AN ONLINE QUARTERLY MUSIC MAGAZINE
EDITOR: KOFI NATAMBU
SPRING, 2017
EARTH WIND AND FIRE
(May 20-May 26)
JACK DEJOHNETTE
(May 27-June 2)
ALBERT AYLER
(June 3-June 9)
VI REDD
(June 10-June 16)
LIGHTNIN’ HOPKINS
(June 17-June 23)
JULIAN “CANNONBALL” ADDERLEY
(June 24-June 30)
JAMES NEWTON
(July 1-July 7)
ART TATUM
(July 8-July 14)
SONNY CLARK
(July 15-July 21)
JASON MORAN
(July 22-July 28)
SONNY STITT
(July 29-August 4)
BUD POWELL
(August 5-August 11)
Monday, July 14, 2014
In Memory of Albert Ayler, 1936-1970: Legendary Saxophonist, Composer, and Musical Visionary On His 78th Birthday--A Tribute to His Life And Work
MY NAME IS ALBERT AYLER
(Director: Kaspar Collin; 2007)
BY RICHARD BRODY
NOVEMBER 12, 2007
THE NEW YORKER
http://www.newyorker.com/online/blogs/movies/2010/09/ghost-stories.html
GHOST STORIES
POSTED BY RICHARD BRODY
THE NEW YORKER
The mysterious death, in 1970, of Albert Ayler, the most visionary of jazz musicians—or, rather, the one who, definitively, broke jazz out of the bounds of staffs and scales and chords and bar lines toward the realms of sound and spirit as such—is the subject of a recently-published French book that I’d very much like to read: “Albert Ayler: Témoignages sur un Holy Ghost” (Albert Ayler: Testimony on a Holy Ghost), an oral history by the critic Franck Médioni. The filmed portrait of the musician, “My Name Is Albert Ayler,” by the Swedish director Kasper Collin makes for poignant and exhilarating viewing, and I’m eager to see what Médioni has come up with.
I was pointed in the book’s direction by yesterday’s blog post on Libération’s Web site from Bruno Pfeiffer, their jazz critic. There, he interviews one of Ayler’s great contemporaries, Archie Shepp (who lives in France), who explains that he met Ayler by chance on the streets of Greenwich Village in 1963.
We introduced ourselves. We agreed to meet again soon. You know, I come from the blues, I grew up with my father’s banjo. Free jazz didn’t knock me out, didn’t turn my head. I never thought of myself as a free-jazzman. But I had recently recorded with Cecil Taylor. The pianist had opened me up to new aspects of jazz. Without the doors opened by Cecil, I’d have wondered, when I heard him, what this guy was trying to do. The first time I heard Ayler, at the Jazz Gallery, I thought that the room was exploding in every direction. Nobody had ever heard a saxophonist play with such freedom, take such risks…. I understood that this guy was in the process of replacing one school with another.
Interesting that Shepp—one of the principal free-jazz musicians of the sixties (listen to him on the opening track of the 1966 studio recording “Mama Too Tight,” or “Three for a Quarter, One for a Dime,” from the 1966 recording “Live in San Francisco” or the fierce 1967 recording “Life at the Donaueschingen Music Festival”)—distances himself from it. But, even in the mid-sixties, while Ayler and Taylor were breaking away from the familiar jazz repertory, Shepp brought a bluff Ellingtonian romanticism to some of his recordings (also in evidence on “Mama Too Tight”). It’s also noteworthy that he mentions his father’s banjo—I’ve always thought that there’s something guitar-like in his playing. (I wrote about it several months ago.) Shepp, in recent decades, has been working more squarely within the jazz traditions that predate the musical revolutions of the sixties; it is tragic not to know what Ayler would have gone on to do.
"Trane was the Father, Pharoah [Sanders] was the Son, I am the Holy Ghost."
