Jazz

Albert Ayler - Bells & Prophecy Expanded Edition (2016)

2016-02-05T16:53:18Z

Albert Ayler - Bells & Prophecy Expanded Edition (2016)

Disc 1
1. Bells 19:45
2. Spirits 7:53
3. Wizard 8:24
4. Ghosts, First Variation 11:18
5. Prophecy 7:13
6. Ghosts, Second Variation 7:06

Disc 2
1. Spirits 6:38
2. Saints 10:32
3. Ghosts 10:56
4. The Wizard 6:51
5. Children 9:05
6. Spirits (theme) 0:28

Albert Ayler – tenor saxophone
Charles Tyler -  alto saxophone (1.1)
Donald Ayler – trumpet (1.1)
Gary Peacock – bass
Lewis Worrell – bass (1.1)
Sunny Murray – drums, percussion

Track 1-1: Recorded live at Town Hall, New York City, May 1, 1965
Tracks 1-2 to 1-6, 2-1 to 2-6: Recorded live at Cellar Café, New York City, June 14, 1964

Albert Ayler’s music was defined by its excesses. He played tenor saxophone with too much vibrato and too much feeling, outlining melodies that were too simple and too catchy before descending into skronky noise that was too harsh and too unsettling. Where jazz had been defined by its relationship to form, with musicians practicing their craft within established idioms or inching beyond them to create something else, Ayler’s music was too amorphous for any container, a volatile liquid churning and splashing and running over and generally making a glorious mess.

Ayler’s epochal studio recordings were made for the tiny ESP-Disk label in 1964 and '65. The first released was Spiritual Unity, and it was immediately recognized by those who heard it as a landmark. Five years earlier, saxophonist Ornette Coleman had reconfigured his group so that it no longer contained a piano, the first crack in the fissure that would soon become free jazz. By de-emphasizing chord changes, which provide the harmonic foundation for improvisation that had defined jazz since its inception, Coleman opened the music to new possibilities but also created confusion: If you could play virtually anything when you soloed, what made one player or one composition better than another?

On his early recordings, working with the trio of bassist Gary Peacock and drummer Sunny Murray, Ayler helped clarify the answer to that question. The general shape of Prophecy, a live record capturing a date in June 1964 and reissued here in expanded form, hews very closely to that of Spiritual Unity, which was recorded in the studio one month later. Ayler’s trio begins a given piece by playing one of the sing-song melodies that were pouring out of him during this period, melodies often based on simple folk songs from Western Europe. These fragments are so simple and memorable, in fact, that they are pretty much the definition of what we would now call earworms, the kind of tunes you might hear a five-year-old humming—think "Patty Cake" or "The ABC Song"— or else melodramatic march songs, like Ayler’s "Spirits Rejoice," based on the French national anthem "La Marseillaise." Much of the tension in Ayler’s early work comes in waiting for these theme statements to splinter and fall apart and be pulled into unrecognizable shapes. Once that happens, beauty clashes with ugliness, lines between joy and mourning dissolve, and the music becomes a torrent of undifferentiated emotion.

Despite his music’s structural freedom, technique was essential to Ayler’s art. He had a booming, bottom-heavy tone reminiscent of the honking sax players who dominated 1940s and '50s R&B, but he could also reach to the shrillest higher registers, and he played with an ultra-wide, quavering vibrato that brought to mind the ecstatic trembling of gospel music. Bassist Gary Peacock alternated droning bowed lines with a spindly single-note attack, and Murray moved drumming away from its timekeeping role and, leaning heavily on his cymbals, into the realm of pure texture. All this comes together here on "Ghosts," Ayler’s definitive piece—he recorded it over and over during his early years, both live and in the studio, finding new possibilities every time he deconstructed its jaunty opening theme. Prophecy presents both the "First Variation" and "Second Variation" (Ayler’s song titles were often confusing, with the same titles sometimes used for different pieces), which both found their way to Spiritual Unity. The trio crackles with life as they present the song here, seemingly aware that they were ushering in a new era.

The original Prophecy consisted of five tunes; this expanded version presents those alongside the rest of the music recorded that evening, which initially appeared on the Holy Ghost box set in 2004. Having it all together in one place makes sense. The other music included on this reissue is the 20-minute piece "Bells," which was recorded live in 1965 and initially released as a one-sided EP. Though they have been paired together on CD for some time now, there’s no particular reason for "Bells" and Prophecy to be considered together, but early Ayler has been re-released and re-packaged steadily in the CD era.

