Albert Ayler Music

The Hilversum Session is a real gem! Albert w/ Don Cherry deliver one of their best records in a very full year (1964). The quartet powered through similiar material in the wonderful live Vibrations---one of my favorites. Here the quartet hones their studio sound. Albert's tenor brilliance in high fidelity is something to behold. Check out Don's cornet magic as well as Peacock's bass and the incredible Sunny Murray. Ayler live was always amazing, but here in the studio the group flows through the material at a different pace w/ Don & Albert playing a tighter sound. I love hearing Albert in this small setting, meshing his unreal full tenor w/ a master like Don Cherry. Soon the quartet disbanded and the 2 players moved on to other settings. But I've always cherished this work, and I want to thank ESP for reissuing this very very fine session. 100 stars for Albert!

Two short months after the landmark recording "Vibrations", Albert Ayler brought his working quartet of trumpeter Don Cherry, bassist Gary Peacock, and drummer Sunny Murray into the studio for another session. This would be the last recording by this band, and is by and large an extension of the previous work. Cherry decided to stay on in Europe, and in the course of 1965, both Peacock and Murray would leave Ayler's band. This lends a historical importance to the recording.

Unfortunately, the historical importance is not quite matched by the music itself-- it's not bad, necessarily, but compared to "Vibrations", its a bit of a letdown. The musicians play well enough, and they certainly have a tight synergy, but nothing really jumps out except the jarring "Angels" (a nice enough piece with a humanistic sax line but a somewhat haphazard improv) and the delicate and unique "No Name", which finds Ayler and Cherry repeatedly stating a crying, lovely theme. But then it's got "Infant Happiness", which is pretty sludgey and kind of lifeless.

Still, for anyone who loved "Vibrations" and is craving more of the Ayler/Cherry/Peacock/Murray quartet, this is a worthwhile find. My rating truthfully might be a bit harsh, but I am considering it comparatively. One nice thing is that the ESP reissue sounds absolutely fantastic-- sonically the music is up front, crisp and clear. Listening with headphones, I was shocked-- Ayler sounds like he's blowing his horn right next me. Certainly, it's a great upgrade. Now, if only they'd get the rights to "Vibrations"...

Two short months after the landmark recording "Vibrations", Albert Ayler brought his working quartet of trumpeter Don Cherry, bassist Gary Peacock, and drummer Sunny Murray into the studio for another session. This would be the last recording by this band, and is by and large an extension of the previous work. Cherry decided to stay on in Europe, and in the course of 1965, both Peacock and Murray would leave Ayler's band. This lends a historical importance to the recording.

Unfortunately, the historical importance is not quite matched by the music itself-- it's not bad, necessarily, but compared to "Vibrations", its a bit of a letdown. The musicians play well enough, and they certainly have a tight synergy, but nothing really jumps out except the jarring "Angels" (a nice enough piece with a humanistic sax line but a somewhat haphazard improv) and the delicate and unique "No Name", which finds Ayler and Cherry repeatedly stating a crying, lovely theme. But then it's got "Infant Happiness", which is pretty sludgey and kind of lifeless.

Still, for anyone who loved "Vibrations" and is craving more of the Ayler/Cherry/Peacock/Murray quartet, this is a worthwhile find.

12 discs are a lot of listening for any artist. listening to Albert Ayler is a challenging experience in small doses. So this is a monumental task. AA, or the Holy Ghost, as he refers to himself provides a wonderful experience with these discs. The music, usually recorded live, was not meant to be released so the freedom of expression that is his calling card is more unrestrained than his commercial releases - which on one can accuse of being conventional. His tunes careen wildly from spirituals or freaky atonal explorations. Never dull, always surprising, and never satisfied to mine the familiar.

Listen really closely to the Pharoah track. Near the end you'll hear someone soloing on tenor in the left channel. There is no information to account for this player; no one knows who it was, and none of the other musicians remember him. But LISTEN to him... I may have to listen a few more times to confirm this, but if I didn't know better, I'd say that was Coltrane. Of course, that's impossible; Trane died in '67 and this recording is from '68. So there's no way it could be Trane. But, to quote the liners, although they were actually referring to Ayler, I feel it applies here too... it could hardly be anyone else.

There is a 3 LP edition that is selections from the 9 CD set. The essay with the LP set is extracted from the CD set. Despite any special value of a vinyl set, the price of the vinyl set is nearly the same as the complete CD set and the book with the CD set is a hard bound, cloth covered book with much much more information and many more photos (the LP essay is printed on the paper LP sleeves, and is only a fraction of the full book). Despite this Amazon listing that suggests you are getting the CD edition, you can see that amazon's listing is messed up. When I ordered it, I got the LP set. I had to return it, because I wanted the much more comprehensive CD Box. AMAZON SHOULD FIX ITS LISTING SO DEALERS CAN PROVIDE THE CD EDITION.

This Amazon listing is actually for the vinyl release of the same name, not the 10 CD Holy Ghost box set described in most of these reviews, and which over three LPs contains only a fraction of the music Amazon lists above (which is all on the CD set). Be careful when purchasing from marketplace sellers, most of whom are selling, the LP edition.

