#Ayler Records | Explore Tumblr Posts and Blogs

donospl · 5 months

Text

Europe Jazz Media Chart - TOP of 2023

Liv Andrea Hauge Ensemble Hva nå, Ekko? (Odin Records) Linda May Han Oh The Glass Hours (Biophilia Records) Sanne Rambags, Vincent Courtois, Julian Sartorius Twigs (BMC Records) Marek Pospieszalski No Other End Of The World Will There Be (Clean Feed) NATALIA KORDIAK Ytinamuh (Fundacja Słuchaj) Krzysztof Komorek, Donos kulturalny, Polska Geri Allen & Kurt Rosenwinkel – A Lovesome Thing…

View On WordPress

1 note · View note

ozkar-krapo · 11 months

Text

Albert AYLER

"New Grass"

(LP. Impulse!. 1976 / rec. 1968) [US]

youtube

#albert ayler #1968 #usa #jazz #spiritual jazz #records #marc edouard nabe #books #Youtube

16 notes · View notes

lyssahumana · 2 years

Text

Albert Ayler Quartet with Don Cherry - 1964 - European Recordings Autumn 1964 Revisited

#Albert Ayler Quartet #Albert Ayler #Don Cherry #records #record covers

4 notes · View notes

lionofchaeronea · 1 month

Text

Albert Ayler, publicity photo by Chuck Stewart for ABC/Impulse! Records during the recording of Love Cry at Capitol Studios, NYC, 1967-68

#jazz #jazz music #International Jazz Day #photography #history #historic photography #Albert Ayler #Chuck Stewart #Impulse!#black and white #b&w #b&w photography #American photography #1960s

50 notes · View notes

prgnant · 10 months

Text

top ten mid 60’s jazz records for me personally in my life are

Coltrane quartet- all of them but love supreme or meditations especially

Eric Dolphy- out to lunch

Andrew Hill - point of departure

Sun Ra arkestra- magic city

Albert Ayler - spiritual unity

Grachan Monchur III - some other stuff

Jackie McLean - destination out

Archie Shepp - fire music

Wayne Shorter - speak no evil

New York art quartet - self title

all 64-65 im pretty sure? arbitrarily but also something so special abt those two years <33333

#obviously it was bc civil rights movement was happening #among other things #srry I got distracted nerding out while smoking before going out lmao

95 notes · View notes

dustedmagazine · 22 days

Text

Cecil Taylor Unit — Live at Fat Tuesdays, February 9, 1980 (First Visit Archive)

Over the weekend of Feb. 8-9th, 1980, the Cecil Taylor Unit rolled into Fat Tuesday’s, a jazz club at 190 Third Avenue in Manhattan. Four sets were recorded over the weekend by Swiss producer Werner X. Uehlinger, probably some four hours of music. The next year, one of these sets was released by Uehlinger’s label HatHut. And now, over 40 years later, another set has been released as Live At Fat Tuesdays, February 9, 1980, the first record on Uehlinger’s new label First Visit Archive.

This release consists of one long, untitled composition by Cecil Taylor, split arbitrarily into three tracks, and is a little over an hour of intense music: at turns it threatens to boil over, could seem at home on a classical record, or has the shouts and claps of a revival meeting. It’s not the most accessible of Taylor’s records, but then his most interesting ones never are.

The set opens with Taylor on piano, gently exploring while the percussion duo of Sunny Murray and Jerome Cooper provide a sparse backing. Soon, alto saxophonist Jimmy Lyons enters and he and Taylor go back and forth for a bit. As Taylor’s playing grows faster and more percussive, Lyons starts working on variations of the same phrase, adding little flourishes here and there. As the pace continues to build, Taylor’s energy rises and about four minutes in, he launches into his first solo of the set. You can hear him exploring ideas, sometimes going back to a passage or two between bursts. This isn’t just free jazz, but something with a larger structure in mind. Taylor’s piano occasionally bursts into fragments of sound, his energetic playing seeming to swirl around the other players and pushing him to the forefront. After a little bit, violinist Ramsey Ameen enters, sounding like he just walked in off an Albert Ayler record, his tone thin and shrill. He adds a nice dissonant streak to Taylor’s music, a counter to the pumping, rhythmic piano.

Not far into the second part, Taylor changes tack: his playing slows down and settles into a slow, almost classical style. He’s not exactly playing it straight — there’s little signature flourishes between phrases here— but he’s almost showing that he can play like Keith Jarrett if he wanted to. As his playing once again picks up and grows fragmented, Lyons reenters and trades licks. Together they build a flurry of notes, the rhythm section trailing just behind.

