Albert Ayler Flac

The release is an important jazz event: While Ayler’s freewheeling performances at the Fondation Maeght on July 25 and 27, 1970, were excerpted on the albums Nuits de la Fondation Maeght (Shandar Records) and Live on the Riviera (ESP-Disc), presented in inferior sound, they have never been released in their entirety until now. Remastered audio by Kevin Gray at Cohearent Audio, transferred directly from the original OrtF stereo tape reels, including over 2 hours of previously unreleased music. The is an official release by Elemental Music Records in partnership with the Albert Ayler Estate & INA France.

Spiritual Unity was the album that pushed Albert Ayler to the forefront of jazz's avant-garde, and the first jazz album ever released by Bernard Stollman's seminal ESP label. It was really the first available document of Ayler's music that matched him with a group of truly sympathetic musicians, and the results are a magnificently pure distillation of his aesthetic. Bassist Gary Peacock's full-toned, free-flowing ideas and drummer Sunny Murray's shifting, stream-of-consciousness rhythms (which rely heavily on shimmering cymbal work) are crucial in throwing the constraints off of Ayler's playing. Yet as liberated and ferociously primitive as Ayler sounds, the group isn't an unhinged mess - all the members listen to the subtler nuances in one another's playing, pushing and responding where appropriate…

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.

From the time he was signed to Impulse in 1966, it was assumed that Albert Ayler's releases on that label would be motivated by an attempt at commercialism. While the music was toned down from his earlier ESP recordings, by no means did Ayler ever make commercial records. Much in the same way John Coltrane's later-period Impulse releases weren't commercial, Ayler simply took advantage of a larger record company's distribution, trying to expose the music to more people. Ayler's uncompromising musical freedom mixed with his catchy combination of nursery rhythms and brass band marches remained prominent on Love Cry. The interplay between the Ayler brothers also remained fiery as younger sibling Donald is heard playing trumpet for the last time on a recording with his brother…

Tribute to Albert Ayler Live at the Dynamo is an album by a free jazz quartet composed of trumpeter Roy Campbell, multi-instrumentalist Joe McPhee, bassist William Parker and drummer Warren Smith…

Albert Ayler - Fondation Maeght Nights, Volume 2 (1970) {Jazz View COD 005}
XLD rip (secure mode) | FLAC (tracks)+CUE+LOG -> 181 Mb | MP3 @320 -> 82 Mb
Full Artwork @ 300 dpi (jpg) -> 5 Mb | 5% repair rar
© 1970 Jazz View | COD 005
Jazz / Avant-Garde Jazz / Saxophone

These recordings were previously available as separate volumes and now are packaged together as a double set. These concerts were recorded after Albert Ayler's attempts at more commercial efforts and shortly before the discovery of his death…This was a historically important recording without a doubt, and if not given concentrated attention, very satisfying in many ways.

Albert Ayler - Fondation Maeght Nights, Volume 1 (1970) {Jazz View COD 004}
XLD rip (secure mode) | FLAC (tracks)+CUE+LOG -> 206 Mb | MP3 @320 -> 93 Mb
Full Artwork @ 300 dpi (jpg) -> 5 Mb | 5% repair rar
© 1970 Jazz View | COD 004
Jazz / Avant-Garde Jazz / Saxophone

These recordings were previously available as separate volumes and now are packaged together as a double set. These concerts were recorded after Albert Ayler's attempts at more commercial efforts and shortly before the discovery of his death…This was a historically important recording without a doubt, and if not given concentrated attention, very satisfying in many ways.