Albert Ayler - 1967 - In Greenwich Village

Albert Ayler 

1967

In Greenwich Village

01. For John Coltrane 13:32
02. Change Has Come 6:15
03. Truth Is Marching In 12:12
04. Our Prayer 4:28

Side A recorded 26 February, 1967 at The Village Theatre, New York City
Side B recorded 18 December, 1966 at The Village Vanguard, New York City

CD Reissue:

Live In Greenwich Village - The Complete Impulse Recordings

101. Holy Ghost 7:41
102. Truth Is Marching In 12:42
103. Our Prayer 4:45
104. Spirits Rejoice 16:22
105. Divine Peacemaker 12:37
106. Angels 9:53

201. For John Coltrane 13:40
202. Change Has Come 6:24
203. Light In Darkness 10:59
204. Heavenly Home 8:51
205. Spiritual Rebirth 4:26
206. Infinite Spirit 6:37
207. Omega Is The Alpha 10:46
208. Universal Thoughts 8:22

Track 1-1 recorded at The Village Gate, New York City on March 28, 1965.
Tracks 1-2 to 1-5 recorded at The Village Vanguard, New York City on December 18, 1966.
Track 1-6 recorded at The Village Vanguard, New York City on December 18, 1966.
Tracks 2-1 to 2-8 recorded at The Village Theatre, New York City on February 26, 1967.

Disc One #1 originally issued on "The New Wave In Jazz" (Impulse AS-90). Disc One #2-3 and Disc Two #1-2 originally issued as "Albert Ayler In Greenwich Village" (Impulse AS-9155). Disc One #4-6 and Disc Two #3-7 originally issued as "Albert Ayler: The Village Concerts" (IA-9336-2). Disc Two #8 is previously unissued.

Bass – Alan Silva (tracks: 2-1 to 2-8), Bill Folwell (tracks: 1-2 to 1-5, 2-1 to 2-8), Henry Grimes (tracks: 1-2 to 1-5)
Cello – Joel Freedman (tracks: 1-1, 2-1 to 2-8)
Drums – Beaver Harris (tracks: 1-2 to 1-5, 2-2 to 2-8)
Tenor Saxophone, Alto Saxophone – Albert Ayler
Trumpet – Don Ayler (tracks: 1-1 to 1-5, 2-2 to 2-8)
Violin – Michel Sampson (tracks: 1-2 to 1-5, 2-1 to 2-8)

During 1967-69 avant-garde innovator Albert Ayler recorded a series of albums for Impulse that started on a high level and gradually declined in quality. This LP, Ayler's first Impulse set, was probably his best for that label. There are two selections apiece from a pair of live appearances with Ayler having a rare outing on alto on the emotional "For John Coltrane" and the more violent "Change Has Come" while backed by cellist Joel Friedman, both Alan Silva and Bill Folwell on basses and drummer Beaver Harris. The other set (with trumpeter Donald Ayler, violinist Michel Sampson, Folwell and Henry Grimes on basses and Harris) has a strong contrast between the simple childlike melodies and the intense solos. However this LP (which was augmented later on by the two-LP set The Village Concerts) will be difficult to find.

Live in Greenwich Village was Albert Ayler's first recording for Impulse, and is arguably his finest moment, not only for the label, but ever. This double-CD reissue combines both of the Village concerts -- documented only partially on previously released LPs -- recorded in 1965 and 1966 with two very different groups. The Village gigs reveal the mature Ayler whose music embodied bold contradictions: There are the sweet, childlike, singalong melodies contrasted with violent screaming peals of emotion, contrasted with the gospel and R&B shouts of jubilation, all moving into and through one another. On the 1965 date, which featured Ayler, his brother Donald on trumpet, Joel Freedman on cello, bassist Lewis Worrell, and the great Sunny Murray on drums, the sound is one of great urgency. Opening with "Holy Ghost," the Aylers come out stomping and Murray double times them to bring the bass and cello to ground level in order to anchor musical proceedings to their respective generated sounds. "Truth Is Marching In" casts a bleating, gospelized swirl against a backdrop of three- and four-note "sung" phrases that are constantly repeated, à la a carny band before kicking down all the doors and letting it rip for almost 13 minutes. On the 1967 date of the second disc, the Aylers are augmented with drummer Beaver Harris, violinist Michel Sampson, Bill Folwell and Alan Silva on basses, and trombonist George Steele on the closer, "Universal Thoughts." "For John Coltrane" opens the set with a sweltering abstraction of tonalities in the strings and horns. On "Change Has Come," the abstraction remains but the field of language is deeper, denser, more urgent. Only with "Spiritual Rebirth," which opens with a four-note theme, does one get the feeling that the band has been pacing itself for this moment, and that the concert has become an actual treatise on the emotion of "singing" as an ensemble in uncharted territories. Throughout the rest of the set, Ayler's band buoys him perfectly, following him up through every new cloud of unknowing into a sublime musical and emotional beyond which, at least on recordings, would never be realized again. This recording is what all the fuss is about when it comes to Ayler.