Later in the evening, another wrinkle emerges: someone starts to vocalize overtop of the music, almost speaking in tongues, as opposed to the poetry Taylor sometimes mixed into his music. As the tempo slows down, there’s layers of voices and hand claps and percussion, taking the music into another dimension. And as the set winds down, the voices grow stronger and more rapid, little bursts that almost mimic Taylor and Lyons playing. And finally, Taylor slows things down almost all the way, closing an intense hour of music with some slow, melodic playing.

Throughout Live at Fat Tuedsays Taylor’s playing isn’t just a mere accompaniment to his band. He never just guides things along with a well-placed chord here or there. His forceful, driving playing could be a band all in itself and acts almost like a bed for the rest of the musicians to work on top of. He occasionally guides them with a burst of playing or pushes someone forward with a low rumble from his left hand. But one could strip away everything else to just focus on him and they’d still have an engaging record.

With so many moving parts here, like the interplay between Taylor and the string section of Ameen and Alan Silva (bass, cello), or the way Lyons seems to effortlessly glide between Taylor’s flurry of notes, it can be easy to get overwhelmed on first listen. Thankfully, one can go back and relisten: an ability the audience this night at Fat Tuesday’s wasn’t able to have.

To think that this short-lived lineup was able to play with this kind of telekinesis and energy on any of these nights is almost breathtaking and makes one wish the two unreleased sets were also available to listen to. But until then, this is an essential and exciting addition to Taylor’s discography.

Roz Milner

#cecil taylor #live at fat tuesdays #first visit archive #roz milner #dusted magazine #albumreview #jazz #Sunny Murray #Jerome Cooper #Jimmy Lyons #Ramsey Ameen #Alan Silva

13 notes · View notes

onetwofeb · 8 months

Text

When John Coltrane knew he was dying, he asked for Albert Ayler and Ornette Coleman to play at his funeral. This is the only known recorded track by Ornette Coleman that day on St. Peter’s Lutheran Church on Lexington Avenue and 54th street, in Manhattan.

Ornette Coleman (alto saxophone), Charlie Haden (bass), David Izenzon (bass), Charles Moffet (drums)

youtube

#Youtube

17 notes · View notes

kosmik-signals · 20 days

Photo

“ 1964 was a great year for cutting-edge jazz records like Albert Ayler's Spiritual Unity, John Coltrane's A Love Supreme and Andrew Hill's Point of Departure. But none sounds as far ahead of its time as Eric Dolphy's masterpiece Out to Lunch...” - Kevin Whitehead, NPR

(via Still 'Out To Lunch' 50 Years Later : NPR)

3 notes · View notes

doomandgloomfromthetomb · 2 years

Text

Air with Amiri Baraka - WDR Studio, Köln, Germany, March 20, 1982

I've been loving this forthcoming Blank Forms collection of the pioneering Black Arts publication The Cricket.

The details: A rare document of the 1960s Black Arts Movement featuring Albert Ayler, Amiri Baraka, Milford Graves, Sun Ra, Cecil Taylor, and many more, The Cricket fostered critical and political dialogue for Black musicians and writers. Edited by poets and writers Amiri Baraka, A.B. Spellman, and Larry Neal between 1968 and 1969 and published by Baraka’s New Jersey–based Jihad productions shortly after the time of the Newark Riots, this experimental music magazine ran poetry, position papers, and gossip alongside concert and record reviews and essays on music and politics. Over four mimeographed issues, The Cricket laid out an anticommercial ideology and took aim at the conservative jazz press, providing a space for critics, poets, and journalists (including Stanley Crouch, Haki Madhubuti, Ishmael Reed, Sonia Sanchez and Keorapetse Kgositsile) and a range of musicians, from Mtume to Black Unity Trio, to devise new styles of music writing.

A must-buy for anyone interested in the intersection of jazz, R&B, the Black Power movement, poetry and the Gastetner mimeograph machine.

As a treat, here's a rarity to listen to — Amiri Baraka joined by Air (Henry Threadgill, Fred Hopkins and Steve McCall) for a fiery live-in-the-studio performance, with Baraka reciting his sharp-edged poetry over lively improvisations from the trio. I don't know how often these four guys played together, but it sounds fantastic here, a powerful blend.