Spiritual Unity is an album by the American jazz saxophonist Albert Ayler, with bassist Gary Peacock and percussionist Sunny Murray. It was recorded for the ESP-Disk label and was a key free jazz recording which brought Ayler to international attention. It features two versions of Ayler's most famous composition, "Ghosts".
they did not need you, Albert
they did not need and
we could not bear
the awful weight of
your song Albert
of Ancient Dynasties
of occult stellar
communities, of Ausars
insistant transmigration
& cosmic parody they
prefer to stare blank-eyed
into the god-damned maw
of instransigence, we
could not hold nor protect
you, Albert
we who are raw &
debauched would not
suffer for your
brutally olympian sweetness,
the invocation of power
ghosts, your untimely
candor, the burden of your
martyrdom
and so they come
loudspeakers in the nite
with jarring angular
voices comes red mists
& sulphiric yellow rains
so we sweat pus &
languid oils from the east
comes prophets unacquainted
with sin
comes the anti-cristo
comes in halting
arhythmic steps, & we're
to assume them dancers
they come with stones
& equations they claim
to love the brilliant imago
if you are the dali lama
then your light is dispursed
among raggedy-assed
saxophonists under the
evasive streetlights of
tomorrow
As for Me I must forage
PUBLISHED IN:
SOLID GROUND: A New World Journal
Fall 1981
Volume 1 Number 1
Page 39
Editor: Kofi Natambu
Reprinted in Nostalgia For The Present: An Anthology of Writings (From Detroit)
April 1985
Editor: Kofi Natambu
“Untitled” International Times (UK), No. 10, March 13-26, 1967, p. 9.
“To Mr. Jones - I Had A Vision” The Cricket (US), 1969, p. 27-30.
Articles about Ayler:
Francois Postif: "Albert Ayler, le Magicien." Jazz Hot (France), No. 213, October, 1965, p. 20-22.
Frank Smith: "His Name is Albert Ayler." Jazz (US), 11 November 1965, p. 11-14.
John Norris: "Three Notes with Albert Ayler." Coda (Canada), April./May 1966, p. 9-11.
Erik Raben: “I Dischi Di Albert Ayler.” Musica Jazz (Italy), August/September 1966, p. 36-39. (Revised version in Orkester Journalen (Sweden) May/June 1967.)
Michel Le Bris: "l'artiste volé par son art." Jazz Hot (France), No. 229, March 1967, p. 16-19.
P. Charles & J. L. Comolli: "Les secrets d'Albert le Grand." Jazz Magazine (France), No. 142, May 1967, p. 34-39.
W. A. Baldwin: “Albert Ayler—Conservative Revolution?” Jazz Monthly (UK), No. 151, September, 1967, p. 15-19, No. 152, October, 1967, p. 15-16, 31, No. 153, November, 1967, p. 9-13, No. 155, January, 1968, p. 10-13, No. 156, February, 1968, p.12-17.
Peter Smids: “A.A.” Gandalf (Netherlands), No. 24, December/January 1967-68.
Martin Schouten: “Albert Ayler En De Tranen Van Stan Laurel” Algemeen Handelsblad (Netherlands) 11 January 1969
Rudy Koopmans: “Albert Ayler: New Grass.” Jazz Wereld (Netherlands), No. 24, June/July 1969, p. 12-18.
Philippe Carles: “La Bataille d’Ayler n’est pas finie.” Jazz Magazine (France), No. 185, January 1971.
John Litweiler: "The Legacy of Albert Ayler." Down Beat (US) 1 April, 1971, p. 14-15, 29.
Ted Joans: "Spiritual Unity—Albert Ayler—Mister AA of Grade Double A Sounds." Coda (Canada), August, 1971,
p. 2-4
Philippe Carles, Patrice Blanc-Francard, Steve Lacy, Yasmina Khassani, Jean-Louis Comolli, Pierre Lattès, Daniel Caux, Delfeil de Ton, Jacques Réda: “Un Soir Autour d’Ayler.” Jazz Magazine (France), No. 192, September 1971, p. 26-31, 48-50.
