YOUR NAME IS ALBERT AYLER
This November 25 met 39 years since Albert Ayler's body was found floating mysteriously dead in the East River of New York City.
The energy of the most spiritual of the Freejazz has crossed generations, influencing and guiding the noise of many who are involved in (anti) music. Therefore, this activity is presented as a tribute to a feast of sound freedom and possibility of meeting those who can not conceive of music as a separate activity but an essential part of life, forms of knowledge and radical praxis creativity and humanity.
With these ideas, several people have joined and have been proposed to celebrate the best Ayler: understanding and celebrating his life and work and trying to carry out sound in all the musical and spiritual Cleveland saxophonist.
As part of this tribute will watch the documentary "My Name is Albert Ayler" Kasper Collin (2005), where it is described by the early music of Alberto and subsequent development .
also three musical projects on the table will ayleriana reading, code-free jazz punk rock. It also invites people attend, bring their instruments, preferably acoustic, woodwinds, brass, percussion, etc, to join the festivities.
surprises are promised gifts.
More info:
http://www.fakxion.blogspot.com/
http://www.punkfreejazzdub.blogspot.com/
HARD DATA:
FRIDAY, NOVEMBER 27
21 HOURS, ONE BAR.
21.30 Documentary: "My name is Albert Ayler" (2005, Kasper Collin) 23.30 hrs
extreme improvisation sessions
NO CLASS - MISS VIOLENCE (King Fat, Lactose, Fakxion) - HUNGRY MAN (Valparaiso)
"red flowers for Albert Ayler"
My name is Albert Ayler, a documentary by Kasper Collin.
(2005)
The free jazz movement began in the late 50's when Cecil Taylor and Ornette Coleman began to explore a new musical direction, building on what the jazz and blues had been until time but by blowing up a lot of rules, and making a real revolution in the aesthetic. The character "new" music that was at the same time, very dialectic, a "tiger's leap into the past" (Benjamin) of the African consciousness and class struggle, and so the "new thing" was deeply linked to social and political struggles that began to turn in those years to reach its peak in the 60's. The pioneers of the "avantgarde", Cecil and Ornette, still alive and in pretty good shape. But there were two emblematic figures who embodied the purest and most radical pole, Coltrane and Ayler, who died just at the peak of the movement, in 1967 and 1970, respectively, and that somehow have become a martyr of yourself.
"My name is Albert Ayler", a documentary by Swedish director Kasper Collin and has been exhibited in festivals since 2006 (for example, was shown in In-Edit in Buenos Aires, which has not happened in Santiago versions of the event) is a document dedicated to rescue from oblivion the figure of saxophonist Ayler, one of the most jazz musicians of indifference and hostility generated in life but whose influence and appreciation has grown steadily over time. Albert was quite confident that this recognition but was soon to come. Quote of Ayler playing on the cover says: "If people do not like it now, They Will" (which would be something like: "If people do not like now, then you will love") . With devices like the box of 10 CDs a few years ago edited by Revenant records and this film (which only at the end of this year will be available on DVD), the dramatic and beautiful Ayler legacy that gave the world begins to be broadcast deserved. For while the rejection of the public, industry and government critics for long affected Ornette and Cecil before being "recognized" and the maximum intensity Coltrane's final period led to accusations of heavy-gauge in the same field, the revolutionary aesthetic choices Ayler also took him to an environment of depression, nervous breakdown, poverty, and ultimately death (his body was found in the Hudson River and has never been able to determine very well if it was suicide, accident, or something darker. Do not forget that both Hendrix and Eric Dolphy died in those years by poor care provided by medical personnel in their prejudices staying shit head racist).
The documentary covers the early years of Ayler in Scandinavia. Having learned to play from very small, and after playing with the legendary bluesman Little Walter, like free jazz musicians of Ayler spent time in the Army, where he devoted himself to play saxophone all day studying the work of the other three horsemen of the Apocalypse (Cecil, Trane and Ornette). Returning to his native Ohio, began to radicalize its program and traveled to Sweden where he recorded his first album (still accompanied by traditional musicians) and ended up playing in Cecil Taylor's band for a short time (only material we have known thanks to the Revenant box set, "Holy Ghost"). In these adventures Scandinavian film delivers a lot of images and interviews (including displayed friends from that era and even an ex-girlfriend Swedish Ayler). The talented drummer Sunny Murray Ayler account detail they went to him and Jimmy Lyons (rest in peace) when they were on tour in Sweden with Cecil Taylor, declaring its intention to play. CT initially rejected the offer, but during the set and Murray Lyons made a sign at a time to Ayler to be incorporated, and the Big Boss ended up succumbing to the charms of the unmistakable sound ayleriano joined the band for a while. From there, the path seems increasingly clear, intense and led to where no one was before and very few have still dwelling (including the biggest might be the Reverend Frank Wright, Kaoru Abe and Charles Gayle).