#the cricket #amiri baraka #air #henry threadgill

57 notes · View notes

donospl · 1 year

Text

Co w jazzie piszczy [sezon 1 odcinek 4]

premierowa emisja 15 marca 2023 – 18:00 Graliśmy: Vivienne Aerts “Silence” z albumu “Typuhthâng” Kongle Trio ”Paradisfuglens flørt” z albumu “Live at Molde Jazz” Øra Fonogram Lukas Traxel “Origami” z albumu “One-Eyed Daruma” We Jazz Records Tomas Fujiwara Triple Double “Docile Fury Duet” z albumu “March On” Scree “Victory Signs” z albumu “Jasmine on a Night in July” Ruination…

View On WordPress

0 notes

seeking--the--essential · 1 year

Text

John Lee Hooker’s 1966 album It Serves You Right to Suffer is one of the most unique entries in the guitarist’s massive catalog, and it constitutes one of his most rewarding listening experiences. It was Hooker’s lone album for Impulse, the jazz label that oversaw groundbreaking releases by John Coltrane, Albert Ayler and Charles Mingus. They set up Hooker as they would any jazz leader — with the supervision of master engineer Rudy Van Gelder, and the backing of a rhythm section drawn from the world of R&B and jazz, in this case, bassist Milt Hinton and drummer David “Panama” Francis. The crisp engineering and lithe playing immediately distinguishes the album from the hundreds of other Hooker releases. At the time, blues purists might have whined that the high-minded jazz label was wrongly attempting to refine a gnarled bluesman, but Hooker had always been a sophisticated individual, both musically and mannerly. It Serves You Right… succeeds because it emphasized the regality that had always been implicit, even in his rawest recordings.

Credit: Apple Music

#music #the blues #john lee hooker #sunday night vibes #Spotify

14 notes · View notes

lyssahumana · 1 year

Text

#music #jazz #records #record covers #Albert Ayler #Don Cherry

3 notes · View notes

noloveforned · 1 year

Audio

no love for ned is on wlur tonight from 8pm until midnight and we're doing the old flippity flop so that last week's show airs first followed by the new show at 10pm- it's been a busy day for me but the show must go on!

no love for ned on wlur – february 24th, 2023 from 8-10pm

artist // track // album // label elvis costello // welcome to the working week // my aim is true // stiff lousy sue // ferma jean // artless artifacts // sweet time ervin berlin // junior's got brain damage // junior's got brain damage 7”// total punk abi ooze // problematic // julie's apartment (demos) cassette // (self-released) fluf // j'n it on the net // road rage // honest don's fuss // but it's a dry heat // we're not alone // phat 'n' phunky phonics body type // miss the world // expired candy // poison city cathedrale // silent castle // words/silence // howlin' banana spiral xp // the end // it's been a while ep // danger collective index for working musik // ambiguous fauna // dragging the needlework for the kids at uphole // tough love bingo trappers // solar holiday // roger // almost haloween time dwaal troupe // some blood for luna // lucky dog // ally superchunk // everything hurts // everything hurts 7” // merge ned's atomic dustbin // grey cell green // ned's acoustic dustbin // good deeds music jeffrey lewis // what i love most in england (is the food!) // when that really old cat dies // (self-released) jimmyjack toth // correspondence class // the caretaker (winter 2023 demos) // (self-released) willie nelson and kimmie rhodes // love me like a song // picture in a frame // sunbird angel olsen // something on your mind // angel olsen plays karen dalton split 7" // light in the attic resound // i will always love you // i will always love you digital single // spacebomb h.e.r. // the office // songs about the mysteries of housework and nature // persian cardinal patrick shiroishi and dylan fujioka // birth light // no-no 3 / のの三 // (self-released) john dikeman, pat thomas, john edwards and steve noble // no comment // volume one // 577 albert ayler featuring mary parks // oh! love of life // revelations - the complete ortf 1970 fondation maeght recordings // elemental dizzy gillespie // closer // the real thing // perception phil ranelin and wendell harrison with adrian younge and ali shaheed muhammad // open eye // jazz is dead, volume sixteen // jazz is dead lmno, m.e.d. and declaime featuring fly anakin and j rocc // kool // flying high // bang ya head lizzo featuring sza // special (remix) // special (remix) digital single // atlantic little simz // you should call mum // drop six ep // age 101 laika // marimba song // silver apples of the moon // too pure la jvnta // ronda nocturna // sendas cambembas ep // grabaciones bonicas frankie valet // stop apologizing // cadillac frank cassette // (self-released) lovers without borders // she wants a baby (yeah, yeah) // she wants a baby 7" // (self-released) galore // ladders // blush cassette // paisley shirt wild carnation // acid rain and ‘the big one’ // tricycle // delmore