Alain Tercinet, Chris Flicker & Gerard Noel: “Albert Ayler.” Jazz Hot (France), 1971, p. 22-25.
Han Schulte: “De Schreeuw Van Albert Ayler.” Jazz Nu (Netherlands), November 1980, p. 56-73.
Mike Hames: "The Death of Albert Ayler." The Wire (UK), No. 6, Spring 1984, p. 27-28.
Richard Williams: “Blowing In The Wind.” The Guardian (UK), 24 November 2000.
Jedediah Sklower: “Rebel with the wrong cause. Albert Ayler et la signification du free jazz en France (1959-1971.” Volume! La revue des musiques populaires (France), No. 6 (1&2), 2008, p. 193-219. (offsite)
John Fordham: “50 great moments in jazz: The shortlived cry of Albert Ayler.”The Guardian (UK), 27 September 2010. (offsite)
Albert Ayler - The Truth Is Marching In
By Nat Hentoff
Down Beat
17 November, 1966
USA
IN A RESTAURANT-BAR IN Greenwich Village, tenor saxophonist Albert Ayler was ruminating on the disparity between renown and income. In his case, anyway. Covers of his albums are prominent in the windows of more and more jazz record stores; references to him are increasingly frequent in jazz magazines, here and abroad; a growing number of players are trying to sound like him.
“I’m a new star, according to a magazine in England,” Ayler said, “and I don’t even have fare to England. Record royalties? I never see any. Oh, maybe I'll get $50 this year. One of my albums, Ghosts, won an award in Europe. And the company didn’t even tell me about that. I had to find out another way.”
In manner, he is reminiscent of John Lewis of the Modern Jazz Quartet—a gentle exterior with a will of steel, a shy laugh, and a constant measuring of who you are and what you want. Ayler’s younger brother, trumpeter Don, is taller, equally serious, and somewhat less given to smiling.
“That’s what they call the testing period,” Don volunteered. “First you get exploited while the music is being examined to see if it has any value. Then when they find there's an ideology behind it, that there’s substance to it, they’ll accept it as a new form.”
“What is its ideology?” I asked.
“To begin with,” Albert answered, “we are the music we play. And our commitment is to peace, to understanding of life. And we keep trying to purify our music, to purify ourselves, so that we can move ourselves—and those who hear us—to higher levels of peace and understanding. You have to purify and crystallize your sound in order to hypnotize. I’m convinced, you see, that through music, life can be given more meaning. And every kind of music has an influence— either direct or indirect—on the world around it so that after a while the sounds of different types of music go around and bring about psychological changes. And we’re trying to bring about peace. In his way, for example, that’s what Coltrane, too, is trying to do.
“To accomplish this, I must have spiritual men playing with me. Since we are the music we play, our way of life has to be clean or else the music can’t be kept pure.”
This meant, he continued, that he couldn’t work with someone addicted to narcotics or who otherwise is emotionally unstable.
“I couldn’t use a man hung up with drugs, because he’d draw from the energy we need to concentrate on the music,” Ayler said. “Fortunately, I’ve never had that problem. I need people who are clear in their minds as well as in their music, people whose thought waves are positive. You must know peace to give peace.”
“You can hear what we’re talking about,” Don emphasized, “in the sound of the musicians we’ve worked with. It’s a pure sound, like crystal.”
“Like Gary Peacock,” Albert said.
THE ELDER AYLER brother was born in Cleveland, Ohio, July 13, 1936.
For three years, Albert was in the Army. “It was at that time,” he said, “that I switched to tenor. It seemed to me that on the tenor you could get out all the feelings of the ghetto. On that horn you can shout and really tell the truth. After all, this music comes from the heart of America, the soul of the ghetto.”
“Do you feel, then, that only black men can play this kind of music?” I asked.
Ayler laughed and said, “There are ghettos everywhere, including in everybody’s head.”
“What this music is,” Don added, “is one individual’s suffering—through his imagination—to find peace.”