Astonishing 2-CD set, excellent value, good packaging (except for ugly cover) and outstanding booklet with notes from Nat Hentoff and Robert Palmer. Impulse! usually equals quality and this offering is no exception. Combining the live dates was a particularly good, and customer-friendly, idea.

It's been said of Coltrane that he didn't so much play the music as "play through it" in order to reach a higher spiritual goal. One can also hear this in the playing of Eric Dolphy who, though quite technical at times, appeared to be constantly exploring, looking for that pure place. Pharaoh Sanders reveals the same struggle. But in the playing of Albert Ayler one finds the apotheosis of this approach.

Listening to Ayler is akin to witnessing old-testament revelation, he plays with the inspired intoxication and sanctified fury of a man who has not only been to the mountaintop and seen the Promised Land but already has one foot in it. You will never hear this music in an elevator for the simple reason that it would cause businessmen to rip off their ties, weep like infants, get on their knees and pray, and confess their countless sins of mediocrity and cowardice.

While Ayler certainly deserves center stage for his euphoric and completely original contribution to jazz, the other players fan the flames expertly. Brother Don, on trumpet, shares the vision and is no slouch. Both drummers featured, Beaver Harris and Sunny Murray, understand that Ayler generates such intense rhythm that timekeeping is not an issue; they are free to maneuver around the beat expressively.

Most intriguing of all is the use of strings. Ayler went with two bass players on both sets, also using a cellist and violin player on some tracks. This adds an unearthly and highly unexpected texture to the playing that works marvelously well. The stunning Michel Samson violin solo on Truth Is Marching In demonstrates that Ayler has surrounded himself with fellow musicians who completely understand his style and ambition. The result is a kind of rapture, this is what it sounds like when a soul catches a glimpse of heaven and starts its voyage home. Truly righteous music.

Albert Ayler - 1966 - New York Eye And Ear Control

Albert Ayler

1966

New York Eye And Ear Control

01. Don's Dawn 1:03
02. A Y 21:21
03. ITT 23:23

Albert Ayler — Sax (Tenor)
John Tchicai — Saxophone, Sax (Alto)
Don Cherry — Trumpet, Cornet
Roswell Rudd — Trombone
Gary Peacock — Bass
Sunny Murray — Drums

Recorded in NYC, on July 17, 1964 by Michael Snow for use as the soundtrack to his film "Walking Woman" (aka New York Eye and Ear Control). Original cover design by Michael Snow. Production Manager: Tom Abbs. Analog to digital transfer by Michael D. Anderson. Digital remastering by Douglas McGregor. Design & Layout by Miles Bachman & Michael Sanzone.

Press Quotes

"Something of a missing link between Ornette Coleman’s “Free Jazz” and John Coltrane’s “Ascension,” this recording is superior to those performances in its freer, truly group-oriented format, with no specified soloists and accompanists. Joined by the trumpeter and cornetist Don Cherry, the saxophonist John Tchicai, and the trombonist Roswell Rudd, as well as by Peacock and Murray, Ayler guides the group through the powerful authority of his playing; the riotous revelry joins the joy of New Orleans traditions to the urbane furies of the day." - Richard Brody, The New Yorker

