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Author Topic: Albert Ayler, I do not quite get it ??  (Read 1070 times)
Jellybaby7
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Posts: 71



« on: 18:51:57, 27-05-2008 »

"Albert Ayler was the most primal of the free jazz musicians of the 1960s. He possessed a deep blistering tone—achieved by using the stiffest plastic reeds he could find on his tenor saxophone—and a broad, pathos-filled vibrato that came right out of church music. His trio and quartet records of 1964, like Spiritual Unity and The Hilversum Sessions, show him advancing the improvisational notions of John Coltrane and Ornette Coleman into abstract realms where timbre, not harmony and melody, is the music’s backbone."

Some long-time listeners gen me up??....please....
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autoharp
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Posts: 2778



« Reply #1 on: 20:09:00, 27-05-2008 »

Sounds like a pretty accurate quote to me.
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Jellybaby7
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Gender: Male
Posts: 71



« Reply #2 on: 10:51:10, 28-05-2008 »

I love his sound....but the idea about murdering songs,strangling them and spitting them out (I'm talking about standards or perhaps Song Book items is a better term)....I am extremely iconoclastic myself Art wise....but are there political motives involved.... is it a case of pushing the boundaries of sacralidge (?dx)...my biggest problem is that I don't like many of these songs in the first place....
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mr improv
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Posts: 80



« Reply #3 on: 11:30:48, 28-05-2008 »

ayler was a crazy guy
i dont think he was very clear himself a lot of the time

he wasnt tryin to destroy the tunes
as far as i know
but i'm not sure what he was tryin to do to them

i think his head and his ear
was genuinely out somewhere else

drugs would have played a part
alongside ahem mental illness?

i cannot stand the tunes at all
not at all
they are so dumb
and he plays them dumber than they are

if i was gonna have to listen to ayler
which i tend not to do
i'd check the trios again
cos there's long chunks of very fine improvising
very free very out
and i'd grit my teeth through the tunes

or the wildly chaotic
quintet stuff with violins cellos the lot

stay away from the stuff with singing on
i would say
it's the most naff r'n'b so bad it's not r'n'b almost

there's was a very very fine show on
resonance fm
with val wilmer some time ago
about him
maybe this is still out there somewhere?
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King Kennytone
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Posts: 231



« Reply #4 on: 12:09:01, 28-05-2008 »

Yep, I have that resonance-FM show archived somewhere
well . . when I say "archived" I mean it's shoved away in a box full of goddam cassettes
BUT - if anyone was interested ENUF, I could rip it & put it online somewhere

HERE even.

Now, Ayler, yes, he he he -
There was a time when it would be fairly accurate to say that I was obsessed with Albert Ayler & his music & his goddam myths.

But this will not be the time to go into that. Not yet.

Forget Ayler doin' other people's tunes -  Bye Bye Blackbird is a curiosity cos he's on soprano, loses the rhythm section, whole thing falls apart. Forget the early scandinavian recordings, it's formative stuff. Start with Spiritual Unity, Prophesy, Witches & Devils (now re-released with another title)  blah - and don't go near the Spirituals record either...
ALSO: Caveat emptor: don't buy Slug's Saloon it is an awful audience recording & very short rip-off CD.

HERE's a discography with pictures: http://www.ayler.org/albert/html/discography.html

But if you ever see this at a boot-sale, snap it up - stick it on ebay & retire off the proceeds - nah, just joking, you'd be lucky to get ten bob for it


erm... yep
http://www.ayler.org/albert/ - this is the bestest information site
http://www.geocities.com/jeff_l_schwartz/ayler.html - this one's a good biography, but draws heavily on Valerie Wilmer's original bio & stuff
« Last Edit: 12:29:56, 28-05-2008 by King Kennytone » Logged
mr improv
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Posts: 80



« Reply #5 on: 12:41:49, 28-05-2008 »

i too was once obsessed with ayler
but then again i am king kennytone
his former obsessions are my former obsessions

this was back when i believed in the modernist
myth of tortured artist
in some ways it didnt matter about his music
cos he was so obvioulsy right
for me as the iconic myth emblem

well i say the music didnt matter o
of course it did
i never did dig those goddam rnb things he did

but it's true he was a tortured artist
though to some extent i believe much more than i used to
that he was responsible for some of his torture
BUT NOT ALL OF IT
he was living through and within
the crap racist country they call america
his options were very slight
this would have felt torturous
ask anthony braxton he'll tell you about it
as would george lewis
or roscoe mitchell
or angela davies

go tell it on the mountain
hang from a tree and be burned

he was drafted
was he drafted?