“In the Army,” Albert said, returning to autobiography, “we’d have to play concert music six and seven hours a day. But after that, we’d always practice to find new forms. The C.O. in the band would say about my playing during those times, ‘He’s insane. Don’t talk to him. Stay away from him.’ But all the guys—and Lewis Worrell was one of them—were just as interested as I was in getting deeper into ourselves musically.”
Two years of that Army service were spent in France, and in off-base hours, Ayler played at the Blue Note and other Paris clubs. On being discharged in 1961, he stayed in Europe for a time. There were eight months in Sweden during which he traveled through the country in a commercial unit that included a singer.
“I remember one night in Stockholm,” he said, “I started to play what was in my soul. The promoter pulled me off the stage. SO I went to play for little Swedish kids in the subway. They heard my cry. That was in 1962. Two years later I was back with my own group—Don Cherry, Sonny MJurray, Gary Peacock. The promoter woke up. He didn’t pull me off the stage that time.”
By 1963 Ayler was back in the United States. He was heard in New York with Pianist Cecil Taylor, and the word began to spread that whatever was going to happen in the music in the years ahead, Albert Ayler would be an important force. But lack of work at the time sent him back to Cleveland.
“Our parents are very understanding,” he said. “When the economics get to be too much, we’ve always been able to go back home, work out new tunes, and keep the music going.”
In 1964 Albert was back in Europe with bassist Peacock and drummer Murray, picking up trumpeter Cherry who was already there. Their tour included Sweden and Holland. Since then, records Ayler made in Europe and albums he recorded here for ESP have strengthened his reputation and have intensified curiosity about his work. But club and concert work remains exceedingly rare.
DON AYLER, born in Cleveland Oct. 5, 1942, was taught alto saxophone by his father. While studying at the Cleveland Settlement, he switched to trumpet when he was about 13.
“I enjoyed the trumpet more,” Don explained, “because for me, it was possible to deliver a more personal feeling and explore a greater range on that instrument.”
In 1963 the younger Ayler went to Sweden. “I wanted to free my mind from America,” he said, “and I wanted to find my own form—not only in music but in thought and in the way I used my imagination. After four months in Stockholm, I felt my imagination wasn’t being stimulated any more. And I wanted to be a free body, moving. So I went up to the North Pole. I hitchhiked three or four thousand miles to a place called Jokkmockk.”
“With a big pack on his back,” Albert added admiringly.
“In 1964,” Don continued, “I came back home to Cleveland, and for three months, I just stayed in the house, practicing nine and 10 hours a day.”
I asked the brothers about the primary influence on their music.
“There was also Sidney Bechet. I was crazy about him. His tone was unbelievable. It helped me a lot to learn that a man could get that kind of tone. It was hypnotizing—the strength of it, the strength of the vibrato. For me, he represented the true spirit, the full force of life, that many of the older musicians had—like in New Orleans jazz—and which many musicians today don’t have. I hope to bring that spirit back into the music we’re playing.”
“The thing about New Orleans jazz,” Don broke in, “is the feeling it communicated that something was about to happen, and it was going to be good.”
I asked the brothers how they would advise people to listen to their music.
“For me,” Albert said, “it was like humming along with Mitch Miller. It was too simple. I’m an artist. I’ve lived more than I can express in bop terms. Why should I hold back the feeling of my life, of being raised in the ghetto of America? It’s a new truth now. And there have to be new ways of expressing that truth. And as I said, I believe music can change people. When bop came, people acted differently than they had before. Our music should be able to remove frustration, to enable people to act more freely, to think more freely.
“People talk about love,” Albert explained, “but they don’t believe in each other. They don’t realize they can get strength from each other’s lives. They don’t extend their imaginations. And once a man’s imagination dies, he dies.”
“Everybody,” Don said, “is afraid to find out the ultimate capacities of his imagination.”
“Yes,” said Don, “people have to get beyond color.”
Selected Bibliography of critical/literary texts and musical recordings by and about Albert Ayler in the United States and Europe:
Biography
As Serious As Your Life by Val Wilmer
London: Allison & Busby, 1977, 296 pages.
