The Hilversum Session

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共6首歌曲

艺人: Albert Ayler
语种: 英语
厂牌: Osmosis
发行时间: 1971年02月02日
专辑类别: 录音室专辑

专辑介绍

by Thom Jurek

The Hilversum session by Albert Ayler is one of those legendary recordings in free jazz. It was recorded in a Netherlands radio studio in front of a small invited audience, at the end of the Ayler Quartet's European tour on November 9, 1964 in front of a small invited audience. The band-Ayler, Don Cherry, Gary Peacock and Sunny Murray-had been playing Ayler's tunes for months and were uncanny in their ability to hear one another and improvise together at that point. It was also the last time the group would record together under Ayler's name as a quartet and then went out at a peak. The recording itself remained unissed until 1980 w when it appeared on an LP on the long defunct Osmosis label. It made a brief appearance on CD on the Coppens imprint before the most recent edition-and likely its final home on the ESP-Disc label (who have also acquired the rights to the Holy Ghost: Rare And Unissued Recordings, 1962-70 box set originally released by Revenant. Most of the tunes were, and remain fairly common Ayler creations &Ghosts,& was recorded numerous times in 1964, and &Spirits& first appeared on Witches And Devils but appeared on a record with the same title; both appeared on Spiritual Unity; (the tune &C.A.C,& is actually the original title for the cut &the Wizard,& also from Spiritual Unity). According to the liner notes, the closing number &No Name& was added as a coda to the infamous &Bells& issued in 1965, and in its relatively melodic beauty reveals another dimension to the fierce but inspiring improvisation by this quartet who would take Ayler's skeletal melodies and move them to the margins of musical language itself. &Infant Happiness& by Cherry, is the only piece not authored by Ayler. It I The saxophonist kicks it off before he is joined by the trumpeter near the end of bar four in a knotty but wonderfully nursery rhyme-like melody that is reminiscent of the music Cherry had played with his former and future boss Ornette Coleman. This set is a defining moment, not just historically, but musically. The intense listening and interplay that goes on here is inspiring. Gary Peacock and Sunny Murray may have played better elsewhere, but they never played with the kind of deep communication they enjoyed together as a rhythm section and other front line players than they do here. Ayler is no longer striving to find the outer limits of spiritual expression in his music;, it's all on display here, and Cherry, the inveterate and outrageously talented listener/musician is in full bloom here, untethered as a soloist, yet, like the other three, remain an inextricable part of a BAND. These cats play together with the kind of intuition and foresight only a seasoned group can; they understand the nuances of the language they are speaking and k know how to offer those to the listener emotionally, musically, and even culturally. Finally, as for the sound of the recording, it has never been better. The remastering job is excellent, providing excellent fidelity and balance-not always true on the ESP-Disc offerings in the past. Included in the package are fine liner notes by Russ Musto, and a neat poster of Ayler. If someone would take the same care with Ayler's Lörrach, Paris 1966, recordings (owned by Hat is Switzerland) and reissue those in this fashion, we have have a definitive recorded portrait of the great saxophonist. This is a welcome issue.