Back in the United States Alberto was surrounded by proper musicians, including his cousin Charles Tyler and younger brother Donald. Don has been training for several months, playing 9 hours a day, then the brothers settled in New York, where as Don says, used to receive as payment "$ 5 for 6 hours." At that point the support of key turned Coltrane (from cash contributions to the incorporation of the brothers in some musical projects and his move to seal Impulse). In addition, the teacher had a human quality that does not have any problem in opening up to be influenced the new generation of musicians at the forefront of the movement. When the disease was Coltrane of this world in 1967, fulfilled his specific request that the funeral touched the bands of Ornette and Ayler. The historical record of this presentation is one of the most emotional moments of the documentary ... Ayler with leading white suit his own performing three tracks (Love Cry / Truth Is Marching In / Our Prayer-the latter being one of the few compositions of Donald Ayler) together in a mega composition ends with the singing / crying loudly Albert Coltrane's farewell. A breathtaking moment, perhaps announcing the change of time sesentayochista finally ended badly.
very valuable addition to interviews with Edward Ayler (the father, who appears on the one hand seeking her son's grave in the cemetery, and so only when an acquaintance is much younger than it says) and Donald (the faithful brother , unmistakable sound the trumpet, whose mental state deteriorated severely by 1968, leaving a terrible guilt Albert. As I have just learned, Don died on October 21 last year), there are the aforementioned Sunny Murray, Gary Peacock (double bass virtuoso of one of the best musical moments of our hero, as reflected in the stunning album "Spiritual Unity", in trio with Murray reinventing the battery in the jazz-), Michael Sampson (Dutch violinist classical academic who escaped during a tour with an orchestra to go see Ayler and engage in play for a few months with the troops Ayler in the period immortalized the legendary recordings in the Slug Saloon. In 1965, Sampson had gone to see finished playing with Ornette trio in Amsterdam) and several other witnesses who give us lots of anecdotes and information to maintain the historical memory of the free jazz movement.
is achieved also in these 79 minutes show some of the controversy stems from Ayler to a kind of quasi-free rock blues psychedelic almost could be mistaken with a form of new age if not because we know the rest of the work of our dear Albert, an era which provided us with so few albums like "Music is the Healing Force of the Universe" and "New Grass." His "Yoko Ono", Mary Mary, vocalist controversially assumed at the time and was criticized by several buddies that have blamed Ayler isolated from the rest of the world before his death (although these charges can not underestimate the potential of free jazz made by marriage, as evidenced by Linda and Sonny Sharrock in "Black Woman" and John and Alice Coltrane in "Cosmic music" and several other partnerships). By the way, was my girlfriend who got me a year ago this indispensable and beautiful artifact, which was not yet in the market, through intensive efforts by Internet service varies from one side to another of the Atlantic Ocean. But as announced in www.mynameisalbertayler.com, from autumn gringo (ie, our spring) you can go and buy directly from the best shops in our city, or whatever ... I do not know if we will see these disguised as a good side. Nor do I see it in the wall of the cinema art mall. But I could be wrong. Hopefully.
Julio Cortes.
(2005)
The free jazz movement began in the late 50's when Cecil Taylor and Ornette Coleman began to explore a new musical direction, building on what the jazz and blues had been until time but by blowing up a lot of rules, and making a real revolution in the aesthetic. The character "new" music that was at the same time, very dialectic, a "tiger's leap into the past" (Benjamin) of the African consciousness and class struggle, and so the "new thing" was deeply linked to social and political struggles that began to turn in those years to reach its peak in the 60's. The pioneers of the "avantgarde", Cecil and Ornette, still alive and in pretty good shape. But there were two emblematic figures who embodied the purest and most radical pole, Coltrane and Ayler, who died just at the peak of the movement, in 1967 and 1970, respectively, and that somehow have become a martyr of yourself.
"My name is Albert Ayler", a documentary by Swedish director Kasper Collin and has been exhibited in festivals since 2006 (for example, was shown in In-Edit in Buenos Aires, which has not happened in Santiago versions of the event) is a document dedicated to rescue from oblivion the figure of saxophonist Ayler, one of the most jazz musicians of indifference and hostility generated in life but whose influence and appreciation has grown steadily over time. Albert was quite confident that this recognition but was soon to come. Quote of Ayler playing on the cover says: "If people do not like it now, They Will" (which would be something like: "If people do not like now, then you will love") . With devices like the box of 10 CDs a few years ago edited by Revenant records and this film (which only at the end of this year will be available on DVD), the dramatic and beautiful Ayler legacy that gave the world begins to be broadcast deserved. For while the rejection of the public, industry and government critics for long affected Ornette and Cecil before being "recognized" and the maximum intensity Coltrane's final period led to accusations of heavy-gauge in the same field, the revolutionary aesthetic choices Ayler also took him to an environment of depression, nervous breakdown, poverty, and ultimately death (his body was found in the Hudson River and has never been able to determine very well if it was suicide, accident, or something darker. Do not forget that both Hendrix and Eric Dolphy died in those years by poor care provided by medical personnel in their prejudices staying shit head racist).