(current edition - London: Serpent’s Tail, 1999, 304 pages, ISBN 1852427302)
Journalist and photographer, Val Wilmer chronicled the Free Jazz scene as it was happening. Her book, As Serious As Your Life is an acknowledged classic and the chapter on Albert Ayler is the source for much of the Jeff Schwartz biography.
Albert Ayler: His Life and Music by Jeff Schwartz
Unpublished, 1993. Available online.
Jeff Schwartz credits Val WIlmer as the source for much of his own book, however he also draws on a number of other sources to compile an oral history of Albert Ayler. All recording sessions are listed and the author adds his own critical evaluation.
Fiction:
‘Now and Then’ by Leroi Jones
First published in Tales
New York: Grove Press, 1968, 132 pages.
ISBN 155652353X)
‘Now and Then’, a short story by Leroi Jones, begins:
“This musician and his brother always talked about spirits. They were good musicians, talking about spirits, and they had them, the spirits, and soared with them, when they played. The music would climb, and bombard everything, destroying whole civilizations, it seemed.”
Leroi Jones, later known as Amiri Baraka, was one of the most important writers of his generation. A respected poet, playwright, essayist and political activist, he was heavily involved in the 'free jazz' scene of the 1960s and was responsible for the recording session which resulted in Sonny’s Time Now. The LP was originally released on his own Jihad label and his performance of his poem Black Art with the group gave rise to a great debate (in England at least, in the pages of Jazz Monthly) about whether Albert Ayler’s music was politically motivated, or even, given the extreme imagery of Black Art, racist. Ayler's strange 'essay', ‘To Mr. Jones - I Had a Vision' was published in Baraka's magazine, The Cricket in 1969 and Baraka also recorded an album by Don Ayler for Jihad which has never been released. Baraka's relationship with the Ayler brothers raises a number of questions, none of which are answered in his contribution to the Holy Ghost book (see above). It would have been nice if he'd removed his poet's hat for a while and followed the advice of Joe Friday, but it was not to be.
(Spirits Rejoice: Albert Ayler and His Message)
by Peter Niklas Wilson
Hofheim, Germany: Wolke Verlag, 1996, 190 pages
The only published full-length biography of Albert Ayler (unfortunately unavailable in an English translation) was written by Peter Niklas Wilson. Wilson, who sadly died in October 2003, was a German musician, writer, broadcaster and academic who wrote a series of books about jazz musicians, including Ornette Coleman, Sonny Rollins, Charlie Parker, Anthony Braxton and Albert Ayler. The Ayler book contains an extensive biography, an analysis of Ayler's style and an annotated discography. Wilson met with Edward and Donald Ayler and also interviewed many musicians associated with Albert Ayler, including Sunny Murray, Michel Samson, Milford Graves, Steve Tintweiss, Bobby Few and Gary Peacock.
In June 2013 an Italian translation was published:
Albert Ayler. Lo spirito e la rivolta
Translated and edited by Francesco Martinelli and Antonio Pellicori
Italy: Edizioni ETS, 2013, 274 pages
ISBN: 9788846735720
Albert Ayler Holy Ghost by various
U.S.: Revenant Records, 2004, 208 pages.
Included in the Holy Ghost box set.
Although it cannot be purchased separately and two sections of the book relate directly to the 9 CDs of music in the Holy Ghost box set, there is enough other material to make this qualify as the first ‘proper’ book about Albert Ayler published in the English language. The contents are as follows:
1. ‘Spiritual Unity’ by Val Wilmer
(An updated version of the chapter in As Serious As Your Life)
2. ‘You Think This Is About You?’ by Amiri Baraka
(Amiri Baraka’s memories of Ayler in his own inimitable style)
3. ‘Whence’ by Ben Young
(Ayler’s influences)
4. ‘Albert Ayler in Europe: 1959-62’ by Marc Chaloin
(A meticulously researched essay about Ayler’s first visits to Europe.)