If Prophecy found Ayler at the dawn of his game-changing new sound, "Bells" hinted at where he would go in his middle period, expanding his band and stringing together longer pieces built from smaller parts. (Though presented as a single piece, "Bells" is a number of shorter tunes that flow into each other.) Adding alto saxophonist Charles Tyler and his brother Donald Ayler on trumpet and switching Lewis Worrell for Peacock on bass, "Bells" explores how Ayler’s music worked in an ensemble. In another year he would add strings to his then-current touring band and they would become a bizarre and supremely moving sort of chamber orchestra (the peak recordings of this band can be found on The Complete Greenwich Village Sessions). "Bells" has hints of that development; it’s an essential snapshot of the moment if not quite one of Ayler’s essential releases.

One of the most telling sounds on this release exists outside the music. As "Ghosts (Second Variation)" ends in an impassioned stream of notes from Ayler and moaning vocals from one of his sidemen and he re-states the opening theme, we hear the applause of the audience, which sounds like it’s coming from 10 people tops. It’s true that this is Ayler at the start of his career, but it hints at the lonely road walked by an artist who sees the world differently. Ayler had a huge raft of great music ahead of him, but also a lot of heartache. --- Mark Richardson, pitchfork.com

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Albert Ayler ‎– The First Recordings (1962)

2019-02-16T16:16:56Z

Albert Ayler ‎– The First Recordings (1962)


1. I'll Remember April
2. Rollin's Tune
3. Tune Up
4. Free

Albert Ayler - tenor saxophone
Torbjörn Hultcrantz - bass
Sune Spångberg - drums

The problem with the trio recordings heard on this LP is that bassist Torbjorn Hultcrantz and drummer Sune Spangberg sound as if they are completely ignoring what tenor saxophonist Albert Ayler is playing. While Ayler improvises quite freely on a lengthy "I'll Remember April" and versions of "Rollins' Tune," "Tune Up," and his original "Free," Ayler's sidemen just play conventionally, never reacting to the tenor's flights or any of his ideas. It is a pity, for the lack of interplay weighs down what could have been an innovative outing. ---Scott Yanow, AllMusic Review

I've only reviewed one other Ayler LP on these pages (the frankly bizzare 'Music Is The Healing Force Of The Universe') so for today let's go to the other end of his recorded career with this 1962 live recording. It would be fair to say that this isn't his best record, in more ways than one. The first problem is the sound. It sounds like it was recorded in a barn with an audience that were distracted enough to talk throughout. Ayler can be heard clearly enough, but the bass is practically inaudible and the drummer reduced to a series of quiet cymbal crashes. Mind you, that's probably not such a bad thing as both rhythm players are uninspiring and have little in the way of communication with their leader. In some respects it sounds a bit like an Ayler solo performance, which is interesting enough in itself even if his playing isn't up to what he was capable of.

He might just be getting thrown off by the poor accompaniment, but in places he sounds shaky and unsure of what to play next. His playing is at times unimaginitive, and often at odds with the theme - witness 'Rollin's Tune' where an 'Oleo'-ish theme gives way to... well, not much really. What does come over well is Ayler as an elemental force in music, evidenced by the forceful sqauwks and rasps that pop up throughout 'I'll Remember April'. These signs of vitality point squarely ahead to the Ayler that we all know and love.

Recordings like this make it possible to see what criticism of free-jazzers was all about, indeed in one review from 1970 Ayler was derided as being unable to play. Fortunately future recordings were superior and Ayler's legend lives on. In preparing this review I was fortunate to come across this discography of Ayler that appears to be definitive. ---craig, dailyjazz.blogspot.com

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Albert Ayler – In Greenwich Village (1987)

2011-10-06T18:15:10Z

Albert Ayler – In Greenwich Village (1987)


01. For John Coltrane -	13:38
02. Change Has Come - 6:22					play
03. Truth Is Marching In - 12:37 
04. Our Prayer (Donald Ayler) - 4:43

Personnel:
- Albert Ayler - alto saxophone (01-04)
- Alan Silva - bass (01,02)
- Bill Folwell - bass (01-04)
- Henry Grimes - bass (03,04)
- Joel Friedman - cello (01,02)
- Beaver Harris - drums (01-04)
- Donald Ayler - trumpet (03,04)
- Michel Sampson - violin (03,04)

01 and 02 recorded at Village Theatre, February 26, 1967.
03 and 04 recorded at Village Vanguard, December 18, 1966

During 1967-69 avant-garde innovator Albert Ayler recorded a series of albums for Impulse that started on a high level and gradually declined in quality. This LP, Ayler's first Impulse set, was probably his best for that label. There are two selections apiece from a pair of live appearances with Ayler having a rare outing on alto on the emotional "For John Coltrane" and the more violent "Change Has Come" while backed by cellist Joel Friedman, both Alan Silva and Bill Folwell on basses and drummer Beaver Harris. The other set (with trumpeter Donald Ayler, violinist Michel Sampson, Folwell and Henry Grimes on basses and Harris) has a strong contrast between the simple childlike melodies and the intense solos. However this LP (which was augmented later on by the two-LP set The Village Concerts) will be difficult to find. --- All Music Guide

One of the giants of free jazz, Albert Ayler was also one of the most controversial. His huge tone and wide vibrato were difficult to ignore, and his 1966 group sounded like a runaway New Orleans brass band from 1910.

