#donald ayler

[rjt4]

Albert Ayler Quintet outside of the famous club Slugs, Avenue A in NYC, May, 1966. Left to right Donald Ayler, Albert Ayler, Ron Shannon Jackson, Lewis Worrell and Michel Samson.

[aquariumdrunkard]

Albert Ayler :: Europe 1966

Europe 1966 is a 4-LP set documenting four of Albert Ayler’s performances with his quintet that took place over a ten-day period in November 1966. The collection includes the band’s appearances in Berlin, Lörrach, Stockholm, and Paris, where the saxophonist and his group took part in a package tour called Newport In Europe, a George Wein-curated program that also included Sonny Rollins, Stan Getz, and Dave Brubeck. Ayler’s group on this tour consisted of his brother Donald Ayler on trumpet, Michel Samson on violin, William Folwell on double bass, and Beaver Harris on drums. (The latter replaced longtime Ayler accompanist Sunny Murray, who opted not to make the European trip.)

[bamboomusiclist]

6/13 おはようございます。 Frank Wess / Jazz For Playboys Mg12095 等更新しました。

Frank Wess / Jazz For Playboys Mg12095 Dizzy Gillespie / Story mg12110 Art Farmer / Trumpets All Out Mg12096 Lester Young / Immortal mg12068 Bud Shank / plays Music from Today's Movies wp1864 Albert Ayler / Witches & Devils FLP40101 Hugh Hopper / 1984 S65466 Gilberto Gil / Realce BR32.038 Gal Costa / Agua Viva 6349394 Donald Byrd / Caricatures UAG2000 Donald Byrd / Thank You For FUML 6e144 VA / Motown Instrumentals NR4002T1 Deniece Williams / This is Nicey Pc34242 Maxayn / Mindful cp0110 Aquarian Dream / Fantasy 6e152 Leroy Hutson / Love Oh Love CRS-8017 Nick Straker / The Nick Straker Band PRL14101 VA / Full Time Winter 2 FTM31714

~bamboo music~

info@bamboo-music.net  

530-0028 大阪市北区万歳町3-41 シロノビル104号

06-6363-2700

[lboogie1906]

Carlos Ward (born May 1, 1940, in Ancón, Panama) is a funk and jazz alto saxophonist and flutist. He is known as a member of the Funk and disco band BT Express as well as a jazz sideman.

In 1953, he and his family moved to Seattle, where he began studying the clarinet. He picked up the alto saxophone and began playing in rock and roll bands. He began listening to the music of Thelonious Monk, John Coltrane, and Ornette Coleman.

He joined the military and studied at the Navy School of Music. While stationed in Germany, he met and played with Albert Mangelsdorff and Karl Berger, with whom he would record several albums.

In September 1965, while Coltrane was playing at the Penthouse in Seattle with his expanded group, he was allowed to sit in. Following the Seattle performances, at the advice of Coltrane, Ward took a bus to New York. He joined Coltrane’s group during a week-long engagement in November at the Village Gate. On February 19, 1966, he performed with Coltrane’s group at Philharmonic Hall, Lincoln Center, as part of another expanded group that featured Albert and Donald Ayler.

He met and played with musicians such as Sunny Murray, Rashied Ali, Henry Grimes, and Marzette Watts, and joined a version of Murray’s Swing Unit. He began playing and writing for the funk band B. T. Express, known for the best-selling single “Do It (‘Til You’re Satisfied)”, and performed with the Jazz Composer’s Orchestra, appearing on three of their albums. He played with Abdullah Ibrahim, with whom he would record nearly a dozen albums, and resumed his association with Don Cherry, appearing on the album Relativity Suite and joining Cherry’s band Nu.

Following the death of Jimmy Lyons in 1986, he joined Cecil Taylor’s group, touring and recording three albums. In the late 1980s, he released Lito, his first album as a leader, featuring trumpeter Woody Shaw. During the 1990s, he recorded with pianist Don Pullen and was a member of The Ed Blackwell Project. He led his quartet in 1987 and the 1990s, and recorded three additional albums under his name. #africanhistory365 #africanexcellence

[nofoodjustwax]

Albert Ayler - Love Cry

Albert Ayler – Love Cry

[bradthings]

Donald Ayler (tp) Albert Ayler (ts) Michel Sampson (vln) Lewis Worrell (b) Ronald Shannon Jackson (d) Live at Slug's Saloon, Lower East Side, New York City, May 1, 1966.

[mosaicrecords]

Albert & Donald Ayler: The Nat Hentoff DownBeat Interview

This is a fascinating piece from DownBeat in 1966 by Nat Hentoff interviewing Albert and Don Ayler. Their music stood apart from the rest of the “avant garde” movement of the time. They sounded like no one in musical language and influence. I didn’t really come to understand or feel their music until I discovered the pure New Orleans music of groups like the Eureka Brass Band from whence such emotive collective improvisation began.

