Albert Ayler Quintet - Black Revolt (1966)

Albert Ayler Quintet - Black Revolt

Tracklist:
1 Bells 18:18
2 Ghosts 23:24

Bass - Lewis Worrell
Percussion - Ronald Shannon Jackson
Tenor Saxophone, Written-By - Albert Ayler
Trumpet - Donald Ayler
Violin - Michel Sampson

Recorded May 1, 1966 at Slug's Saloon, NYC.

Very rare album feturing two long tunes of Albert Ayler quintet in 1966
at Slug's Saloon.Maybe not official recording. So sound quality is not so
good. But it is worthwhile with very long performances of middle 60s Ayler.

https://rapidshare.com/files/1656033801/AA-BR.zip

Albert Ayler - Spiritual Unity

ALBERT AYLER - Spiritual Unity (ESP, 1964)

Albert Ayler: tenor saxophone
Gary Peacock: bass
Sunny Murray: drums

01-Ghosts (First variation)
02-The Wizzard
03-Spirits
04-Ghosts (Second variation)

1964 proved to be a watershed year for Albert Ayler , who recorded enough material for ten albums, three for ESP alone. With drummer Sunny Murray  a lone constant, Ayler exchanged Henry Grimes  for Gary Peacock  on bass midyear, briefly adding Don Cherry  for some of the most memorable excursions he would commit to tape, including the expanded group that scorched through New York Eye and Ear Control. Almost a month to the day after capturing the Ayler/Peacock/Murray trio live at the Cellar Cafe in New York, ESP recorded them performing nearly the same program in the studio as Spiritual Unity. As part of ESP owner Bernard Stollman's better-late-than-never remaster/reissue series, Spiritual Unity still weighs in at under thirty minutes with no bonus tracks. But the four original tracks pack more power and punch 41 years after the fact than most dreck-filled full length releases. In glorious mono (on the opening track; the rest are stereo), Ayler invents "ancient to the future with his unmatched mixture of old time spiritual theme snippets played with maudlin vibrato launching into unfathomable dimensions of sound. The shivering shriek and wavering wail return with a freshness that knows no expiration date.
The first of two versions of "Ghosts barely states the theme before the fun begins. Murray steams the cymbals as Ayler finds every manner of variation, fingers working the keys as primal nerve impulse. When he rests, Peacock briefly runs the baton over unexpected intervals. It's amazing to reflect that he came into his tenure with Ayler after his historic pensive, empathic association with Bill Evans, a polar opposite if ever there was one. Ayler returns for a more complete stating of the theme. The second "Ghosts has Peacock more aggressive in the opening, and during nearly double the length of the first version, Ayler wastes no time reaching for the stars. There must have been a good deal of body English involved as he moved up and back off the mic, blowing the brass off the sax.
The enigmatic theme of "The Wizard sets a roiling improv in motion where the ideal of three playing as one finds realization. Ayler breaks out with jagged-edged multiphonics, taking the tenor on a runaway train ride few would dare attempt. Spirits slows it down as Ayler sings, slides, and slurs the sax through the land of strange beauty that only he inhabited, though others visited. Murray and Peacock relax, working off space, silence, and the beauty of freedom.
The Ayler ESP recordings remain some of the most breathtakingly remarkable music ever captured: original, alien, and as seductively familiar as one's own pulse. (from AAJ)
 
HERE

Albert Ayler - My Name Is Albert Ayler

ALBERT AYLER - My Name Is Albert Ayler (Fontana, 1963)

Albert Ayler: soprano & tenor saxophones
Niels Brønsted: piano
Niels-Henning Ørsted Pedersen: bass
Ronnie Gardiner: drums

01-Introduction
02-Bye Bye Blackbird
03-Billie's Bounce
04-Summertime
05-On Green Dolphin Street
06-C.T.

HERE 

Albert Ayler - Love Cry

ALBERT AYLER - Love Cry (Impulse!, 1968)

Albert Ayler: alto & tenor saxophones, vocals
Donald Ayler: trumpet
Call Cobbs: electric harpsichord
Alan Silva: bass
Milford Graves: drums

1. Love Cry
2. Ghosts
3. Omega
4. Dancing Flower
5. Bells
6. Love Flower
7. Love Cry?
8. Zion Hill (alternate take)
9. Universal Indians (alternate take)
10. Zion Hill
11. Universal Indians

From the time he was signed to Impulse in 1966, it was assumed that Albert Ayler's releases on that label would be motivated by an attempt at commercialism. While the music was toned down from his earlier ESP recordings, by no means did Ayler ever make commercial records. Much in the same way John Coltrane's later-period Impulse releases weren't commercial, Ayler simply took advantage of a larger record company's distribution, trying to expose the music to more people. Ayler's uncompromising musical freedom mixed with his catchy combination of nursery rhythms and brass band marches remained prominent on Love Cry. The interplay between the Ayler brothers also remained fiery as younger sibling Donald is heard playing trumpet for the last time on a recording with his brother. Donald was fired from the band (at the suggestion of Impulse) and, unfortunately, was committed to a mental institution for a short stay after these sessions were made. The rhythm section of Alan Silva on bass and Milford Graves on drums continually instigates and propels this music into furious militaristic march territory. Unhappily, the four tracks in which Call Cobbs is featured on harpsichord tend to drag the music down; it's unfortunate his gospel-inspired piano or organ playing couldn't have been utilized instead. The CD reissue contains alternate takes of "Zion Hill" and "Universal Indians." (from AMG)

HERE