"Ayler's wide-vibrato wail, gutbucket honks and folksy abstractions are all here, but they're constantly goading and commented on by Tchicai's slinky repetition, Rudd's braying tailgate and Cherry's darting bebop shards." - Clifford Allen, All About Jazz

AMG:

"This is a very interesting set, music that was freely improvised and used as the soundtrack for the 34-minute short film New York Eye and Ear Control. Tenor saxophonist Albert Ayler leads the all-star sextet (which also includes trumpeter Don Cherry, altoist John Tchicai, trombonist Roswell Rudd, bassist Gary Peacock and drummer Sunny Murray) on two lengthy jams. The music is fiery but with enough colorful moments to hold one's interest throughout. "

It isn't strictly an Albert Ayler album but a very interesting collaborative freely improvised soundtrack project for Michael Snow's film of the same name. Recorded in July 1964 by Albert Ayler, Don Cherry, Roswell Rudd, John Tchicai, Gary Peacock and Sunny Murray. Liner notes, photos and more... digitally remastered from the original tapes.

Michael Snow, the Toronto based film maker and pianist and catalyst for free improvisational performers everywhere; painter, sculptor and record producer, and the pride of Canada, used the image of pianist-composer Carla Bley as the inspiration for ah art film, NY EYE & EAR CONTROL. For his sound track, he assembled a group of ESP artists in his loft, and recorded them on July 17, 1964.

One disc,45 min. approximately. Remastered sound. A portion of this music was used for an experimental film in the sixties. Without seeing the film itself,its difficult to determine the music's effectiveness in that context. What we're left with is avant-garde music which sounds very much of it's time and place. New York in the sixties was where a lot of these sounds eminated,and this is no exception.

The first track is short(1:05)and serves as an introduction for whats to come. The second track is a bit over twenty minutes,which gives the players time to explore the tension and release,the quiet and harsher passages and the combined sound of their instruments. The final track,also over twenty minutes,is a bit more disjointed sounding(even for this music),with portions holding together over longer stretches of atonal dissonance.

All compositions are by Albert Ayler and if you're familiar with his style of writing,these will come as no surprise. A look at the list of players tells a lot about what to expect-everyone is well-known as an "outside" player. However,Ayler doesn't play so much as a soloist,more an ensemble player. As with a lot of this music,repeated listenings are rewarded with an understanding and appreciation of totally "free" music. There is a constant intermingling of instruments as they weave in and out,slow down,and then accelerate through the compositions. If you're appreciation of music runs in this area,this is something you should pick up. Ayler,Cherry,Tchicai,Rudd,Peacock,and the great drummer Sunny Murray have recorded these fine tracks which,at the time,and in the present,should be much more well-known.

In this day and age of cookie-cutter,bland music,its nice to see a label like ESP re-release this and other albums in their catalogue,as a presciption for some of what passes for jazz and music in general. This music needs to be heard and paid attention to,if for no other reason than to keep us from sinking under the weight of bland,short attention span listening. Also look for NEW YORK ART QUARTET on ESP RECORDS for more good music of this type.

Albert Ayler - 1965 - Spiritual Unity

Albert Ayler

1965

Spiritual Unity

01. Ghosts: First Variation
02. The Wizard
03. Spirits
04. Ghosts: Second Variation

Bass – Gary Peacock
Drums – Sunny Murray
Saxophone – Albert Ayler

Recorded in New York City, July 10th, 1964.

ESP's first jazz recording session was on July 10, 1964, in the tiny Variety Arts Recording Studio, just off Times Square. Just before 1 PM, Sunny Murray arrived, a large, genial walrus, moving and speaking with an easy agility that belied his appearance. Gary Peacock was next, tall, thin, ascetic looking, and soft spoken, with an introspective and kindly demeanor. Albert Ayler was last, small, wary and laconic. The walls of the reception area were covered with Latin album jackets. The engineer quickly set up the mikes and began the session. ESP-Disk' owner Bernard Stollman sat outside in the reception area with Annette Peacock, Gary's wife. As the music was heard through the open outer door of the control room, felt a sense of jubilation. At one point, the engineer fled the control room for a few minutes, but returned in time to change the tape for the next selection. When the session was over, Bernard learned that it had been recorded in monaural, although he remembered requesting a stereo recording. Happily, the engineer Joe had properly miked and mixed the session, and the recording stands today as a classic of the genre. After the session, the participants sat in a coffee shop next door, while they were paid and signed recording agreements. A few days later, B saw them off on their flight to Europe from Idlewild International Airport for a European tour. Don Cherry was with them.

