Things 6:22
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organ, harp
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songwriter
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songwriter
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- A2 Galaxy Around Olodumare 4:15
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piano, writer
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- A3 Galaxy in Turiya 9:55
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harp, writer
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- B1 Galaxy in Satchidananda 10:25
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organ, harp, tambura, writer
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- B2 A Love Supreme 9:58
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organ, harp
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narration
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violin, soloist
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songwriter
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- Total length: 40:55
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Set listening
Review
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19 Reviews
Though not sustained throughout the length of the entire LP - and I've never heard that done anywhere anyway - the overwhelmingly beautiful parts of this record are of such a nature that they push it right up into the exceptional and other-worldly.
Listen to the 'galaxy' tracks and you really might be either transported to somewhere you have never, ever been or else be convinced that a whole bunch of people are there and transmitting this back.
Listen to the 'galaxy' tracks and you really might be either transported to somewhere you have never, ever been or else be convinced that a whole bunch of people are there and transmitting this back.
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World Galaxy is a truly magical recording by Alice Coltrane. I was so impressed with this that I played it three times in a row when I first got it, and could have easily gone back for more. This is the most dramatic recording I can say I've heard by AC, really powerful big lush symphonic beauty, and then some. Think along the lines of David Axelrod’s first two Capitol recordings, but then pile on a whole heap of spiritual intensity, a little bit of avant-garde, and you'll kind of get the picture. Two of the tracks on here are versions of her husband’s tunes "My Favorite Things" and "A Love Supreme", and I don't want to be disrespectful to the late and great John Coltrane, but these versions are just sublime adaptations and real rivals to his versions. This was a very brave move on her part to do this, as she can be seen as a bit of a Yoko Ono of the jazz world, but I think she carried it off amazingly well, if not improved on them a little. This is a truly amazing album, and I would recommend it to anyone who has interests in brave and experimental music. Ultra highly rated.
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A holy space jazz symphony.
Delicate, majestic, deep, trippy, cosmic...
This is an experience! Timeless beauty...
Delicate, majestic, deep, trippy, cosmic...
This is an experience! Timeless beauty...
Published
My 11th Favourite Alice Coltrane Album
The songs on World Galaxy by Alice Coltrane With Strings go like this: 3 dusted with greatness, 1 from the book of good, 1 is okaysville, giving us a total score of 2.8068Published
i may have only given this a 3.5, but that doesn't change the fact that it's an absolute pleasure to listen to. i wouldn't say it requires undivided attention but it's a lovely piece of music to put on and leave playing.
favourite song: galaxy in turiya
favourite song: galaxy in turiya
Published
The mind is a terrifying thing. It is the sole crucible of perception, the singular point through which the great tapestry of reality is threaded, strand by strand. In every moment, our minds construct the phenomenal syntax that enlivens and animates the world of the waking senses. The mind is the wellspring of description, the totality concept in which all logical relations are created and in which the objective and subjective unify. The true nature of the mind is beyond comprehension, being the very condition from which comprehensivity arises. On the mind alone is our existence dependent; upon the mind alone do time and space exist, and only through the mind that we know of existence at all.
The dynamics of perception emerging from the mind exist as freely and fluidly as its source; changing and dissipating its connections between conceptual bodies as soon as they come. These countless arrangements, assemblages and conceptualisations inhabiting the mental cosmos are not mere constellations -sets of articulated relationships between internally diverse elements existing only in the subjective perception of the viewer- but instead are entire galaxies -constructions of relationships arising necessarily from the conditions of perception themselves-. These galaxies form the aesthetic territory explored by Alice Coltrane Turiyasangitananda on her studio album of the same name.
Through dense and layered patterns of improvisation extending to a vast orchestral set, Coltrane creates an aesthetic relationship between the hearer and the heard that mimics the chaotic and pre-rational constructions of concepts occurring as they appear into the realm of the intelligible. A stratified development occurs within the runtime of the album as the galaxy concept is reiterated three times with three different predicates- Olodumare, Turiya, Satchidananda.
