Monday, March 28, 2016

ALBERT AYLER – Nuits De La Fondation Maeght Vol. 1 and Vol. 2 (LPs-1970)




Label: Shandar ‎– SR 10 000, Shandar ‎– 83 503
Format: Vinyl, LP, Album & Country: France & Released: 1970/72
Style: Free Jazz, Free Improvisation
Recorded live at Saint-Paul de Vence, July 25 and 27, 1970.
Engineer [Sound] – Claude Jauvert
Liner Notes – Daniel Caux
Photography By [1-4] – Philippe Gras, [2-3] – Jacques Robert
Cover, Artwork – Patrick Sabatier
Matrix / Runout (A): SR 10000 A
Matrix / Runout (B): SR 10000 B

A1 - In Heart Only .......................................................................... 5:10
A2 - Spirits ................................................................................... 15:00
B1 - Holy Family ........................................................................... 11:40
B2 - Spirits Rejoice ........................................................................ 7:25

Composed By – Albert Ayler

Albert Ayler – saxophone [tenor, soprano]
Call Cobbs – piano
Steve Tintweiss – bass
Allen Blairman – drums, percussion
Mary Maria – vocals, saxophone [soprano]



Albert Ayler was born in Cleveland, Ohio in 1936. In 1952, on alto saxophone, he joined the band of blues singer and harmonica-player Little Walter. A few years later he switched to tenor, and met Cecil Taylor, who had preceded him to Scandinavia, in 1962. In the following year he formed a trio with Gary Peacock on bass and Sunny Murray on drums. With this group, plus Don Cherry on trumpet, he toured Denmark, Sweden and Holland. In 1963 he played at Town Hall with his brother, trumpeter Don Ayler, altoist Charles Tyler, bassist Lewis Worrell and Sunny Murray. The arrival of Albert Ayler on the jazz scene has provoked great enthusiasm but also great rage and sarcasm. His first journey to Paris, in 1966, as the final act in a programme which aimed to trace the history of jazz, unleashed a scandal gave rise to a great deal of controversy. Such a reception had the effect of making his eventual return to this country unlikely for a long time to come, until the announcement of his participation in the Nuits de la Fondation Maeght in 1970. He came to St-Paul de Vence, with pianist Call Cobbs, bassist Steve Tintweiss, drummer Allen Blairman and singer Mary Maria, and made a huge impact. He was called back on stage for encores six times, eight times, ten times, and it was the first great triumph in his career.



It might seem astonishing, that someone previously regarded as the champion of anti-jazz is now promoted to the rank of an innovator whose art is the most deeply rooted. The reason is that Ayler’s stance is precisely to wed the very foundations of Negro-American music (“swing”, the atmosphere of spirituals or blues, for example) to the strengths of this music, even the most vertiginous, the most “irrational”… Certainly at first hearing, the multiphonics, the huge vibrato, the growling, the wheezing and other effects can take the listener aback. Something else which can cause amazement is the contrast between the improvisation and the themes on which it is based.. These can be marches, fanfares or blatant repetition. This apparent naivete should not, however, mislead anyone, since Albert Ayler “vampirises” everything he plays in a treacherous derailing of the senses, thanks to the extremity of an expressiveness which masks subtle rhythmic and melodic displacements, while making them more effective. Contrary to popular belief, what is most striking about Ayler is that in spite of the great spontaneity which, according to all the evidence, characterises the arrangements of the pieces he creates, almost all of them appears as a perfectly articulated, coherent and definitive ”whole”. Albert Ayler finds himself in a musical universe which it is customary to call the “New Thing” just as it was natural for Charlie Parker to find himself categorised as be-bop. It seems to us that his contribution has to be acknowledged like an outpouring of indescribable lightning.. On this basis, no jazz improviser apart from Louis Armstrong and Charlie Parker can be compared to him. 
(by Daniel CAUX)


ALBERT AYLER – Nuits De La Fondation Maeght Volume 2 (LP-1970) 




Label: Shandar – SR 10 004
Format: Vinyl, LP, Album / Country: France / Released: 1970/72
Style: Free Jazz, Free Improvisation
Recorded live at Saint-Paul de Vence, July 27, 1970.
Engineer [Sound] – Claude Jauvert
Liner Notes – Daniel Caux
Photography By [1-4] – Philippe Gras, [2-3] – Jacques Robert
Cover, Artwork – Patrick Sabatier
Matrix / Runout (Runout Side A): SR 10004 A
Matrix / Runout (Runout Side B): SR 10004 B
Composed By – Albert Ayler

A1 - Truth Is Marching In ................................................................... 7:55
A2 - Universal Message ..................................................................... 8:15
B1 - Spiritual Reunion ........................................................................ 7:20
B2 - Music Is The Healing Force Of The Universe .......................... 10:30
        (Written-By – Mary Parks)

Albert Ayler – saxophone [tenor, soprano]
Call Cobbs – piano
Steve Tintweiss – bass
Allen Blairman – drums, percussion
Mary Maria – vocals, saxophone [soprano]

By the end of the year 1970, the musician who was thought of as being the strongest personality of the free jazz died in mysterious circumstances.
Albert Ayler had disappeared from his New York City home since November 6. His body was found in the East River three weeks later. His funeral was held discreetly on December 4 in his native Cleveland. Members of his family and several friends attended the funeral. He was 34.

After having scored his first major triumph at the Nights of the Maeght Foundation, he was scheduled to come back to France at the start of 1971 and was eagerly expected there.



