Albert Ayler: Live in Greenwich Village: The Complete Impulse Recordings

The first Albert Ayler this blogger purchased back around 1990 was the original single-disc Live in Greenwich Village, released in 1967.  Admittedly, the album proved to be a hard-sell at the time with its freeing of time and rhythm, simple march-like melodies, and powerful intense soloing by the tenorist and others in his band all but overwhelming.

Years passed, though, and the gradual recalibration of listening to other so-called "free jazz," including the great Cecil Taylor (it took some time to get acclimated there, too), the post-1964 work of the sublime John Coltrane, such albums as the remarkable Ornette Coleman's Free Jazz, and others finally took root.  Allowing preconceptions to be broken down and new ways of hearing to come to the fore led to a greater appreciation for Ayler's work, especially when the tremendous Spiritual Unity (previously spotlighted here) was heard.

For a while, every Ayler recording that could be obtained was purchased and listened to with eagerness to enjoy his relentless pursuit of the joy of sound.  Eventually, the mammoth 10-disc box set, Holy Ghost, was acquired and it will also be given due attention here (under the occasional, half-humorous moniker of "For Fanatics Only.)

It's amazing, then, that Ayler only recorded for about seven years, with the period from 1964-67 being that in which his most fruitful work was made.  One of the great documents of his live work is the double-disc Live in Greenwich Village: The Complete Impulse Recordings, which augments the original live album with other performances.

 

The opening track, "Holy Ghost", is the sole offering from a March 1965 set at The Village Gate and features a quintet with Ayler's brother Don on trumpet, Lewis Worrrell on bass, cellist Joel Freedman, and the great drummer Sunny Murray, one of those most responsible for the titanic shift away from regular timekeeping and rhythm to a more open conception.  Freedman's cello playing also provides a startling type of color and tone when heard against Ayler's impassioned playing and Donald Ayler's rough, but intense contributions.

The sessions that were used in the original album were recorded in December 1966 at The Village Vanguard and at The Village Theater about two months later.  At the Vanguard, violinist Michel Sampson, bassists Bill Folwell and Henry Grimes, and drummer Beaver Harris joined the Ayler brothers and the presence of two bass players and Sampson's work gave a notably difference in atmosphere and rhythm.  On one track, "Angels," a pianist performed with Ayler and it is assumed it was Call Cobbs, Jr., an older man who played occasionally with Ayler over the years.

The Village Theater's set had a trombonist, George Steele, on the incomplete tune "Universal Thoughts" and this time both Sampson and Freedman appeared, upping the ante further in terms of what the stringed instruments brought to the larger format of the band.  Folwell was joined on bass by Alan Silva, exclusively using the bow evidently.  Harris did the drumming, except on the tribute "For John Coltrane" that opens disc two.

A couple of pieces are in mono sound and another did not have a master tape version, but those who appreciate the idealism, power, passion and yearning that is evident in Ayler's music will have no problem hearing songs that are low-fi or suddenly trail off.  Ayler was completely sincere in his belief that his music was inspired by divine ideas and his desire to elevate his work into a spiritual plane is obvious.  Ultimately, he tried more commercial work after 1967 and struggled to find an audience before his mysterious and untimely death in September 1970.

Undoubtedly, listening to the work of this remarkable saxophonist is challenging and, as has been stated here before, the advice offered by him and his brother is about the best that can be given for those willing to try.  In other words, try to follow the sound, not the notes.  Being open-minded and then geared towards the sound rather than the structure is the way to go with the work of Albert Ayler.  It took this listener some time to adapt, but the results have been rewarding and uplifting.

Cecil Taylor: Conquistador!

How can Cecil Taylor be described?  He is a pianist, but also a percussionist (the piano, including his 96-key [yes, 96!] Bosendorfer, is after all, an inherently percussive instrument), and a poet, as well as a pioneer. 

From his 1956 album Jazz Advance to his famed performances in Europe six years later that were as free an expression in jazz (or any music, for that matter) as there was at the time to his mid-60s records with Blue Note to the string of solo and "unit" albums in the 70s and 80s that cemented his fame/infamy and to recent endeavors, Taylor has been a true original, totally committed to his music.