-Michael Cuscuna

Read the article… Follow: Mosaic Records Facebook Tumblr Twitter

[souleyes]

Donald & Albert Ayler by Larry Fink

[dustedmagazine]

Albert Ayler – 1965 · Spirits Rejoice & Bells Revisited (Ezz-thetics)

Economy-sized ensembles are sort of the default setting in Albert Ayler’s tragically fixed discography. Trios abound, from his earliest recordings in the company of a pair of ill-equipped and recalcitrant Swedes to the seminal expletive-in-a-cathedral unit involving Gary Peacock and Sunny Murray. Quartets are also plentiful, with first Don Cherry and then sibling Donald following in fielding brass. Spirits Rejoice & Bells Revisited renews attention on a pair of pivotal larger group episodes, one concert, the other captured in a concert hall sans audience, where Ayler expanded measurably on the polyphonic possibilities of his music.

Sequencing situates the second performance first, a sextet with the brothers Ayler joined by altoist Charles Tyler, bassist Henry Grimes and old colleagues Peacock and Murray. Five originals cover a spectrum of bases starting with the clarion march “Spirits Rejoice” which is redolent with the sanctified Salvation Army atmosphere that was Albert’s trademark. Regal statement of an Aeolian theme is answered by Tyler’s limpid asides before a conflagration of collective free improvisation takes hold. “Holy Family,” by comparison, is almost jukebox-worthy in its shimmy-powered concision and Call Cobbs joins the fun on flurried and florid harpsichord for “Angel.”

“Bells” comes from an engagement at New York’s Town Hall four months earlier with bassist Lewis Worrell in place of Grimes and Peacock. Essayist Brian Olewnick makes astute linkages to Ornette Coleman’s “Free Jazz” in terms of its general linkage free and thematic passages, but Ayler’s extended design sounds more elemental and unhinged from the jump. Donald is a molten metallic fount abetted by his older brother’s exhortations and those of Tyler who was apparently making his recorded debut on the date. A series of exchanges ensues, broken by audience applause and shifts to subgroupings including a duet passage by leader and Peacock that’s never sounded clearer.

That new clarity dials focus directly to audio engineer Peter Pfister and it’s why this particular reissue really matters. Pfister has become a continuous and crucial footnote to these reissues on the Ezz-thetics imprint. As with earlier projects, he defogs and brightens the source material substantially, bringing particularly potent boosts to the bassists and Murray’s vocalizations. The effect is as conspicuous and revelatory as to render earlier ESP editions of the music instantly obsolete. Ayler’s tenor sound, a helical weave of textured striations and colors, is absolutely deserving of the royal aural treatment so copiously applied.

~ Derek Taylor

[myrecordcollections]

Two very different sessions are combined on this two-LP set. Trumpeter Lester Bowie and a quintet also including Ari Brown on tenor and soprano, pianist Art Matthews, bassist Fred Williams, and drummer Phillip Wilson, are often used to accompany the soulful and gospel-oriented vocals of Fontella Bass and David Peaston (in addition to taking colorful solos). The 12-minute "For Louie" and a suite that is dominated by an emotional version of "Everything Must Change" are highlights; also memorable is a brief version of Albert Ayler's "Ghosts." The second album is quite a bit different, a set of unaccompanied trumpet solos by Bowie that are often quite humorous. On "Miles Davis Meets Donald Duck," the meeting does seem to take place; "Thirsty?" is a funny joke, and some of the other pieces (including "Organic Echo," "Dunce Dance" and "Fraudulent Fanfare") are brief but effective wisecracks. All in all, this two-fer shows off both Lester Bowie's playing abilities and his sense of humor.

[soundpollution]

Albert Ayler - Albert Ayler in Greenwich Village

Personnel

Albert Ayler – alto saxophone, tenor saxophone

Donald Ayler – trumpet

Bill Folwell – bass

Joel Friedman – cello

Henry Grimes – bass

Beaver Harris – drums

Michel Sampson – violin

Alan Silva – bass

Albert Ayler - Albert Ayler in Greenwich Village

[50fingyears]

Home Is Where The Music Is (1972)

Home Is Where The Music Is by Hugh Masekela

Drop the needle on certain records and you’re in their world. So enfolding, so sensually sure in their touch, one sinks into their hands willing and wonderfully split open, tenderized enough to let the music mash us into the crucible that birthed these sounds. South African brass master Hugh Masekela creates this sort of gloriously enveloping world on this double album recorded during a chilly January in London at Island Studios 50 years ago this month.

Both Masakela and co-producer/composer Caiphus Semenya were far from their South African home but the country lives inside them, reflected in the echoes of homeland melodies and underlying melancholy. So much is said without uttering a word here, the feelings clear as any description on a page. Yes, this is definitely jazz but also a sound unconstrained by that label.  Home Is Where The Music Is conjures a mobile abode built by thoughtful craftsmen - Masekela (trumpet), Larry Willis (acoustic & electric piano), Dudu Pukwana (alto saxophone), Eddie Gomez (bass), and Makhaya Ntshoko (drums) - a true listening ensemble where the care and thought of one person’s contribution is built upon, commented on, and woven into the epitome of the axiom about the whole being greater than its parts.

