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.
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!