5. ‘Apparitions of Albert the Great in Paris and Saint-Paul-de-Vence’
by Daniel Caux
(Ayler at the Fondation Maeght)
6. ‘Witnesses’ compiled by Ben Young
(Reminiscences of Ayler)
7. ‘Tracks’ by Ben Young
(The sleevenotes to the 9 CDs in the box)
8. ‘Sidemen’ by Ben Young, Tom Greenwood and Matti Konttinen
(Brief biographies of all the other musicians on the CDs)
9. ‘Appendix’
A. ‘Close Encounter with Holy Ghost (and Horn) by Carl Woideck
(A short article about Ayler’s saxophones)
B. ‘Sightings’ by Ben Young and Carlos Kase
(An extensive Ayler sessionography)
Essays, etc.
Albert Ayler, Sunny Murray, Cecil Taylor, Byard Lancaster, Kenneth Terroade : on disc & tape
by Mike Hames
M. Hames, 1983, 63 pages - out of print.
‘Privately printed by the author with the financial assistance of the Arts Council of Great Britain.’
La Marseillaise by Marc-Edouard Nabe
France: La Dilettante, 1989, 38 pages - out of print.
An essay on the French national anthem (no English translation), published in a limited edition (666 copies) on the bicentenary of the French Revolution. According to Paul Jimenes (who first let me know about the book):
(Click image to enlarge.)
Improvisation analysis of selected works of Albert Ayler, Roscoe Mitchell and Cecil Taylor
by Jane Martha Reynolds
PhD thesis (unpublished) University of Wisconsin - Madison, 1993.
David Sanders has provided the following description:
“The main discussion of Albert Ayler in this thesis fills the first chapter, summarized again later in the conclusion. It outlines Ayler’s unconventional improvisation and his composition styles and techniques, including his use of wide vibrato, motivic riffing, overblown notes, and folk themes. The main focus of the chapter is an analysis of Ayler’s improvisation on the version of Ghosts from Prophecy. Reynolds claims that Ayler’s improvisation progressively becomes more and more timbrally based (she means further away from the theme and traditionally sounded notes in general) until tonal references are the only structural device linking his improvisation to the composition.”
Tous les blues d'Albert Ayler by Simon Guibert
E-Dite, France, 2005, 133 pages.
ISBN 2846081638
Based on the radio documentary by Simon Guibert and Yvon Croizier broadcast on France Musique in February 2005.
Albert Ayler
A quick word to mention that “My Name Is Albert Ayler,” a superb jazz documentary—one not available on DVD—is back, tonight, at 7:30, Maysles Cinema. (The director, Kasper Collin, will be on hand for a Q. & A.) I wrote about it at the time of its release, in 2007. Ayler, who died in 1970, simply took jazz farther than it had ever gone, and, indeed, as far as it could go; suddenly, all other jazz musicians seemed neo-classical (with the possible exception of Cecil Taylor, who played symbiotically with Ayler in 1962)—even if Ayler himself, in his incomparable freedom, embraced traditions, including those of New Orleans, that modern boppers had spurned (such as collective improvisation, wide vibrato, stark melodic simplicity, and lines based more on voice-like inflections than on complex harmonies). John Coltrane, in his last years, strongly reflected his influence, as did Eric Dolphy, in his last studio recording, “Out to Lunch,” from 1964. Collin’s film features interviews with Ayler’s family (including his brother, Donald, who played trumpet in his band) and an astonishing array of clips (including one of Ayler’s shattering performance at Coltrane’s funeral).
"Most of their efforts were expended on an occasionally funny parody of what sounded like a Salvation Army hymn and of fragments of “There’s No Place Like Home” and “Eeny-Meeny-Miney-Mo.” After a small sampling, the audience began packing up and leaving, causing my companion to observe that “Ayler is really breaking it up.”
"Trane was the Father, Pharoah [Sanders] was the Son, I am the Holy Ghost."