Home Is Where The Music Is shares a kindred spirit with other long-players created in exile in London, namely Gilberto Gil’s 1971 issued Gilberto Gil (Nega) and Caetano Veloso’s 1971 self-titled third LP - his only album besides 2004′s covers set A Foreign Sound to be almost entirely in English - all albums marbled with yearning, a wistful strand woven into even the brightest passages.

The first two tracks, “Part Of A Whole” and “Minawa,” are so rich and absorbing to be reason enough to celebrate this LP but so much follows, a rainbow of skills and textures beyond even the lush hues of the opening salvo. The emotional heft, control, and intelligent attack of Masekela’s trumpet and Pukwana’s saxophone are the driving forces but the sheer beauty and cinematic scope of Larry Willis’ piano work cannot be overstated. The opening of “Inner Crisis” is ivory delicacy that bursts into electric growl dueling with massed horns that surely inspired Donald Fagen & Walter Becker in their dorm rooms. The progression into “Blues For Huey” scatters some DNA found modern jazz-expansionists like Lettuce and Karl Denson’s Tiny Universe, groove married to sharp, crisply drawn lines, technical daring-do with sashaying hips. 

“Huey” is a showcase for drummer Makhaya Ntshoko, as conversational a stick man as they come, that keeps it interesting in the spotlight while edging in and out of the melody with his bandmates. It’s a hell of a ride that concludes with Masekela saying, “Call an ambulance!” followed by joyful laughter.

The middle section of “Maseru” swings like a late night at the Plugged Nickel, bop moderne that erupts into tender piano textures and flying-as-one group interplay, twinned brass that dissolves into New Orleans blues, a heady Masekela composition that cries out for inclusion in the contemporary canon. “Nomali” welcomes in waltzing breezes, a perfect counterpoint to “Huey”’s fire and beat, a charming stroll led by Willis’ saucy acoustic piano. Resonant, patient electric piano brings in “Maesha” - pondering music with a heartbeat rhythm and warm arms to safely breathe inside and consider whatever the mind tosses up. The soaring horns gives it the feel of a spiritual but one suited to Hair. The finale, “Ingoo Pow-Pow (Children’s Song),” find Semenya, the composer of half the pieces on Home Is Where The Music Is, reworking a South African kid’s tune in the same wild way the Art Ensemble or Charlie Haden skillfully expose the potential in seemingly simple forms. It’s the most expressly African track here primarily because of the vocal chants but the inner workings recall Pharoah Sanders and Albert Ayler in the same years - not names normally associated with chart-topper Masekela, whose fierce, unruly trumpet puts a sharp period on the proceedings. (Dennis Cook)

Side A

1. Part Of A Whole (C. Semenya)

2. Minawa (S. Toure)

Side B

3. The Big Apple (C. Semenya)

4. Umhome (M. Makeba)

5. Maseru (H. Masekela)

Side C

6. Inner Crisis (L. Willis)

7. Blues For Huey (K. Moeketsi)

8. Nomali (C. Semenya)

Side D

9. Maesha (C. Semenya)

10. Ingoo Pow-Pow (Children’s Song) (C. Semenya)

Released January 1972 on Blue Thumb Records

[caramelcat]

Playlist: Tomorrow Never Knows fill, Triple R, June 30, 2018

Coloured Stone - Dancing In The Moonlight

Nina Simone - Compensation

James Brown - Try Me

The Congos - Open Up The Gate

Sharon Forrester - Silly Wasn’t I

Haruomi Hosono and The Yellow Magic Band - Paraiso

Gilberto Gil - Expresso 2222

King Short Shirt - Tourist Leggo

Lizzy Mercier Descioux - Maita

Dunkelziffer - This Is How You Came

Steely Dan - Bodhisattva

Miles Davis - Little Church

Don Cherry - Universal Mother

Albert Ayler - Music Is The Healing Force Of The Universe

Kamasi Washington - Ooh Child

Donald Byrd - Woman of the World

Chromatics - Black Walls

Róisín Murphy - Plaything

Betty Davis - Game is My Middle Name

Ike & Tina Turner - Sexy Ida (Part 1)

Parliament - Mothership Connection (Star Child)

[historybetweenthepages]

David Redfern - Donald Ayler performing on 'Jazz 625'

 December 31, 1963

[deepartnature]

Manhattan Egos · Sonny Simmons (1969)

“This collection consists of recordings by avant-garde jazz musician Huey ‘Sonny’ Simmons. The first session from 1969 finds Simmons on alto saxophone and English horn paired with trumpeter and future wife Barbara Donald. Their playing style is influenced by the early free-jazz music of saxophonist John Coltrane and trumpeter Donald Ayler. On ‘Seven Dances of Salome,’ Simmons plays English horn, giving the music a Middle Eastern flavor. The second session from 1970 pairs Simmons with jazz violinist Michael White on four numbers. Simmons’ career went into decline in the 1970s, but rebounded in the 1990s. ...”

Holland Tunnel Dive

W - Sonny Simmons

Discogs (Video)

amazon

YouTube: Coltrane in Paradise, Seven Dances of Salome, Manhattan Egos