Unlike John Coltrane or Eric Dolphy, Albert Ayler was not a virtuoso who had come up through the bebop ranks. His first musical jobs were in R&B bands, including one led by Little Walter, although oddly enough he was nicknamed "Little Bird" in his early days because of a similarity in sound on alto to Charlie Parker. During his period in the army (1958-1961), he played in a service band and switched to tenor. Unable to find work in the U.S. after his discharge due to his uncompromising style, Ayler spent time in Sweden and Denmark during 1962-1963, making his first recordings (which reveal a tone with roots in Sonny Rollins) and working a bit with Cecil Taylor. Ayler's prime period was during 1964-1967. In 1964, he toured Europe with a quartet that included Don Cherry and was generally quite free and emotional. The following year he had a new band with his brother Donald Ayler on trumpet and Charles Tyler on baritone, and the emphasis in his music began to change. Folk melodies (which had been utilized a bit with Cherry) had a more dominant role, as did collective improvisation, and yet, despite the use of spaced-out marches, Irish jigs, and brass band fanfares, tonally Ayler remained quite free. His ESP recordings from this era and his first couple of Impulse records find Ayler at his peak and were influential; John Coltrane's post-1964 playing was definitely affected by Ayler's innovations.

However, during his last couple of years, Albert Ayler's career seemed to become a bit aimless and his final Impulse sessions, although experimental (with the use of vocals, rock guitar, and R&B-ish tunes), were at best mixed successes. A 1970 live concert that was documented features him back in top form, but in November 1970, Ayler was found drowned in New York's East River under mysterious circumstances. ---Scott Yanow, allmusic.com

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Albert Ayler – Live In Greenwich Village - The Complete Impulse Recordings (1998)

2012-04-16T15:57:38Z

Albert Ayler – Live In Greenwich Village - The Complete Impulse Recordings (1998)


1-1 	Holy Ghost	7:41 	
1-2 	Truth Is Marching In 	12:42 	
1-3 	Our Prayer	4:45		play 	
1-4 	Spirits Rejoice 	16:22 	
1-5 	Divine Peacemaker 	12:37 	
1-6 	Angels	9:53 	

2-1 	For John Coltrane 	13:40 	
2-2 	Change Has Come 	6:24 	
2-3 	Light In Darkness 	10:59 	
2-4 	Heavenly Home 	8:51 	
2-5 	Spiritual Rebirth 	4:26		play 	
2-6 	Infinite Spirit 	6:37 	
2-7 	Omega Is The Alpha 	10:46 	
2-8 	Univeral Thoughts	8:22

Bass – Alan Silva (tracks: 2-1 to 2-8), Bill Folwell (tracks: 1-2 to 1-5, 2-1 to 2-8), 
Henry Grimes (tracks: 1-2 to 1-5)
Cello – Joel Freedman (tracks: 1-1, 2-1 to 2-8)
Drums – Beaver Harris (tracks: 1-2 to 1-5, 2-2 to 2-8)
Tenor Saxophone, Alto Saxophone – Albert Ayler
Trumpet – Don Ayler (tracks: 1-1 to 1-5, 2-2 to 2-8)
Violin – Michel Sampson (tracks: 1-2 to 1-5, 2-1 to 2-8)
Piano – Call Cobbs Jr.
Trombone – George Steele

Track 1-1 recorded at The Village Gate, New York City on March 28, 1965.
Tracks 1-2 to 1-5 recorded at The Village Vanguard, New York City on December 18, 1966.
Track 1-6 recorded at The Village Vanguard, New York City on December 18, 1966.
Tracks 2-1 to 2-8 recorded at The Village Theatre, New York City on February 26, 1967.