LeRoi Jones said several years ago “Albert Ayler is a master of stupefying dimensions and it is frustrating to think that many people might take a long time to be aware of it”. As a matter of fact, there were few of us to acknowledge the importance of this exceptional innovator who was thought of as being a weird musician, one that would be listened to out of curiosity or as a scandalous impostor. However one can wonder if there has ever been a purer and more sincere artist in the jazz field than Albert Ayler. It is true that what he played was both very simple and also very subtly complex, a situation that puzzled listeners who had to revise their usual criteria.
The music of Albert Ayler was as distanced from the intellectual ghetto in which for a time free jazz was confined as from the entertaining without consequences it was later reduced to so as to lessen its impact while ignoring its most radical aspects. Simplicity does not mean simplism and there was no demagogy in the words of Albert Ayler when he spoke of a music from the people for the people. He was perfectly aware of its objectives: “I want to play the melodies I sang when I was a kid. Folk melodies that every one could understand. I would use these melodies as starting points and several simple melodies that move inside the same tune. From a simple melody to complex textures, then back to simplicity and the more complex sounds and more dense ones.”



People tended to see in the triumphant joy that is expressed in the music of Albert Ayler and in its ironic humour a will leaning on destruction through derision, an idea that is alien to us and one that would be at the very least too limitative. Albert Ayler stated on several occasions that what he was playing was essentially a love cry and that can be taken for granted. A universal love that is expressed with a frightening conviction and one that would attach in a single swoop the numerous contradictions that usually tear the human. Love meaning joy, supreme happiness but also happiness in danger. Out of this probably comes the ineffable emotion that is never absent from his music and which constitutes one of its specific elements.
The album we present gathers on one side the start and on the other one the last two numbers from the second concert given by Albert Ayler at the Maeght Foundation. A fervour-laden “Truth is marching in” reminds one of the New Orleans funerals and we know it was played by Ayler at the funeral of John Coltrane. A high level of expressive intensity was to be maintained during the concert. One notes the interventions of pianist Cal Cobbs who was once one of Billie Holiday’s accompanists and whose poetic playing matches happily Ayler’s. Taken at a very slow tempo “Music is the healing force of the Universe” which was the last tune played by Albert Ayler at Saint Paul de Vence seems to mark a will to retain the passing of time. Mary Maria sings with ‘soul’ while Albert Ayler accompanies her with countermelodies of dramatic lyricism that can only raise singular resonances today. (by Daniel CAUX)



If you find them, buy these albums!

15 comments:

  1. ALBERT AYLER – Nuits De La Fondation Maeght Volume 1 (LP-1970)
    Vinyl Rip/FLAC+Cover
    1fichier:
    https://1fichier.com/?rx5c8qpx2a


    ALBERT AYLER – Nuits De La Fondation Maeght Volume 2 (LP-1970)
    Vinyl Rip/FLAC+Cover
    1fichier:
    https://1fichier.com/?fxer53lsf1

    ReplyDelete
  2. wouwww... Ayler is always welcome.
    thanks a lot, dear Vitko, for this royal gift!

    ReplyDelete
  3. wow!!!...great stuff!...
    BIG THX!...

    ReplyDelete
  4. MY NAME IS ALBERT AYLER: ‘TRANE WAS THE FATHER, PHAROAH WAS THE SON, I AM THE HOLY GHOST’

    Thank You Vitko!!!

    ReplyDelete
  5. Thanks Vitko! A truly burning master.

    ReplyDelete
  6. Thanks Vitko very glad to find these LPs

    ReplyDelete
  7. Hello Vitko.

    This is what I've bee listening thise days in betveen Ayler and Brotzman:
    https://www.youtube.com/watch?v=HCsHBhiDpDY

    The last year album from the guy in the middle Andrej Fon - sax, can be dl from here (digital album can be dl for free):

    https://zars.bandcamp.com/album/hupam-da-ste-dobro

    The guy is multiinstrumentalist and as other from septet activ in various projects and music stiles.

    Drasler brothers from septet:
    https://www.youtube.com/watch?v=OQ9LwPw4foY
    Cene Resnik:
    https://www.youtube.com/watch?v=E3Hg3uuSNkw
    Andrej Boštjančič
    https://www.youtube.com/watch?v=QM67VMBWnlw

    And something totaly different (pure young rnr Hendrix like band):
    https://www.youtube.com/watch?v=e7UT9AjHukU
    There's full album on yt just added (it should be listen loud).

    If enyone wish flac (link will be activ for few days) :
    https://we.tl/lxDzVyUQbX


    I hope I'm not importunate... just wanted to give some back.

    By.



    ReplyDelete
    Replies
    1. An excellent choice, Vojac. Well it is known, Slovenes have always played well, this is a new scene (the young generation) and I must say are great.

      Thank you very much :)

      PS:
      If perhaps you did not know, It was in 1960 in Bled when he was born the Slovenian Jazz Festival and this makes it one of the oldest in Europe.
      If you are interested I have:
      "II Yugoslav Festival of Jazz, Bled 1961" (LP-1961)
      "VA - International Jazz Festival Ljubljana '68" (LP-1968)
      and
      "Ljubljana International Jazz Festival 1974" (2LP-1974)

      Cheers.

      Delete
    2. All those ex Yugoslavian jazz LP-s are jewels to me since it's hard to find them. You have posted 4. INTERNATIONAL ZAGREB JAZZ FAIR 1982 and PGP RTB – Sastanak U Studiju (Meeting In Studio) and I was trembling while dl it :))

      I am more than interested, but I understand that You are already busy with all the great stuff You provided for us here so I can wait.

      Thank You for all Your effort!

      Delete
  8. I have both of these LP's but, alas, my Rega turntable died a long time ago. I am looking forward to hearing these again. Many thanks!

    -Brian

    ReplyDelete
  9. Thanks vitko, I only have these in a very poor bitrate, it will be great to hear them properly!

    ReplyDelete