He is not an "easy listen" like so many "easy listening" pianists are and his playing is "out there" or "avant garde" or "free."  But, for those who are willing to follow the overall sound, the integrated playing in groups and the staggering range of patterns and scales he uses in solo performance, the effects can be spine-tingling.

The fact is, Taylor's technical expression is virutally unparalleled.  His speed, power, dexterity, stamina, dynamics, and complex lyricism are awesome and staggering.  Yet, even when he accompanies a soloist in a band setting, he draws attention for the inventive ways in which he uses scales and clusters of notes to help clue the soloist to any number of directions.  Taylor can be appreciated in very different ways by listening to his solo work and that with his bands or "units."  While much of the time is playing is so spectacular in its power, there are also those instances where a softer, more contemplative, but always creative, side shows.  There are even moments of sweet melodicism and a yearning lyricism.  Taylor often has stated that he thinks of dancers when he composes and plays, which is an interesting insight into his performance style.

Maybe listening to Taylor can be too much work.  But, a modicum of effort has, in this case, proven to be highly rewarding.  Certainly, the easiest of Taylor's music to listen to are the records before 1962, especially his Jazz Advance album, records like Love for Sale, or the Candid recordings like Air.  But, his commitment to a freer sound afterwards can be breathtaking.

The first album YHB heard of Taylor's some twenty years ago was the Blue Note album, Conquistador!, recorded in Fall 1966.  Here, the pianist brought in two bass players, Alan Silva and Henry Grimes, one to pluck and strum his instrument, while the other primarily used a bow to add a different sense of color and time.  Two horns were included, with longtime associate Jimmy Lyons, an alto sax player who was criminally underrecognized for his ability to work in sync with Taylor and construct solos of invention and power, and trumpeter Bill Dixon, who transcended the upper-register blowing that most players strive for and played with a calm and clarity that is a nice foil for both Taylor and Lyons (Dixon reunited with Taylor in a live trio setting about a decade ago.)  The great Andrew Cyrille on drums provides an elastic sense of rhythm and time for the soloists and he integrates very readily with the bassists.

The title track may have one Taylor's best theme statements, or heads, one that shows that his sense of melody is strong, despite all the attention he gets for his soloing, and which is played so well in harmony by Lyons and Dixon.  And, the way the pianist accompanies the horn players and works with the rhythm section shows the care with which he crafts his compositions and works with his "unit."  The other piece, "With (Exit)", features particularly strong solos from Lyons and Taylor, while the bassists perform beautifully in interplay.  The CD has an alternate take of the latter tune, as well.

There will be many Cecil Taylor albums highlighted on this blog because in the opinion of YHB, Taylor is up there with Coltrane, Coleman and Davis as one of the great masters of jazz from the mid-1950s onward.  Fortunately, I had the opportunity to see him play at the Jazz Bakery in Culver City in 1999, when he was 70, but playing with the energy and focus of someone decades younger.  He has been frequently known to literally collapse from exhaustion, physical and mental, after a performance.

Indeed, a few years ago, when Taylor was 80, he flew from Norway to Germany to perform a concert, arrived early in the morning, rested briefly, went for a very advanced soundcheck and played for four hours, rested briefly again, came back and played for three more hours, even as some of the crowd filed in early for the show, and then played his set of maybe 75-80 minutes.  This in his eighth decade of life!

He is now about 82 or 83 and still performing, while hardly recognized outside of his fans.  He deserves more attention for what he has done and still does, but it does take concentration and focus.  The results, however, are well worth the investment.

Cecil Taylor:  Conquistador!

1.  Conquistador  17:51
2.  With (Exit)  19:17
3.  With (Exit) (alternate take)  17:10

Bill Dixon:  Trumpet
Jimmy Lyons:  Alto Sax
Cecil Taylor:  Piano
Henry Grimes:  Bass
Alan Silva:  Bass
Andrew Cyrille:  Drums