It was recorded for the ESP-Disk label and was a key free jazz recording which brought Ayler to international attention. It features two versions of Ayler's most famous composition, "Ghosts".
- Directed by Kasper Collin
- Documentary, Music
- 1h 19m
by MATT ZOLLER SEITZ
The Ohio-born tenor saxophonist Albert Ayler probably would have gotten a kick out of Kasper Collin’s documentary about his life, “My Name Is Albert Ayler,” which opens today at the Anthology Film Archives. Named after one of his albums and built around snippets of audio interviews with Mr. Ayler, it attempts and often achieves a fresh, playful style that’s equally informed by jazz traditions and Mr. Ayler’s urge to shatter them.
Mr. Ayler’s sound was formed during a rhythm-and-blues-influenced adolescence, a stint as an Army musician and a two-year sojourn in Northern Europe in the early ’60s that included exposure to the music of the free-jazz innovator Cecil Taylor.
The attention-getting final stretch of Mr. Ayler’s life started in 1963 in New York City (where he barged onstage with his sax during a John Coltrane performance and, to everyone’s astonishment, earned himself a fan and a sometime patron) and ended in 1970, when he went missing for two and a half weeks, then turned up floating in the East River.
- Director Kasper Collin
- Writer Kasper Collin
- Stars Albert Ayler, Donald Ayler, Edward Ayler, John Coltrane, Bill Folwell
- Running Time 1h 19m
- Genres Documentary, Music
- Movie data powered by IMDb.com
http://mynameisalbertayler.com/blog/
MY NAME IS ALBERT AYLER
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MY NAME IS ALBERT AYLER IN THE NEW YORKER
ALBERT AYLER FILM AT MAYSLES CINEMA IN NEW YORK JAN 19TH AND 20TH
AYLER FILM IN COLOGNE
“SURELY ONE OF THE GREATEST OF JAZZ DOCUMENTARIES”
AYLER FILM AT WEXNER CENTER FOR THE ARTS
MY NAME IS ALBERT AYLER THIRD BEST FILM OF 2008
AYLER FILM AT MONTEREY JAZZ FESTIVAL AND CALGARY INTERNATIONAL FILM FESTIVAL
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BACK IN NEW YORK CITY BY POPULAR DEMAND!
His Name Was Albert Ayler
by David Hajdu
July 7, 2011
http://www.allmusic.com/album/spiritual-unity-mw0000095214
Albert Ayler -- Spiritual Unity-- (full abum) (HD 1080p):
Albert Ayler - “Ghosts":
Albert Ayler + Don Cherry
Vibrations: FULL Lp (w/ video montage)
Children
Holy Spirit
Ghosts
Vibrations
Mothers
Gary Peacock--Bass
Sunny Murray--Drums
Don Cherry--Trumpet
Recorded Live on September, 1965 at Judson Hall, New York.
Albert Ayler - The Copenhagen tapes:
Albert Ayler - "Spirits Rejoice”:
Albert Ayler (Tenor Saxophone)
Charles Tyler (Alto Saxophone)
Gary Peacock (Bass)
Donald Ayler (Trumpet)
Henry Grimes (Bass)
Sunny Murray (Drums, Percussion)
Albert Ayler - Lörrach, Paris 1966:
Tracks 1-5 recorded live by South Western German Radio Network in Lorrach, Germany on November 7th, 1966.
Tracks 6-8 recorded live by Radio France/Salle Pleyel at Paris Jazz Festival on November 13th, 1966.
