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The First Recordings

1962 in Denmark, with the bassist and drummer Torbjorn Hulcrantz Spångberg Sune. Ayler to find his own voice. What To
fi lovers.

1. I'll Remember April

2. Rollin's Tune

3. Tune Up

4. Free





















Vibrations (with Don Cherry) 1964


"Vibrations of Albert Ayler Don Cherry, along with Gary Suny Peacock on bass and Murray on drums. As we say in the text accompanying this disc, the third major revolution in jazz, is what is most critical hostility and withdrawal in advance of the general public, in part because the hearing requirement imposed by the abandonment of the measure and a series of conventions and naturalized to the early 60. A pity, that only tended to be remedied retroactively, and that should make us dig this album as one of the most significant of that era not so distant. Cherry could have retired quietly to the curriculum accumulated in these years: a fundamental part of most classic Ornette Quartet, to work with Sony Rollins (in Our man in jazz), Contrane (with The Avantgarde, Argentina recent edition worth getting) and the Vibrations with whom he saw himself as the "holy spirit" in the trilogy of the tenors of the time (the positions of the occupied Father and Son, in this scheme, Coltrane and Pharaoh Sanders). Those who have heard and appreciated the natural way of collaboration that gave an almost telepathic between Cherry and Ornette not be astonished that this expression takes on vibratio talent, but ... Just because you imagine the different personal qualities in relation to Albert any other of the great saxophonists free and imagine why you can not miss the historic opportunity to appreciate this partnership, dated 1964. Particularly Notable are the two shots of what Cherry describes as the "national anthem of that time and place," Ghosts ", one of the best known pieces of Ayler, and apparently found inspiration in a song melodic Scandinavian Christmas. In the second version, takes an impressive relief work antimétrico polyrhythmic and Murray on drums and cymbals. Moreover, simple but powerful techniques of sound recording and let us see the instruments in their pure expression almost solo if we bring the ear to each speaker with wisdom .... To throw the floor and listen to Sonny as if playing in your bedroom ... .. for moments hand strikes to the body of Peacock bass can come to sound like a completely external sound in the foreground that seems out of some corner of your home.


1. Ghosts 2:04


2. Children

6:50 3. Holy Spirit

8:29 4.

Ghosts 7:58 5.

Vibrations 4:55 6. 7:06 Mothers







1964 Spiritual Unity Spiritual Unity

is the last album recorded by the trio who formed the tenor saxophonist Albert Ayler, bassist Gary Peacock and drummer Sunny Murray. With little kindness and esotericism much still remains as a central theme for fans of free jazz. The great chemistry between the musicians is given from sound like you do the work normally reverse: instead of complementary and traditional language dialogue, the performers seem to ignore what others are playing. It is this deep introspection where there is, it seems, the true and most peculiar unit. However, unlike what may come to believe at first impression, said that Ayler Spiritual Unity record "we were not playing, we were listening to each other."

Music album is not chaotic or aggressive, the revolution of Ayler passes away. The peculiarísimos sounds drawn from his saxophone, and sometimes they do resemble a man writhing in ecstasy, is central to understanding many later musicians and offered a radically different way of doing and listen to jazz. The fate of anti-groove that build Peacock and Murray is perfect to complement the rough textures and melodies distorted by the saxophonist.


01 - Ghosts: First Variation

02 - The Wizard

03 - Spirits

04 - Ghosts: Second Variation