For the Spiritual Unity 50th Anniversary Expanded Edition, we have added a bonus track: the performance briefly and accidentally substituted for "Spirits" on an early vinyl edition. It is the same tune known as "Vibrations" on the album of that title on Arista/Freedom (AKA Ghosts when issued on Debut) and as "[tune Q]2" on the Revenant box set Holy Ghost. It will be the first time both "Spirits" and "Vibrations" have been on a single ESP edition of Spiritual Unity. 

ESP's first jazz recording session was on July 10, 1964, in the tiny Variety Arts Recording Studio, just off Times Square. Just before 1 PM, Sunny Murray arrived, a large, genial walrus, moving and speaking with an easy agility that belied his appearance. Gary Peacock was next, tall, thin, ascetic looking, and soft spoken, with an introspective and kindly demeanor. Albert Ayler was last, small, wary and laconic. The walls of the reception area were covered with Latin album jackets. The engineer quickly set up the mikes and began the session. ESP-Disk' owner Bernard Stollman sat outside in the reception area with Annette Peacock, Gary's wife. As the music was heard through the open outer door of the control room, felt a sense of jubilation. At one point, the engineer fled the control room for a few minutes, but returned in time to change the tape for the next selection. When the session was over, Bernard learned that it had been recorded in monaural, although he remembered requesting a stereo recording. Happily, the engineer Joe had properly miked and mixed the session, and the recording stands today as a classic of the genre. After the session, the participants sat in a coffee shop next door, while they were paid and signed recording agreements. A few days later, B saw them off on their flight to Europe from Idlewild International Airport for a European tour. Don Cherry was with them.

For the Spiritual Unity 50th Anniversary Expanded Edition, we have added a bonus track: the performance briefly and accidentally substituted for "Spirits" on an early vinyl edition. It is the same tune known as "Vibrations" on the album of that title on Arista/Freedom (AKA Ghosts when issued on Debut) and as "[tune Q]2" on the Revenant box set Holy Ghost. It will be the first time both "Spirits" and "Vibrations" have been on a single ESP edition of Spiritual Unity. 

Fifty years after the recording of Albert Ayler's Spiritual Unity, the music (and the man) are still causing tumult. It is not so much that free jazz hasn't been on our radar these past decades, it's just that this recording remains one of those "where were you, when you first heard it?" experiences.

Recorded in a very small, hot studio in July of 1964, the album which thrust the new label ESP onto the map, consisted of just four songs—thirty minutes of music. But it was to be 30 minutes that changed the direction of jazz. John Coltrane had been searching for new forms of expression, and paid close attention to Ayler's music. His influence on Coltrane's approach can be heard on late recordings including Sun Ship (Impulse!, 1965) and Meditations (Impulse!, 1965). Today, you can hear his sound across the free jazz spectrum, in the music of saxophonists Ivo Perelman, David Murray, Vinny Golia, Peter Brötzmann, and Joe McPhee. But he also has guided musicians like guitarists Marc Ribot and Joe Morris, bassist William Parker, and rockers Neil Young and Violent Femmes.

This fiftieth anniversary edition includes an additional track, "Vibrations," that was released on a subsequent Arista/Freedom LP and can also be found in the box set Holy Ghost (Revenant, 2004).

The sound of Spiritual Unity was/is rejected by many as primitive and unformed, but its unrefined nature is its beauty. Ayler taps into the earliest form of music, collective improvisation. Form and structure give way to emotion. While academy trained musicians miss the point, children listening to his music naturally pick up on its clarity and open, unassuming approach.

Ayler (like Ornette Coleman before him) withstood the criticism and pressure of critics and his fellow musicians, and carved a path through this "New Thing." He was to die just six years after this date (at age 34) under mysterious conditions, his body found in the East River.

