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| 5.580 Ft
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| 1. | Part A
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| 2. | Part B
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| 3. | Part C
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| 4. | Part D
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| 5. | Part E
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Jazz / Free Jazz, Avant-Garde Jazz
Recorded live, October 31 & November 1, 1991 during the Total Music Meeting at Haus der Jungen Talente in Berlin
Charles Gayle (tenor saxophone)
William Parker (double bass)
Rashied Ali (drums)
TOUCHIN' ON TRANE (first Release by Free Music Production (FMP 048) in 1993)
The essence of this music is way beyond those fundamental concepts [as notes, rhythms, harmonies] and besides, you were hip enough to buy this CD, therefore you probably don't need any instructions in appreciating how utterly wonderful this music is.
Why is it that Charles Gayle - an American musician playing at the highest level a music that the American culture system grudgingly acknowledges as 'America's only original contribution to the arts' - has not been offered by an American label even one chance to record and that his public performances are almost exclusively limited to the streets of New York and an occasional Monday night at the Knitting Factory? What is it about America - a country which alternately bills itself as 'the leader of the free world,' 'the land of liberty' and 'the land of opportunity' - that the most free and liberated music receives virtually no opportunities? The answer lies in America's inherently racist cultural attitudes and power structure and the fact that the music Messrs. Gayle, Parker and Ali play is self-determination music of the highest order, which, by definition, is the thing that most scares the s-t out of the American white colonialist power structure. What scares the power structure so much about this music is that it is a dynamic, unifying force that is not only beautiful to listen to, but also expands the listener's awareness of what it means to be a human being and all the implications that follow. For example, Ellington was the first composer who recognized that sitting in the chairs holding their musical instruments were human beings - developed individual human beings. Hence, he composed taking into account the individual musician's strengths and weaknesses. He was the first truly democratic composer
Gayle, Parker and Ali play in a context which is a natural evolution of Ellington's concept, each man contributing his whole musical self freely and spontaneously while at the same time taking into consideration the aesthetic needs of the composition and that each contribution/response blends with the others into a unified, harmonic whole. A spiritual unity and spiritual wholeness, which is finally, what this music is all about.
---Shortened version of the liner notes by Joseph Chonto, 1993
This is Charles Gayle's most accessible work. Gayle's mastery of free jazz is blended with a more traditional compositional style of jazz on this disc. Touchin' on Trane is composed of five original songs, and even includes ex-Coltrane drummer Rashied Ali. As the title insists, Coltrane is the influence for the music on this disc. The influence ranges from the upbeat tempo of "Giant Steps" in "Part A," while "Part D" is reminiscent of Coltrane's "Live in Japan" performances. Gayle, bassist William Parker, and Ali don't copy Coltrane, but rather expand on his accomplishments. Without covering any songs, Touchin' on Trane is the greatest John Coltrane tribute album. ~ Brian Flota, All Music Guide
Charles Gayle
Active Decades: '60s, '70s, '80s, '90s and '00s
Born: Feb 28, 1939 in Buffalo, NY
Genre: Jazz
Charles Gayle made his first significant impact on the free jazz scene with a series of critically acclaimed New York performances at the Knitting Factory in the mid- to late '80s. The tenor saxophonist's hyper-kinetic free expressionism draws on stylistic devices pioneered in the '60s by the late free jazz icon Albert Ayler. Like Ayler, Gayle employs a huge tone which, more often than not, he splits into its individual harmonic components. Timbral distortion is a key aspect of Gayle's work. His improvisations feature long, vibrating, free-gospel melodies, full of huge intervallic leaps, screaming multiphonics, and a density of line that evidences a remarkable dexterity in all registers of his horn (especially the altissimo). Gayle is also capable of great lyricism, imbued with the same bracing intensity present in his high-energy work.
Gayle began playing music at the age of nine. Except for a couple of years of piano lessons as a child, he was self-taught. Piano was his first and only instrument until he picked up a saxophone when he was 19. He listened to jazz as a teenager in the '50s. Gayle was intrigued by bebop; hearing Charlie Parker was a crucial experience. Gayle attempted to learn conventional harmony by analyzing sheet music and working things out on a piano. African-American church services had an profound effect on his music. Gayle moved from Buffalo to New York City in the '60s, where he became involved in the city's nascent free jazz movement. Gayle reportedly taught a jazz course at the State University of New York at Buffalo in 1969, where one of his students was the saxophonist Jay Beckenstein. There is at least one account of Gayle playing with drummer Rashied Ali's group around 1973, but little else is known about his activities during this period (he is not inclined to go into details when asked by interviewers about his past). Gayle took to playing his horn on the streets and in the subways, relying on donations from passers-by for income. Gayle lived a mainly precarious existence for the next twenty years. He was poor and homeless most of that time. Following his "discovery" in the '80s, gigs and tours coordinated by the Knitting Factory began to earn him a modest, if relatively steady income. Still, Gayle scuffled, though he was eventually able to rent a small apartment on New York's Lower East Side. In 1988, Gayle recorded a series of albums for the Swedish-based Silkheart label. Their release in 1990 gave his music worldwide exposure. Subsequent recordings for Black Saint, FMP, and the Knitting Factory house label garnered him more of a reputation.
In the '90s, Gayle took to performing on piano and bass clarinet in basically the same style that he displays on tenor, though the latter clearly remains his strongest instrument. Gayle's preferred ensemble instrumentation usually consists of himself, a bassist, and a drummer. His concerts are almost wholly improvised, and a single improvisation can last the length of a set. By the turn of the millennium, Gayle's concerts had taken on aspects of performance art. Gayle began dressing as a character he called "Streets the Clown," complete with costume and face paint, whereupon he would perform his music and preach a religious message to his audience. Indeed, Gayle's in-concert expressions of his religious and political views are a source of dismay to some critics and fans, and threaten at times to overshadow his music.
---Chris Kelsey, All Music Guide |
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