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| Spirits Rejoice |
| Albert Ayler |
| első megjelenés éve: 1965 |
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| (2007)
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CD |
| 4.300 Ft
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| 1. | Spirits Rejoice
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| 2. | Holy Family
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| 3. | D. C.
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| 4. | Angels
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| 5. | Prophet
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Jazz / Avant-Garde, Free Jazz, Avant-Garde Jazz
Recorded in 1965, Judson Hall, NYC
Albert Ayler - Saxophone, Sax (Tenor)
Call Cobbs Harp, Harpsichord
Charles Tyler Sax (Alto), ?
David Hancock Engineer
Donald Ayler Trumpet
Gary Peacock Bass
Henry Grimes Bass
Max Harrison Liner Notes
Paul Costuros Layout Design, Design
Remco Takken Liner Notes
Sandra H. Stollman Cover Art
Sunny Murray Drums, Percussion
Cobbs' harpsichord conjures up the spirit world in Ayler's most directly Christian statement."
ALBERT AYLER: SPIRITS REJOICE. Judson Hall, now Cami Hall, on West 57th Street in New York City, was chosen by engineer David Hancock for its acoustics. On the afternoon of September 23, 1965, the session was recorded at 30 IPS, rather than the customary 15 IPS, to achieve the highest possible fidelity.
Recorded live at New York's Judson Hall in 1965, Spirits Rejoice is one of Albert Ayler's wildest, noisiest albums, partly because it's one of the very few that teams him with another saxophonist, altoist Charles Tyler. It's also one of the earliest recordings to feature Ayler's brother Don playing an amateurish but expressive trumpet, and the ensemble is further expanded by using bassists Henry Grimes and Gary Peacock together on three of the five tracks; plus, the rubato "Angels" finds Ayler interacting with Call Cobbs' harpsichord in an odd, twinkling evocation of the spiritual spheres. Aside from that more spacious reflection, most of the album is given over to furious ensemble interaction and hard-blowing solos that always place in-the-moment passion above standard jazz technique. Freed up by the presence of the trumpet and alto, Ayler's playing concentrates on the rich lower register of his horn and all the honks and growls that go with it; his already thick, huge tone has rarely seemed more monolithic. Spirits Rejoice also provides an opportunity to hear the sources of Ayler's simple, traditional melodies becoming more eclectic. The nearly 12-minute title track has a pronounced New Orleans marching band feel, switching between two themes reminiscent of a hymn and a hunting bugle call, and the brief "Holy Family" is downright r&b-flavored. "Prophet" touches on a different side of Ayler's old-time march influence, with machine-gun cracks and militaristic cadences from drummer Sunny Murray driving the raggedly energetic ensemble themes. For all its apparent chaos, Spirits Rejoice is often surprisingly pre-arranged -- witness all the careening harmony passages that accompany the theme statements, and the seamless transitions of the title track. Spirits Rejoice is proof that there was an underlying logic even to Ayler's most extreme moments, and that's why it remains a tremendously inspiring recording. ~ Steve Huey, All Music Guide
Albert Ayler
Active Decades: '60s and '70s
Born: Jul 13, 1936 in Cleveland, OH
Died: Nov 05, 1970 in New York, NY
Genre: Jazz
Styles: Avant-Garde, Free Jazz, Avant-Garde Jazz
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, All Music Guide |
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