Spiritual Unity is a trio record unlike any trio to date. Bassist Gary Peacock, who we know from Keith Jarrett's Standards Trio, doesn't so much keep time as freed the fires of Ayler's free folk jazz playing. Peacock bridged from his work with pianists Bill Evans and Paul Bley into this open expression with Ayler. Hearing him bow lines on "Spirits" or pull energy bombs on "Ghosts" is akin to watching a boxer working out on a speed bag. The same holds true for drummer Sunny Murray who eschews the presumptions of pulse for accent. His cymbal work sizzles throughout.

Ayler's marches, his folk-jazz and New Orleans brass sound was (is) an audacious and indomitable approach to music making that was both revolutionary and an "ah-ha" moment in the development of free jazz of the 1960s that still resonates loudly today.

Albert Ayler - 1965 - Ghosts

Albert Ayler

1965

Ghosts

01. Ghosts 2:05
02. Children 6:20
03. Holy Spirit 8:15
04. Ghosts 7:25
05. Vibrations 4:55
06. Mothers 7:00

Bass – Gary Peacock
Drums – Sonny Murray
Tenor Saxophone, Alto Saxophone – Albert Ayler
Trumpet – Don Cherry

Recorded in Copenhagen on September 14th, 1964.

Albert Ayler made two great contributions to improvised music. Both were connected, but one was more strictly musical, the other aesthetic. Musically, Ayler was the first to take the theoretical implications of Ornette Coleman’s work a practical step further. His music was at once more collective than Coleman’s and similarly more “open” in its non-specific rhythmic, harmonic, and tonal sense. Aesthetically, Ayler was the music’s only real existentialist. He best transcended the particular “point of view” and most understood and expressed the depth of ambiguity of existence. Further, while others had touched on such feelings as pain, hurt, and sorrow, in Ayler’s work there frequently crops up a sense of genuine human despair. It is not that this despair overwhelms Ayler, but he alone dares to recognize it and – more importantly – accept it as an (inherent) part of the human condition. His music, in many ways, might be said to be about how to live with it.

Albert Ayler - 1965 - Bells

Albert Ayler 

1965

Bells

01. Bells

Bass – Lewis Worrell
Percussion – Sonny Murray
Saxophone – Albert Ayler, Charles Tyler
Trumpet – Donald Ayler

Recorded live at Town Hall, May 1, 1965

This particular release was issued in a bewildering amount of variations, numbering 20 or more. This title was on catalogue until 1974.

To identify your copy, please check the following confirmed variations:

Front cover colours:
Black with ochre lettering
Black with white lettering
Red with blue lettering
Orange with maroon lettering
White with red lettering
White with black lettering

Front cover content:
A ''stereo'' wording can appear either in the rim text on front or as a small caption underneath the title. Some copies have the ''stereo'' rim text blotted out. Appearing in the rim text does NOT automatically mean your copy plays stereo, please see the runout remarks far below.

The rim text may mention an address in New York, either:
180 Riverside Drive
156 5th Avenue
West 55th St

Back cover colours:
White with violet lettering
White with blue lettering
White with black lettering
Black with yellow lettering
Blank (no printing at all)

Back cover content:
Blank
Down Beat review and no mentioning of other releases.
Down Beat review and mentioning of other releases up till 1020.
A repeat of the front cover.

The liner notes may mention an address in New York, either:
180 Riverside Dr.
300 West 55 Street
290 West End Avenue

Label colour and content
No label at all
A green duotone of a portrait of Ayler/ back side flat white
A green duotone of a portrait of Ayler/ back side flat orange
A green duotone of a portrait of Ayler/ back side with large ESP logo.
A liver-colored duotone of a portrait of Ayler/ back side with large ESP logo.
pink blank labels on both sides
orange blank labels on both sides

Vinyl colour:
Clear with red silk screened lettering
Clear without any lettering
Gold translucent with red silk screened lettering
let with white silk screened lettering
Grey marbled with red silk screened lettering
Grey marbled with white silk screened lettering and a green pattern.
Grey translucent with white silk screened lettering
Blue with white silk screened lettering
Maroon with white silk screened lettering
Blue/black splash with white silk screened lettering
Yellow translucent without any lettering
Orange translucent without any lettering
Black without any lettering
Red translucent without any lettering

Early issues may have an inner sleeve with a printed article titled ''They don't call it jazz''.
Runout etchings may indicate whether it is stereo (ESPS-1010) or mono (ESPM-1010). Mono copies are much rarer then stereo ones.
Some etchings additionally contain the exact pressing date.