#wlur #radio shows

4 notes · View notes

dustedandsocial · 1 year

Photo

Top 30 Full-Lengths of 2022

1. Padkarosda - Sötét Végek LP [World Gone Mad] 2. Z Money - Back 2 The Blender [Self-Released] 3. Intensive Care - That We Be Made Worthy LP [Closed Casket Activities] 4. Winged Wheel - No Island [12XU] 5. Carla dal Forno - Come Around LP [Kallista] 6. Rush to Relax - Misli LP [Pop Depresija / Hidden Bay / Look Back And Laugh] 7. Fievel Is Glauque - Flaming Swords LP ["la Loi"] 8. CEO Trayle - HH5 [Do What You Love] 9. Dame Area - Todas las mentiras sobre Dame Area LP [BFE / Màgia Roja] 10. Nail Club - Mise en Abyme LP [Hot Releases] 11. Derviche - Murs absurdes CD [Ayler] 12. Boldy James & Nicholas Craven - Fair Exchange No Robbery [Nicholas Craven Productions] 13. Yes Indeed - Rotten Luck CD [Bison] 14. Bezbog - Dazhbog LP [Favela Discos] 15. The Birthmarks - Slowly CS [Icecapades] 16. Speck - Speck CS [Primordial Void] 17. Ssabæ - azurescens LP [Few Crackles] 18. PANSTARRS - Batee2 LP [Nashazphone] 19. Regno Maggiore - Esasumma [Gang Of Ducks] 20. Crisis Man - Asleep In America LP [Digital Regress] 21. Kurws - Powięź / Fascia LP [Red Wig / Dur Et Doux / Korobushka Records] 22. Onyon - Onyon [U-Bac / Flennen / Trouble In Mind] 23. Christina Vantzou - No. 5 [Kranky] 24. Tacita Trjj - Meeting On Purpose CS [Iriai Verlag] 25. Radnik - Sport [Krava 22] 26. SLOI - SLOI LP [Iron Lung] 27. Jone Takamäki, Umut Çağlar & Fahrettin Aykut – Myth of the Drum LP [Zehra] 28. VA - Elsewhere XX LP [Kalahari Oyster Cult] 29. Sunfear - Octopus [Dark Entries] 30. Th Blisks - How So? LP [Altered States Tapes]

Top 30 7"/EPs/12"

1. skitungen - Längre än Långtån 7" EP [Rubber] 2. Rare Spam - EP CS [Contact Minimal] 3. Mars89 - Night Call 12" [Sneaker Social Club] 4. Dalibor Cruz - Deviance 12" [Chicago Research] 5. Heavy Petting - Anfahr'n Am Berg [U-Bac / Muskel] 6. Slimex - Easy Money 7" EP [Spared Flesh] 7. Elektronik Body Girl - Elektronic Body Girl 12" [Emotional Response] 8. D.B.R. - Nuclear Dreams [Urticaria] 9. Lower Tar - Blank stare CDr [Fantasy 1] 10. Tapes meets Nikolaienko - Sunda School II 7" EP [Porridge Bullet] 11. Umarell & Zdaura - Aux Morts A l'Aise- Dada ! EP [KRUT] 12. Oscar Mulero - Desde La Boca Del León 12" [PoleGroup] 13. Christoph de Babalon - Leaving Time 12" [Super Hexagon] 14. Paperniks – Paperniks 7" EP [Self-Released] 15. Lawrence Le Doux - Insula Dulcamara 12" [Nous'klaer Audio] 16. Greymouth - Twilight Furl 7" EP [Kashual Plastik] 17. Gabys - The Gabys 7" EP [Fruits & Flowers] 18. soFa elsewhere - All My Friends Are Witches 12" [Planet Trip] 19. Tropa Macaca - Animais Sintéticos 12" [Self-Released] 20. Pisse - Lambada 7" EP [Phantom] 21. Tsap – Crimes Against Time 12" [Altered States Tapes] 22. [ RTZ ] - Brechen 7" [Höllenfrau] 23. Ostseetraum - Mondmenschen 7" EP [Mangel] 24. Ruutu Poiss - Demosoup 7" [MIDA] 25. De Ambassade - Young Birds 12" [Optimo Music] 26. Troth - Blood In My Hair 7" [I Dischi Del Barone] 27. Chimers + Die! Die! Die! - Split 7" [Not On Label] 28. Mutated Void - Slash The Altar 7" EP [Sewercide] 29. Mižerija - Mižerija 7" EP [Doomtown] 30. Grim Lusk - Diving Pool 12" [Domestic Exile]