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King Kennytone
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Posts: 231



« Reply #6 on: 12:47:31, 28-05-2008 »

... erm, i think he signed up specifically to be in the army band
like a lot of cats did.
Like John Stevens, Paul Rutherford, Trevor Watts all did here.

As if all that free music came as some kinda RESULT of that, though that's probably a bit simplistic.

I retract that statement.
I could delete it, but what the hell.

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mr improv
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Posts: 80



« Reply #7 on: 14:32:34, 28-05-2008 »

the army created free improv
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King Kennytone
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Posts: 231



« Reply #8 on: 15:56:09, 28-05-2008 »

... maybe it was the airforce, I can't remember.

 

“Change Has Come implies, says Ayler, that ‘ in my music, I’m trying to look far ahead. Like Coltrane, I’m playing about the beauty that is to come after all the tensions and anxieties. This is about post-war cries; I mean the cries of love that are already in the young and that will emerge as people seeking freedom come to spiritual freedom.’ I remembered Albert saying in that earlier Down Beat interview: ‘We are the music we play. And our commitment is to peace, to understanding of life. And we keep trying to purify our music, to purify ourselves so that we can move ourselves - and those who hear us - to higher levels of peace and understanding. In a way, we’re trying to do for now what people like Louis Armstrong did at the beginning. Their music was a rejoicing. It was a rejoicing about beauty that was going to happen.’”

Nat Hentoff (from the sleevenotes of Albert Ayler In Greenwich Village
http://www.ayler.org/albert/assets/multimedia/change.MP3
« Last Edit: 16:20:26, 28-05-2008 by King Kennytone » Logged
Jellybaby7
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« Reply #9 on: 17:22:20, 28-05-2008 »

Thanks KK....I enjoyed that.... I was feeling a bit trapped this afternoon and it kinda released it a bit....solidarity....Haven't any of this stuff in my collection (if indeed it can be called a collection) normally depend on streams from LAST, which can be great if dominated by Sun Ra....

Yes Ono babe I didn't like to say 'dumb',but indeed wince making and utterances of PhwwatdaFA are my reaction....but stufff, especially like the intro to KKs link I could listen to that....very cathartic today pm....walk them dogs boy

What city was Albert from....any link to AEoC
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King Kennytone
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Posts: 231



« Reply #10 on: 17:29:33, 28-05-2008 »

Cleveland, Ohio man - no AACM connection

...parallel universe
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Tenor Freak
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Posts: 13



« Reply #11 on: 21:39:31, 28-05-2008 »

I was going to post sommat about the role of the Armed Forces in jazz and improv, this is as good a place to do it.

Many musicians did a stint in the Army, Air Force or Navy: Trane, Wayne, Ayler, Threadgill, Tapscott, Giuffre, the list goes on.  Many of our musicians in the UK did as well.  Why?  I'm quite sure it was because it offered the best musical education available for those without the bread to pay to go to Julliard (cf. Miles).  Do two or three years in uniform playing in a band, avoid the draft to Korea/Vietnam, get paid to woodshed, get out with a GI Bill check (sic) to buy a place at a music college or top up a scholarship and get access to healthcare at a VA hospital (not brilliant but cheaper than medical insurance).  Being a musician in the Forces is not just about marching, there are many opportunities to play different instruments and learn how to read music and double on other instruments.  Those are the advantages.
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words are trains for moving past what really has no name
mr improv
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Posts: 80



« Reply #12 on: 09:50:38, 29-05-2008 »

marching is the core of free improv

maybe being in the army led to the avoidance

of regular beats in free improv

in europe at least

or did it?/

european free improv had beats for a lot of its time i think

less so now

no army

no air force

no rain

no rain
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King Kennytone
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Posts: 231



« Reply #13 on: 10:50:05, 29-05-2008 »

BRING BACK NATIONAL SERVICE
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Jellybaby7
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Gender: Male
Posts: 71



« Reply #14 on: 11:51:40, 29-05-2008 »

Bring back the DMZ....Grunts with 1000yards stares at peace loving folk

Not experienced enough to up load <Don McCullum (or is he the Man from UNCLE bloke)....photos Grunts, tired to the point of de-gruntification....>....

Yeah , music made that war go around....good god....

Free Impro....made to make the Vietcong run....
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