Okay, I know what you're thinking. You've probably never even heard Tool cause you're stuck in the 30's. Or whenever jazz happened. But let me tell you something. The bassist on this box set is totally sleighed by Tool's bassist. Like, I mean, this guy doesn't even play electric. Tool's bassist does. And it's a 5-string. Sometimes even 6. Could Albert whatever's bassist do that? I think not. Skip this sorry box set, and get the much better and also cheaper Tool's Aenima. You'll help music, economics, and your life.

12 discs are a lot of listening for any artist. listening to Albert Ayler is a challenging experience in small doses. So this is a monumental task. AA, or the Holy Ghost, as he refers to himself provides a wonderful experience with these discs. The music, usually recorded live, was not meant to be released so the freedom of expression that is his calling card is more unrestrained than his commercial releases - which on one can accuse of being conventional. His tunes careen wildly from spirituals or freaky atonal explorations. Never dull, always surprising, and never satisfied to mine the familiar.

Listen really closely to the Pharoah track. Near the end you'll hear someone soloing on tenor in the left channel. There is no information to account for this player; no one knows who it was, and none of the other musicians remember him. But LISTEN to him... I may have to listen a few more times to confirm this, but if I didn't know better, I'd say that was Coltrane. Of course, that's impossible; Trane died in '67 and this recording is from '68. So there's no way it could be Trane. But, to quote the liners, although they were actually referring to Ayler, I feel it applies here too... it could hardly be anyone else.

There is a 3 LP edition that is selections from the 9 CD set. The essay with the LP set is extracted from the CD set. Despite any special value of a vinyl set, the price of the vinyl set is nearly the same as the complete CD set and the book with the CD set is a hard bound, cloth covered book with much much more information and many more photos (the LP essay is printed on the paper LP sleeves, and is only a fraction of the full book). Despite this Amazon listing that suggests you are getting the CD edition, you can see that amazon's listing is messed up. When I ordered it, I got the LP set. I had to return it, because I wanted the much more comprehensive CD Box. AMAZON SHOULD FIX ITS LISTING SO DEALERS CAN PROVIDE THE CD EDITION.

This Amazon listing is actually for the vinyl release of the same name, not the 10 CD Holy Ghost box set described in most of these reviews, and which over three LPs contains only a fraction of the music Amazon lists above (which is all on the CD set). Be careful when purchasing from marketplace sellers, most of whom are selling, the LP edition.

Okay, I know what you're thinking. You've probably never even heard Tool cause you're stuck in the 30's. Or whenever jazz happened. But let me tell you something. The bassist on this box set is totally sleighed by Tool's bassist. Like, I mean, this guy doesn't even play electric. Tool's bassist does. And it's a 5-string. Sometimes even 6. Could Albert whatever's bassist do that? I think not. Skip this sorry box set, and get the much better and also cheaper Tool's Aenima. You'll help music, economics, and your life.

Two shorter numbers with Tony on tenor sax sandwich the 30 minute tour de force with Tony on the gargantuan BASS saxophone. I'm tellin' ya, he really cooks on the big horn. I'd heard his tenor playing before (big shots)and was impressed. I wasn't prepared for this though. I couldn't imagine someone being as fleet and expressive as Tony is with such a large instrument. The long middle number is simply outstanding. The two tenor rides are great and act as a buffer. For me anyway.
The supporting cast is stellar. John Edwards is a phenomenal U.K. bassist who has played with Evan Parker, Frode Gjerstad, and others. He is an equal partner on this record. His playing is solid and the sound of his bass comes through extremely well. He's got lots to say and he says it with a style that is very much his own making. There are saxophone trios that fall short because of pedestrian bass playing. Not here, no way. This guy is great.
Sunny Murray starts the record and finishes it. The first few minutes he invites you to ride along with him. It's like the rising tide. Everything gets covered. All the nooks and crannies. Everything. He is, in my opinion, the most amazing drummer to listen to. He plays like a wave coming to envelop you. Or millions of tiny feet parading in your direction. And it's all so subtle and seamless. It's the perfect sound for the other guys to play over.
It's a great listen and I would recommend it to any adventurous soul who enjoys the delights of the so called avant garde.
* There is now-December 2007-a second cd of this fine trio available on the Foghorn label. Seek it out!

The neglected "Last Album" deserves reissue in its entirety and Impulse had enough room here to include more tracks from these sessions. I hope they will search for any unpublished pieces and do justice to these final days, which are as moving as any of the earlier and more Modernist style. As a whole it is filled with gripping pieces.

While it's inclined to have been a wildly unpopular selection of songs, "Albert Ayler: The Impulse Story" prevents a balanced account of Ayler's tenure on Impulse! during the latter half of his career. Ayler's last recordings are often maligned, perhaps somewhat unfairly, but his fans, and they are heavily represented here, but given that only six albums were released on Impulse! (and the last three fall into this unpopular category), the track selection should be of no surprise.