5 notes · View notes

rich4a1 · 2 years

Text

Steve Tintweiss Spacelight Band Live at NYU:1980

Steve Tintweiss Spacelight Band Live at NYU:1980 INKY DoT Media Why bring something so ‘old’ to these pages? Admittedly, it’s due to Steve Tintweiss, the bassist and composer, who appeared on several avant-garde or free jazz recordings of the ‘70s and ‘80s, including the most intriguing album this writer has heard this year – Albert Ayler’s Record Store Day limited reissue of Revelations – The…

View On WordPress

#cd review #jazz #jazz CD #Jazz Review

2 notes · View notes

dustedmagazine · 8 months

Text

James Brandon Lewis/Red Lily Quartet — For Mahalia, with Love (Tao Forms)

Photo by Henri Selmer

For Mahalia, With Love by James Brandon Lewis / Red Lily Quintet

James Brandon Lewis reconvenes the Red Lily Quintet—with Kurt Knuffke on cornet, Chris Hoffman on cello, William Parker on bass, and Chad Taylor on drums—for a set inspired by songs associated with Mahalia Jackson, the towering figure in gospel music in the previous century. The group develops the brief melodies of these traditional devotional tunes into vehicles for improvisation and exploration, creating a joyful noise that celebrates Jackson and also recalls the exploration of themes associated with the Black church by Charles Mingus, Albert Ayler and Roland Kirk.

In some cases, such as “Swing Low” and “Wade in the Water,” the source material is readily apparent while in others it is less so. The set begins appropriately and gently with Lewis’s adaptation of one of Jackson’s signature songs, “His Eye Is on the Sparrow,” which provided the name for a radio show that she hosted in the 1950s and with which she wowed the 1958 Newport Jazz Festival. Lewis’s phrasing well captures Jackson’s meditation on a tune that, like the rest of those here, is beautiful in its simplicity rather than showy.

The quintet was rock-solid on its first outing, Jesup Wagon (2021), and is even more together this time around. Parker is, predictably, outstanding here, delving deep into the music whether soloing, as on “Go Down Moses” and the first minute of “Elijah Rock,” or providing bedrock support throughout. Hoffman’s cello often blends with Parker’s bass, somewhat like the dynamic between the two bassists in some of Coltrane’s bands. Knuffke once more serves as the perfect foil for Lewis as they alternately trade leads and blend their voices. His solo on “Deep River” well exemplifies his approach, building on the foundation established by Lewis before him, he ranges from flutters to searching cries consistent with the funereal theme of the song. Taylor, along with Parker, holds everything together, being equally effective in delivering frantic rolls, as on “Were You There,” and hand percussion, as on “Calvary,” and there are numerous satisfying moments when he and Parker lock in, such as the last couple minutes of “Elijah Rock”

Lewis’s ever-deepening mastery of the tenor is naturally on full display here. His playing, like this recording, delves into the history of jazz without ever sounding formulaic with a tone that is simultaneously ancient and cutting-edge. Here, his horn transforms into the voice of the great gospel singer, channeling as well the voices that she was influenced by and that influenced her.

Those who purchase the CD or vinyl versions can hear Lewis’s playing in a different context on a live recording of his composition for sax and strings with the Lutoslawski Quartet. Titled These Are Soulful Days, the piece interweaves themes from the spirituals and thus serves as a companion to the Red Lily Quartet recording. This fresh context for Lewis’s vision unfolds through the tranquil and plaintive “Prologue – Humility” and four movements to “Epilogue – Resilience.” The movements interweave more and less recognizable phrases from the gospel songs, particularly the dramatic eruption of “Wade in the Water” in Movement III, while “Epilogue” gets fairly noisy and atonal. An encore concludes the set in the form of a lyrical solo sax performance of “Take Me to the Water.”

For Mahalia, with Love, like Jesup Wagon and Lewis’s “Molecular” releases, is fairly high-concept, but the music is spunky and easy to enjoy, with plenty of groove and intensity. The bare nature of the source melodies is well-suited to jazz exploration (as successive generations of musicians have discovered). Lewis is still too young to be considered a jazz elder statesman (and national treasure), but he is steadily building a body of work and a perspective commensurate with that status.

Jim Marks

#james brandon lewis #red lily quartet #for mahalia with love #tao forms #jim marks #albumreview #dusted magazine #jazz #Kurt Knuffke #chad taylor #william parker #chris hoffman #mahalia jackson

2 notes · View notes