Ayler Cherrie

Albert Ayler - The Copenhagen Tapes (1964) {Ayler Records ‎aylCD-033 rel 2002}
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© 1964, 2002 Ayler Records ‎| aylCD-033
Jazz / Avant-Garde Jazz / Saxophone

When you give birth to a free jazz record label by the name of Ayler Records, you must be dreaming of putting out an album of long-forgotten sessions by the great saxophonist Albert Ayler. It took a while (then again, not that long), but producer Jan Ström managed to get hold of two important sessions recorded in Copenhagen. The suitably titled Copenhagen Tapes contain 45 minutes of a performance at Club Montmartre, September 3, 1964, and another 20 minutes recorded in the studio of the Danish radio a week later.

Recorded at Capitol Studios, New York City on August 31, 1967 (#1-6), and February 13, 1968 (#7-11) 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.

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. ~ AllMusic

Albert Ayler - Goin' Home (1964) {Black Lion BLCD760197 rel 1994}
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© 1964, 1994 Black Lion Records | BLCD760197
Jazz / Avant-Garde Jazz / Saxophone

Albert Ayler was confronted with a spiritual anxiety that both plagued and comforted him throughout his life. This is frighteningly clear listening to the highly intense musical yin and yang that was present February 24, 1964, when the tracks for Goin' Home and Witches and Devils were recorded. Ayler plays tenor and soprano saxophones on "Swing Low, Sweet Chariot," "Deep River," "Goin Home," "Down by the Riverside," "When the Saints Go Marchin In," and "Nobody Knows the Trouble I've Seen." These traditional compositions are treated with reverence and a lack of improvisation, played in a quietly passionate but respectful manner.

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…

Albert Ayler was a lightning rod for criticism both from within the music community and from without. His free-thinking approach made him a bane for jazz traditionalists, and his incorporation of popular American musical styles like soul, R&B, and even rock made him a sellout to the free jazz crowd. His volume in The Impulse Story series – one of ten individual artist titles to accompany both the book The House That Trane Built: The Impulse Story by Ashley Kahn and the four-CD label history set of the same name from Universal, is in many ways the very evidence of both points on the scale. ~ AllMusic

Albert Ayler Quartet - Copenhagen Live 1964 (2017) {hatOLOGY 665}
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© 1964, 2017 HAT HUT Records | hatOLOGY 665
Jazz / Avant-Garde Jazz / Saxophone

The legendary free jazz saxophonist Albert Ayler was at the height of his powers in 1964, the year of his landmark recording Spiritual Unity, so anything from this period is a big deal and this live album captures him in action with the people who accompanied him on that that classic LP, Gary Peacock on bass and Sunny Murray on drums. Even more interesting is the addition of Don Cherry on cornet, just after he finished serving in Ornette Coleman's pioneering quartet, going from strength to strength and shoring up the front line of this extraordinary band.

Albert Ayler Quartet - European Radio Studio Recordings 1964 (2016) {hatOLOGY 678}
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© 1964, 2016 HAT HUT Records | hatOLOGY 678
Jazz / Avant-Garde Jazz / Saxophone

Albert Ayler (1936-1970) was a jazz genius, whose story has the status of tragic myth – myth which, as often happens,is informed by truth. He pioneered free jazz on tenor saxophone, creating generations of disciples, beginning with John Coltrane. In his ecstatic soundworld, he forged connections between the furthest reaches of 60s avantgardism, and themusic's beginnings in New Orleans, re-igniting its creative impulses. But free jazz was never a commercially viableform: when Ayler died he had won some critical recognition, but none from the jazz public. 1964 was Ayler's annusmirabilis.