The first galaxy piece on the album, Galaxy Around Olodumare, relates Olodumare as being situated within the structure of the galaxy itself. As a galaxy-relation refers to the inherent functional relations between mental objects produced necessarily by the conditions of perception, Olodumare can be adduced here to represent these necessary functional relations as instantiated in a specific mental object; i.e. the Kantian dogmatic. This accords with Olodumare being the supreme deity of the Yoruba pantheon in a fashion not unlike conventional Abrahamic monotheism. The second galaxy piece, Galaxy In Turiya, relates Turiya as being the context in which the galaxy subsists, not as a specific mental object in the galaxy-relation. Likewise, Turiya is the Sanskrit word for the ground of all conceptuality- absolute nondual consciousness. The final galaxy piece, Galaxy In Satchidananda, relates its element in the same fashion as the previous piece, indicating that the two elements are one and the same. Satchidananda, as referring to the three aspects of enlightenment -existence, consciousness and bliss- is indeed synonymous with Turiya, but with an emphasis on the subjective component of enlightened perception.
Thus, the galaxy concept is stratified into three layers of cognition: the rational relations between mental objects, the pre-rational substratum of mentality, and the para-rational expression of subjectivity which unities the two. Through a masterful usage of avant-garde motifs derived from modern classical music, Coltrane explores the existential underpinnings of conscious experience, and invites us to look beyond the world of conditional truths into Truth itself.
The dynamics of perception emerging from the mind exist as freely and fluidly as its source; changing and dissipating its connections between conceptual bodies as soon as they come. These countless arrangements, assemblages and conceptualisations inhabiting the mental cosmos are not mere constellations -sets of articulated relationships between internally diverse elements existing only in the subjective perception of the viewer- but instead are entire galaxies -constructions of relationships arising necessarily from the conditions of perception themselves-. These galaxies form the aesthetic territory explored by Alice Coltrane Turiyasangitananda on her studio album of the same name.
Through dense and layered patterns of improvisation extending to a vast orchestral set, Coltrane creates an aesthetic relationship between the hearer and the heard that mimics the chaotic and pre-rational constructions of concepts occurring as they appear into the realm of the intelligible. A stratified development occurs within the runtime of the album as the galaxy concept is reiterated three times with three different predicates- Olodumare, Turiya, Satchidananda.
The first galaxy piece on the album, Galaxy Around Olodumare, relates Olodumare as being situated within the structure of the galaxy itself. As a galaxy-relation refers to the inherent functional relations between mental objects produced necessarily by the conditions of perception, Olodumare can be adduced here to represent these necessary functional relations as instantiated in a specific mental object; i.e. the Kantian dogmatic. This accords with Olodumare being the supreme deity of the Yoruba pantheon in a fashion not unlike conventional Abrahamic monotheism. The second galaxy piece, Galaxy In Turiya, relates Turiya as being the context in which the galaxy subsists, not as a specific mental object in the galaxy-relation. Likewise, Turiya is the Sanskrit word for the ground of all conceptuality- absolute nondual consciousness. The final galaxy piece, Galaxy In Satchidananda, relates its element in the same fashion as the previous piece, indicating that the two elements are one and the same. Satchidananda, as referring to the three aspects of enlightenment -existence, consciousness and bliss- is indeed synonymous with Turiya, but with an emphasis on the subjective component of enlightened perception.
Thus, the galaxy concept is stratified into three layers of cognition: the rational relations between mental objects, the pre-rational substratum of mentality, and the para-rational expression of subjectivity which unities the two. Through a masterful usage of avant-garde motifs derived from modern classical music, Coltrane explores the existential underpinnings of conscious experience, and invites us to look beyond the world of conditional truths into Truth itself.
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Don't get me wrong, I totally love and admire Alice Coltrane but I've never really got on with this album somehow.
I think it's because overall I find the orchestral strings rather overpowering across the album. I'd much rather have 'Journey to satchidananda' and recommend you start there.
I think it's because overall I find the orchestral strings rather overpowering across the album. I'd much rather have 'Journey to satchidananda' and recommend you start there.
Published
Similar creepy organ dominated sound to “Universal Consciousness” but this time with stings and covers of her husband’s 2 most enduring pieces. I probably prefer “Universal” but this one’s right behind it.
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