Albert Ayler's short but definitive album, Bells, has been issued again in 2009 via its original format. As initially released, it is a one-sided, collectors item vinyl platter limited to 1,000 copies, this time in a translucent plastic disc featuring a red ink facsimile of the black-and-white cover, with the yin / yang reversed title and cursive ESP logo surrounded by personnel and the label's then W. 55th St., New York City address. Covering about 20 minutes of music from the legendary Town Hall / NYC concert on May Day of 1965, it is not surprising to hear the angst and anguish in their music, considering it was made about five weeks after Black nationalist leader Malcolm X was assassinated. Ayler and his quintet blow their own horns in alert of the "new thing" in jazz coming on strong, with no apologies as to its fierce intent or audacious stance. Brother / trumpeter Donald Ayler and alto saxophonist Charles Tyler join with the tenor saxophonist in a united front of sound and steel forged reserve in making free jazz a reality. The back cover has a reprint of Dan Morgenstern's Down Beat Magazine review of the performance, which is insightful, fair, accurate, and to the point, a good read for anyone who might dismiss Ayler's concept as something other than serious. The first of the two spontaneous compositions contains an outburst by the whole ensemble, followed by trumpet and tenor sax solos that bend notes and shapes in the extreme abstract. A free bop-based mid-section shows recording flaws, as drummer Sunny Murray and bassist Lewis Worrell are barely audible. Tyler ' s alto is drenched in the loud and abrasive tone the Ayler's dictated, but shows he has his own voice. The overtone-soaked music is tempered by a low-level bass solo from Worrell, with Murray's spare, splashy cymbal inserts, ending with a bouncy but eventual whirling dervish coda. The second, much longer improvisation, is based on Ayler's "Holy Ghost" theme, as a soulful, singing, vibrato-driven Ayler ignites Worrell via Murray's signature triple and quadruple flam accents. There's a clarion march theme repeated before and after congealed chaos, followed by deconstructed but distinct melodies, albeit brave and uncompromising. When all three of these horn players blow hard and strong together, it brings to mind Amiri Baraka's comment about "a terrible wholeness," as this purposefully saturated music stands alone as the most singularly unique early creative statement in modern music. As Albert Ayler recorded several definitive recordings before or after this one, and due to the very short length of Bells, it cannot be considered a magnum opus. But it does contain music played by his most powerful unit, a small window into the mind and heart of the most iconic maverick in the free jazz movement, and a magnet for discussion that lingers on well past his death.

Albert Ayler - 1964 - Spirits (Witches & Devils)

Albert Ayler

1964

Spirits (Witches & Devils)

01 Spirits 6:35
02 Witches And Devils 11:55
03 Holy, Holy 11:00
04 Saints 6:05

Bass – Earle Henderson, Henry Grimes
Drums – Sonny Murray
Tenor Saxophone – Albert Ayler
Trumpet – Norman Howard

Recorded In New York City, February 24, 1964.

"Witches and Devils" (versions of this album were also released as "Spirits," like this imported disc) was recorded at Atlantic Studios in New York City on February 24, 1964 - about five months before "Spiritual Unity." Although Sunny Murray again creates the freeform backdrop for these pieces, the rest of band is different, with Henry Grimes playing bass on three of the four pieces and Earle Henderson playing bass on two of the pieces. "Witches and Devils" is the highlight of the set for me, probably because it is somewhat different stylistically from the other tracks. It is a dark, slower paced piece full of mournful solos by Albert, featuring two basses that provide beautiful interaction with Murray's subtle and immensely imaginative drumming, and some equally mournful and heart-wrenching trumpet work by Norman Howard. The musicians, and particularly the bassists and Murray employ plenty of space throughout, and this serves to enhance the dark feel of the piece. The song was apparently written by Norman Howard, likely explaining its stylistic differences with the rest of the album. His trumpet playing is the perfect compliment to Albert's playing on this piece, with his exaggerated Ayler-like vibrato enhancing the atmosphere of impending doom. The stereo mix also adds to the enjoyment, with Sunny Murray and two bassists near center and Albert and Norman speaking from the left and right respectively. The track is truly worth of the price of the album.