Still, even the earlier Impulse! work seems to be fairly unpopular. Ayler had begun to codify his ideas pretty strongly and his performances reflected this. The album opens with three tracks that are drawn from "Live in Greenwich Village: The Complete Impulse! Records". "Holy Ghost", the earliest recording on this set, from 1965, paints a clear picture of early Ayler-- performing on tenor and joined by his brother Don on trumpet, cellist Joel Freeman, bassist Lewis Worrell, and drummer Sunny Murray, the piece consists of a brief, frantic theme statement followed by freewheeling solos, with free associative performances by the strings and Murray below (with Murray adding his odd singing to the mix). The performance is not for the feint of heart.

By late 1966, where the next two recordings are drawn, Ayler had begun to change a bit-- his performances were more theme oriented, with briefer, less associative improvs, and while it was still fierce and powerful music, its roots not only in the marches that Ayler adored but also in gospel were more apparent, with Ayler leading the call and his brother Don on response on "Truth is Marching In" (a medley of several themes run through by the Ayler brothers backed by violinest Michel Samson, bassists Henry Grimes and Bill Folwell and drummer Beaver Harris). The other cut from '66 finds Ayler backed only by piano (thought to be Call Cobbs) and a nearly inaudible bass on "Angels". Here, Ayler is meditative and melodic over the oddly timbred piano lines opening beneath him-- if density and energy were the recipe on the other two cuts, melody and earnestness are what's cooking here. Ayler's playing is no less spectacular, no less powerful, just quite different.

This pretty much leaves behind the commonly accepted material in Ayler's catalog-- he recorded a coda to this time on the album "Love Cry" in 1967. Eschewing extended improv, instead Ayler ran pretty much straight with his themes ("Love Cry" and "Bells" are represented here) backed by his brother Don on trumpet, bassist Alan Silva and drummer Milford Graves. This particular recording is one of my favorites in Ayler's catalog-- it may not have the long, extended collective improvs, but this quartet can squeeze more into a three minute theme (or themes) statement than most bands could fit in an hour, and the music is stunning.

What followed is the album that draws most of the criticism and ire-- the claims of sellout, the feeling that Ayler's career ended in 1968. Depending on who you believe, either producer Bob Thiele or Ayler himself decided it was time for Ayler to work with a rock band (although the music that came out was more r&b tinged). Ayler assembled longtime partners Call Cobbs on keyboards and Bill Folwell on electric bass and rounded out his quartet with Bernard Purdie on drums for a much more straightahead, r&b feel, featuring vocals by his girlfriend Mary Maria, singer Rose Marie McCoy and Ayler himself. The material is very, well, different, is the only way to describe it. Still, from the first track here, "New Grass/Message From Albert", you wouldn't know it-- Ayler's sax screeches and wails in the altissimo register in one of his best performances on record, backed only by Folwell's squirrelly bass before cross fading into an oddly schmaltzy lounge band with Ayler discussing his musical change above it. And certainly "Free At Last", the other track from that session, illustrates this-- a swinging gospel arrangement with chanted vocals, overdone horns, and a lead vocal by Ayler (whose singing, while not exactly fantastic, is as full of passion as his sax playing) and a superb r&b solo, it's not the music he played in the past, but it doesn't make it bad.

The last sessions Ayler did were a year later in 1969 and are as different from "New Grass" as it was from what came before. Ayler and Mary Maria, backed by pianist Bobby Few, bassists Folwell and Stafford James and drummer Muhammed Ali, perform much more in a free jazz vein. The material was split over "Music is the Healing Force of the Universe" (the last album Ayler released in his lifetime) and the posthumous "The Last Album". These pieces are closer to the free jazz of late period Coltrane than anything else, with Ayler's penchant for marching themes totally subsumed. The sharp criticism levied against this is leftover from people who dismiss these albums of more of "New Grass" who probably would really enjoy this, although personally I've found this material among the least satisfying of Ayler's albums, simply because it doesn't break as much new ground. His performances are fine, but he sounds like every other post-Coltrane tenor. Two days after these sessions, Ayler returned to the studio with Canned Heat guitarist Henry Vestine for a few cuts, including "Untitled Duet" which pits Ayler on bagpipes against Vestine's guitar. Vestine is seeped in distortion and blues, and provides an ideal framework for Ayler's explorations, which sound remarkably like a nasally version of his tenor.

As a set, it provides a reasonable overview of Ayler's tenure with Impulse, although the omission of "Ghosts" is somewhat curious-- this is Ayler's most famous composition, an extraordinary theme that seems instantly recognizable and is one of those pieces that grabs the listener with its intensity-- Ayler recorded it numerous times during his career, including twice for Impulse (once for "Love Cry" and once reinvented for "New Grass"). Either recording in my assessment would have better served in place of one of the tracks from those records. Also of note is the two tracks from "The Last Album", the only pieces here not available on CD and therefore the bits of real value to a collector.

Personally, I always hope these sort of retrospective pieces will get people to look past their criticisms and reevaluate some of Ayler's later music-- they're good records, quite different from what he did before, but well worth a listen. For newcomers to Ayler, this is a reasonable overview of his later career, although I'd recommend starting with "Love Cry" over even this set.