I
AA at Slug's saloon. May 1, 1966. Albert Ayler
May 1
AROUND WHEN A MYSTERIOUS CIRCUMSTANCES APPLIANCE. One type of circumstances that I love is that of causal findings shops offer or sections of the store that are being auctioned. One of the latest findings were really curious: in the middle of a stack of offers (each CD to 10 pesos argentinos = two thousand Chilean pesos = $ 3) a good shop in Buenos Aires (Abraxas, Santa Fe, gallery Bond Street) I found nothing less than the beloved Albert Ayler, in a concert recorded on 1 May 1966 (66!). This concert was recorded and released on two separate CDs 'Albert Ayler at Slug's Saloon Quintet' vol. 1 and vol. 2. More intriguing, this finding, the specimen is obtained from vol.1, but the booklet accompanying the CD was that of vol. 2, issue that someone decided to simply put a sticker which states that it is the Vol 1. This quintet
companions are Albert's brother, Don, on trumpet, Michael Sampson on violin, Lewis Worrell on bass, and Ron Jackson on drums (this character is very Ronald Shannon Jackson, who later would accompany semifamoso to Ornette in Dancing in Your Head, and 80's bands like Last Exit, etc.). Jackson's percussive style is very different from the other legends of the golden decade of free jazz (say ... Sunny Murray, Billy Higgins, and even Rashied Ali, although the latter can perhaps be seen most obvious resemblance.)
On these issues, the battery seems to ongoing support and solid but full details of expressive dialogue between the Ayler brothers. Unfortunately, the bass is almost unheard of. Something must have irritated a lot of his time, and still today makes it difficult to swallow and digest these sounds, most of the time of a traditional theme, a phrase almost military band and circus (FFAA and clowns, Well, I said nothing, ha), which began to be repeated each time faster, more naked, not knowing until one is already caught in the whirlwind of Ayler free jazz. An art mastered only he knew this. In Ayler, Jazz is driven to its limits, and, like some description Benjaminian which at the time of this break is seen further, it is something that was and has been here since the beginning. The now-time.
PS appeared subsequently be another version of this concert, in a single large extra CD that sounds just like the bill but at least you have more pics on a beautiful dark green background.
II
How to ruin the legacy of Albert Ayler, Marc Ribot for
the spirit lives, but elsewhere
We speculated several times about the possibility of a blockbuster revival of free jazz. Recently, I stumbled upon an artifact that may enroll in this direction. Marc Ribot, who graciously played his guitar with Tom Waits in the mid 80's, and recently tried without success to recreate the Cuban music with the Prosthetic Cubans project, recently embarked on the Spiritual Unity project, which along with a trumpeter and a relatively young drummer and bass veteran Henry Grimes (present in major works of the sixties free jazz, alongside Don Cherry, Cecil Taylor and the same Ayler, among others). Edut YOUR CD in 2005 by Pi Recordings offers a pretentious entry written lines that speak of the tremendous technical virtuosity of these musicians, and their interest in recreating the legacy of Ayler, merging aspects of jazz and rock have moved so far in the margins. The album starts with a Summon, where musicians are supposed to focus on ways of playing can invoke the spirit of Albert, but gives the impression that they do not. In Ghosts, perhaps the most popularly known issue Ayler, originally, a melody taken from a Scandinavian Christmas song, show rates that were learned well the notes, but that as Ayler said, "and notes it is not , but of feelings "and is the third track, Truth is marching in, it is observed that the feeling that inspires not exactly Ribot very ayleriano, while his guitar proceeds to bring in a somewhat convoluted and corny line run by the trumpeter. It is striking to compare this version with that contained in the live in Greenwich Village, Ayler, and really, I refer to this comparison in order to appreciate well that I am talking about. God issues, being the final time a live interpretation of Bells, offers almost the sole interest Grimes solos, which remains Grimes, however. If this album is for what most people interested in the work ayleriana, I guess I'll be fine. But it is a good experiment. No no and no.
Ah, those interested in checking the magnitude of the disaster, they can listen an issue not included on the album, Universal Indians, in www.pirecordings.com or directly download the album here
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