The rest of the album is fantastic, and it is clear that this album represents the time when things really came together for Albert, primarily because he finally found truly competent and equally visionary supporting musicians. The final three tracks rely more on the march-like themes that Albert would continue to use as springboards for free improvisation for the next few years. There is plenty of space and jagged upper-register reaching solos, and the solo on "Holy, Holy" (although this melody is recorded on "Spiritual Unity" as "The Wizard") ranks among the most moving that I have heard. The album is recorded in great sound quality and is essential.

Albert Ayler - 1964 - My Name Is Albert Ayler

Albert Ayler

1964

My Name Is Albert Ayler

01. Introduction By Albert Ayler 1:20
02. Bye, Bye, Blackbird 7:30
03. Billie's Bounce 6:05
04. Summertime 9:00
05. On Green Dolphin Street 9:20
06. C.T. 12:20

Bass – Niels-Henning Ørsted Pedersen
Drums – Ronnie Gardiner
Piano – Niels Brønsted
Tenor Saxophone, Soprano Saxophone – Albert Ayler

Recorded in Copenhagen, Denmark, January 14, 1963.

Several months after his first recording session in mid-January 1963, Albert Ayler recorded for a radio broadcast in Copenhagen with a pickup band of the some of the best known Danish musicians. Having one session under his belt and having just played with Cecil Taylor (an experience which Ayler described as finally finding people he could play with), Ayler was determiend to push forth his music. Certainly, playing with a visionary like Taylor, who iss so unrelenting in his music, must have helped. The net result is that on this recording, even with a more sympathetic backing, Ayler sounds in opposition to the rest.

For his part, it's really a continued evolution from "The First Recordings"-- many of Ayler's trademarks are at leat partially present, skirting in-tune as necessary to gain full expression, some overblowing, the beginnings of the wide vibrato he would be so famous for, and some of the harmonic register of the tenor sax all find their way into the music. Ayler's tone is its usual monsterous presentation, fat and agressive, and most importantly, expressive. His backing band on the date though just seems to miss it totally at times. Pianist Niels Bronsted and drummer Ronnie Gardiner don't ever seem to quite figure out what it is Ayler is up to, and while bassist Niels-Henning Orsted Pederson, who was only 16 at the time of this recording, fares much better in meeting Ayler at his own game, one gets the impression that Pederson isn't entirely comfortable with the setting. Still, a virtuoso of his level (even at such a precocious age) finds a way.

As pointed out by another reviewer, perhaps the most interesting piece on here is the spoken introduction by Ayler. Providing a brief biographical sketch with directness and honesty. To hear him talk of feeling free in the Scandanavian countries, and his assertion that "one day, everything will be as it should be" is quite touching, and it really brings home just how much derision Ayler must have experienced at home, whether for his music or his skin color.

The music itself is by and large standards-- mostly material associated with Miles Davis. The standout cut without a doubt is "Summertime"-- Ayler is relentlessly expressive, overpowering at times, speechlike in his cries and grunts and moans, pouring his soul into his horn. Bronsted's solo, while pleasant enough, feels positively lifeless in comparison (it doesn't help that Pederson steals the show from him on accompaniment either). Also well worth a listen is "Billie's Bounce", which finds Ayler playing in a pretty straight hard bop vein and it probably holds together as well as anything else on the record. Still, Ayler's problem communicating with the rhythm section are clear on both "Bye Bye Blackbird" and "On Green Dolphin Street"-- the former finds him wailing away on soprano drifting in and out of key to meet his expression, the latter finds him trying to develop ideas and being reeled back in consistently by the rhythm section (curiously enough, both pieces where Ayler seems constrained feature remarkable arco solos from Pederson, both of which hint at ideas that Ayler was attempting, showing the young bassist the most willing of the backing band). Also of note are codas to both "Billie's Bounce" and "On Green Dolphin Street" that find Ayler stretching for ideas over Pederson (in the former case) and Pederson and Gardiner (in the latter) to great effect. Without the pianist there, even Gardiner seems to meet Ayler halfway.