Tenor Saxophone – Albert Ayler
Trumpet – Don Ayler
Violin – Michel Sampson
Bass – William Folwell
Drums – Beaver Harris
Albert Ayler Interview with Daniel Caux for France Culture, July 27, 1970:
Albert Ayler interview with Kiyoshi Koyama for Swing Journal Recorded July 25th, 1970:
Albert Ayler
Albert Ayler
| |
Background information
| |
Born
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July 13, 1936
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Died
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November 25, 1970 (aged 34)
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Genres
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Occupation(s)
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Instruments
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Years active
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1952–1970
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Labels
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Associated acts
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Contents
Biography
Early life and career
Early recording career
Final years
Artistry
Influence and legacy
Discography
Year
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Album
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Original Issue
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1962
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Something Different!!!!!! (The First Recordings Vols. 1 & 2)
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Bird Notes
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1963
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1964
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Debut
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1964
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Osmosis
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1964
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Prophecy [Live]
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1964
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Albert Smiles With Sunny [Live]
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Inrespect
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1964
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ESP
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1964
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ESP
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1964
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Albert Ayler [Live]
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Philology
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1964
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The Copenhagen Tapes
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Ayler
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1964
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The Hilversum Session
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Osmosis
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1965
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Debut
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1965
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Bells [Live]
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ESP
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1965
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ESP
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1965
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Sonny's Time Now
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Jihad
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1966
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At Slug's Saloon, Vol. 1 & 2 [Live]
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ESP
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1966
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Lörrach / Paris 1966 [Live]
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1966
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In Greenwich Village [Live]
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1967
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Impulse!
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1968
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Impulse!
| |
1969
|
Impulse!
| |
1969
|
Impulse!
| |
1970
| ||
1970
|
Live on the Riviera [Live]
|
ESP
|
2004
| ||
2006
|
The Complete ESP-Disk Recordings
|
ESP
|
Notes
- Gale, "Stan Douglas: Evening and others", p. 363
References
- "Ayler, Albert—Spirits Rejoice", Encyclopedia of Popular Music. Oxford University Press, November 17, 2006. Web.
- Ayler, Albert. "To Mr. Jones—I Had a Vision". The Cricket 4.
- Brody, Richard. "My Name is Albert Ayler", The New Yorker, November 12, 2007.
- Claghorn, Charles Eugene. The Biographical Dictionary of Jazz. Prentice-Hall, 1982.
- ESP-Disk' Discography. Esp-Disk. http://www.espdisk.com/official/series/1000cover.html
- Gioia, Ted. The History of Jazz. Oxford University Press, 2011.
- Hardy, Phil. "Albert Ayler", The Faber Companion to 20th Century Popular Music, 2001. Web.
- Jenkins, Todd S. Free Jazz and Free Improvisation: An Encyclopedia, Volume 1. Greenwood Press, 2004.
- Jost, Ekkehard. Free Jazz. Da Capo Press, 1975.
- Kernfeld, Barry. "Albert Ayler." Grove Music Online. Oxford University Press. Web.
- Lewis, John. "John Coltrane's Funeral", The Guardian, June 16, 2011.
- Litweiler, John. The Freedom Principle: Jazz After 1958. William Morrow and Company, Inc, 1984.
- Mandel, Howard. "Albert Ayler's Fiery Sax, Now on Film", NPR, June 7, 2008.
- Richardson, Mark. "Funerals and Ghosts and Enjoying the Push", Pitchfork. August 13, 2010.
- Schwartz, Jeff. "Review: Healing Force: The Songs of Albert Ayler." American Music, Vol. 27. JSTOR.
- Shipton, Alyn. A New History of Jazz. Continuum, 2001.
- Weiss, Jason. Always in Trouble: An Oral History of ESP-Disk: The Most Outrageous Record Label in America. Wesleyan University Press, 2012.
- Whitehead, Kevin. "Albert Ayler: Testifying the Breaking Point", NPR, May 8, 2001.
- Wilmer, Valerie. As Serious As Your Life: John Coltrane and Beyond, London, Serpent's Tail, 1993
- Wilmer, Valerie. "Obituary: Donald Ayler", The Guardian, November 15, 2001.
- Woideck, Carl. The John Coltrane Companion: Five Decades of Commentary. Schirmer Books, 1998.
External links
- Albert Ayler: His Life and Music (e-book by Jeff Schwartz, 1992)
- Albert Ayler at the Wayback Machine (archived July 18, 2011), in German language.