The documentary covers the early years of Ayler in Scandinavia. Having learned to play from very small, and after playing with the legendary bluesman Little Walter, like free jazz musicians of Ayler spent time in the Army, where he devoted himself to play saxophone all day studying the work of the other three horsemen of the Apocalypse (Cecil, Trane and Ornette). Returning to his native Ohio, began to radicalize its program and traveled to Sweden where he recorded his first album (still accompanied by traditional musicians) and ended up playing in Cecil Taylor's band for a short time (only material we have known thanks to the Revenant box set, "Holy Ghost"). In these adventures Scandinavian film delivers a lot of images and interviews (including displayed friends from that era and even an ex-girlfriend Swedish Ayler). The talented drummer Sunny Murray Ayler account detail they went to him and Jimmy Lyons (rest in peace) when they were on tour in Sweden with Cecil Taylor, declaring its intention to play. CT initially rejected the offer, but during the set and Murray Lyons made a sign at a time to Ayler to be incorporated, and the Big Boss ended up succumbing to the charms of the unmistakable sound ayleriano joined the band for a while. From there, the path seems increasingly clear, intense and led to where no one was before and very few have still dwelling (including the biggest might be the Reverend Frank Wright, Kaoru Abe and Charles Gayle).
Back in the United States Alberto was surrounded by proper musicians, including his cousin Charles Tyler and younger brother Donald. Don has been training for several months, playing 9 hours a day, then the brothers settled in New York, where as Don says, used to receive as payment "$ 5 for 6 hours." At that point the support of key turned Coltrane (from cash contributions to the incorporation of the brothers in some musical projects and his move to seal Impulse). In addition, the teacher had a human quality that does not have any problem in opening up to be influenced the new generation of musicians at the forefront of the movement. When the disease was Coltrane of this world in 1967, fulfilled his specific request that the funeral touched the bands of Ornette and Ayler. The historical record of this presentation is one of the most emotional moments of the documentary ... Ayler with leading white suit his own performing three tracks (Love Cry / Truth Is Marching In / Our Prayer-the latter being one of the few compositions of Donald Ayler) together in a mega composition ends with the singing / crying loudly Albert Coltrane's farewell. A breathtaking moment, perhaps announcing the change of time sesentayochista finally ended badly.
very valuable addition to interviews with Edward Ayler (the father, who appears on the one hand seeking her son's grave in the cemetery, and so only when an acquaintance is much younger than it says) and Donald (the faithful brother , unmistakable sound the trumpet, whose mental state deteriorated severely by 1968, leaving a terrible guilt Albert. As I have just learned, Don died on October 21 last year), there are the aforementioned Sunny Murray, Gary Peacock (double bass virtuoso of one of the best musical moments of our hero, as reflected in the stunning album "Spiritual Unity", in trio with Murray reinventing the battery in the jazz-), Michael Sampson (Dutch violinist classical academic who escaped during a tour with an orchestra to go see Ayler and engage in play for a few months with the troops Ayler in the period immortalized the legendary recordings in the Slug Saloon. In 1965, Sampson had gone to see finished playing with Ornette trio in Amsterdam) and several other witnesses who give us lots of anecdotes and information to maintain the historical memory of the free jazz movement.
is achieved also in these 79 minutes show some of the controversy stems from Ayler to a kind of quasi-free rock blues psychedelic almost could be mistaken with a form of new age if not because we know the rest of the work of our dear Albert, an era which provided us with so few albums like "Music is the Healing Force of the Universe" and "New Grass." His "Yoko Ono", Mary Mary, vocalist controversially assumed at the time and was criticized by several buddies that have blamed Ayler isolated from the rest of the world before his death (although these charges can not underestimate the potential of free jazz made by marriage, as evidenced by Linda and Sonny Sharrock in "Black Woman" and John and Alice Coltrane in "Cosmic music" and several other partnerships). By the way, was my girlfriend who got me a year ago this indispensable and beautiful artifact, which was not yet in the market, through intensive efforts by Internet service varies from one side to another of the Atlantic Ocean. But as announced in www.mynameisalbertayler.com, from autumn gringo (ie, our spring) you can go and buy directly from the best shops in our city, or whatever ... I do not know if we will see these disguised as a good side. Nor do I see it in the wall of the cinema art mall. But I could be wrong. Hopefully.
Julio Cortes.
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