Live in Greenwich Village was Albert Ayler's first recording for Impulse, and is arguably his finest moment, not only for the label, but ever. This double-CD reissue combines both of the Village concerts -- documented only partially on previously released LPs -- recorded in 1965 and 1966 with two very different groups. The Village gigs reveal the mature Ayler whose music embodied bold contradictions: There are the sweet, childlike, singalong melodies contrasted with violent screaming peals of emotion, contrasted with the gospel and R&B shouts of jubilation, all moving into and through one another. On the 1965 date, which featured Ayler, his brother Donald on trumpet, Joel Freedman on cello, bassist Lewis Worrell, and the great Sunny Murray on drums, the sound is one of great urgency. Opening with "Holy Ghost," the Aylers come out stomping and Murray double times them to bring the bass and cello to ground level in order to anchor musical proceedings to their respective generated sounds. "Truth Is Marching In" casts a bleating, gospelized swirl against a backdrop of three- and four-note "sung" phrases that are constantly repeated, à la a carny band before kicking down all the doors and letting it rip for almost 13 minutes. On the 1967 date of the second disc, the Aylers are augmented with drummer Beaver Harris, violinist Michel Sampson, Bill Folwell and Alan Silva on basses, and trombonist George Steele on the closer, "Universal Thoughts." "For John Coltrane" opens the set with a sweltering abstraction of tonalities in the strings and horns. On "Change Has Come," the abstraction remains but the field of language is deeper, denser, more urgent. Only with "Spiritual Rebirth," which opens with a four-note theme, does one get the feeling that the band has been pacing itself for this moment, and that the concert has become an actual treatise on the emotion of "singing" as an ensemble in uncharted territories. Throughout the rest of the set, Ayler's band buoys him perfectly, following him up through every new cloud of unknowing into a sublime musical and emotional beyond which, at least on recordings, would never be realized again. This recording is what all the fuss is about when it comes to Ayler. ---Thom Jurek, Rovi

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Albert Ayler – Lorrach, Paris 1966

2011-10-05T18:20:46Z

Albert Ayler – Lorrach, Paris 1966


01. Bells - 13:30
02. Prophet - 7:00
03. Our Prayer (Don Ayler) - Spirits Rejoice - 6:25
04. Ghosts - 3:26											play
05. Truth Is Marching In - 11:24
06. Ghosts - 7:44
07. Spiritual Rebirth - Light In Darkness - Infinite Spirit - 11:05
08. All - Our Prayer (Don Ayler) - Holy Family - 4:43		play

Personnel:
- Albert Ayler - tenor saxophone
- Don Ayler - trumpet
- Michel Sampson - violin
- William Folwell - bass
- Beaver Harris – drums

“Then along came Ayler. Holy shit! Brash and bold . . . Wailing, parading Albert Ayler – Psalm-swinging, Song-singing to you. Free at last, free at last. Thank God Almighty free at last.” Nobody put it quite like the late great Hal Russell, who said this in his autobiographical disc, The Hal Russell Story. Could anyone have been prepared for the sheer shock, the raw testimonial power of Ayler’s music? Hugely influential on several generations of tenor players – Joe McPhee, David Murray, David S. Ware, and Ken Vandermark, to name some of the more obvious examples – Ayler’s music sounds as fresh, wild, and uncompromising today as it must have then (we can only imagine, though the poet Ted Joans likens its impact to hearing the word “fuck” shouted in Saint Patrick’s Cathedral). On every record, from the brutal early slabs of sound to the deeply weird final records for Impulse!, Albert (often along with his brother Donald) aimed to raise the ceiling, to transform simple folk and church music into such outlandish essays in raw sound that they could deliver the musicians into some kind of mystical union.

Over the course of his tragically brief career, Ayler tended to rework the same material, generating ever more ecstatic whirls of sound. On this concert document from the end of 1966, which catches the group in the midst of a European tour which left audiences both befuddled and ecstatic, Ayler is joined by his brother on trumpet, Michael Samson on violin, William Folwell on bass, and Beaver Harris on drums. They exult in staples like “Bells,” “Spirits Rejoice,” “Ghosts,” and “Our Prayer,” among others. The previous version of this recording (and it’s a damn good thing it’s been reissued) had the track titles incorrect. Apparently when Ayler was asked after the Paris show (the recording’s final three tracks) what the song titles were, he was so tired he didn’t remember properly. No surprise there, given the surging energy of his tenor sax – which blows apart the harmonious moments even as it coos them back. The quavering sound of his horn – at once brutally forceful and intimately attuned to subtle grains of texture or modulation – is still what is most compelling about this music. Through all the formal moves this band makes – marches, hymns, free barrage – it is ultimately the preponderance of pure oscillating sound that comes across most effectively.

Beaver Harris is electric on this recording, pushing Donald Ayler to some of his most expressive playing on record during “Prophet.” Folwell (who creates such rich, almost unearthly drones with Samson) and Harris also get solo spots (which are believed to be their only ones on record with Ayler).

I’ve always seen the music documented on this 1966 tour as something of a stylistic interval between the epochal trio recordings of 1964 and the more fully-wrought ensemble recordings of the Greenwich Village gigs in 1967. But while this disc is not quite on the level of these two towering moments in Ayler’s music, it’s still a must-hear for Ayler freaks. He and his brother truly believed that their music was a long prayer to The One, and that their music could change the world. And when you’re melting to the rapture of “Our Prayer,” it almost seems believable. You don’t have to become a devout, but do not miss this stunning music. --- Jason Bivins, dustedmagazine.com

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