This is further illustrated on the closing cut, "C.T.", which finds Ayler in a pianoless trio setting, improvising in a freer setting, with both Pederson and Gardiner in close lock with the leader. Both sound a bit unsure at times, and both occasionally think they're moving the way Ayler does only to find themselves stranded, but at other times, they work in such great sympathy with the leader (check out around 4:30 where Ayler picks up the bassists Middle Eastern infused theme and the trio just explodes) that the piece is a reasonable success.

Sonically, this is a good recording-- it was a broadcast and even as an older jazz reissue, it sounds quite good.

Like "The First Recordings", this isn't really essential music in Ayler's catalog, although it is somewhat more successful than the earlier sessions. Those seeking examples of Ayler's early music should first check out "Spiritual Unity" or "Virations" (the latter with Don Cherry), but this does make for a decent listen and the converted will want it.

Albert Ayler - 1963 - Something Different!!!!!

Albert Ayler

1963

Something Different!!!!!

01. I'll Remember April 16:38
02. Rollins' Tune 6:43
03. Tune Up 5:15
04. Free 9:08

Bonus on CD:
01. Softly As In A Morning Sunrise 8:18
02. I Didn't Know What Time It Was 7:43
03. Good Bait 6:48

Bass – Torbjörn Hultcrantz
Drums – Sune Spångberg

Tenor Saxophone – Albert Ayler

Albert Ayler was born in Cleveland, Ohio on 13th July, 1936. His father, Edward, encouraged an early interest in music and taught Albert to play the alto sax, and they performed as a duo in various local churches and community centres. Albert’s musical training continued at the John Adams High School where he also developed an interest in golf. In 1951, at the age of 15, Albert joined his first group, Lloyd Pearson and his Counts of Rhythm, which led to a job with Little Walter Jacobs. He spent the following two summer vacations on the road with the R&B band. In 1954, Albert graduated high school and went to a local college but in 1956, due to lack of money, he joined the army. His musical education continued, playing in the military band, which led to his first trip to Europe in 1959. He was stationed in Orléans, France with the 76th Adjutant General’s Army Band, but he was also developing his own style, playing with local musicians and sitting-in with unsuspecting jazz bands in Paris. Spirituals, rhythm and blues, jazz, and military brass band music, were all elements in Ayler’s eventual distinctive style, and they came together at a time when jazz was changing due to the ‘free jazz’ experiments of Ornette Coleman, Cecil Taylor and John Coltrane. During this first visit to Europe, Ayler also managed to visit Denmark and Sweden. After his discharge from the army in California in late 1961, Ayler returned home to Cleveland but he didn’t stay long.

In early 1962, he returned to Europe, settling in Sweden. In the summer of ’62 he was a member of the Herbert Katz Quintet and played some dates in Helsinki, Finland, including a radio session which has survived. In October he made his first record, Something Different!!!!!, which had a limited release. In the same month he saw the Cecil Taylor group in Stockholm and asked if he could join them. He travelled with Taylor to Denmark (recording a session for TV, of which only the audio survives) and made his official debut album, My Name Is Albert Ayler in January 1963, with a pick-up group of local musicians. During this period Albert also met Don Cherry, who was touring with Sonny Rollins. Ayler went back home to Cleveland in February 1963, then moved to New York where he played several dates with Cecil Taylor and also had a jam session with Ornette Coleman. On 14th January, 1964, Albert married Arlene Benton.

In February 1964 there was a recording session organised in New York by the Danish label, Debut Records. This resulted in the Spirits LP (aka Witches and Devils), and the set of spirituals and other traditional material which was released posthumously. Albert then formed a trio with Gary Peacock on bass and Sunny Murray on drums. As well as a live LP (again released posthumously), this is the unit which produced the universally acknowledged classic jazz album, Spiritual Unity, which was recorded in July 1964 and released on the new ESP label. Albert`s second LP for ESP, New York Eye And Ear Control, was a free improvisation by a larger group, including Don Cherry, recorded as a soundtrack to a film by Michael Snow.

With Cherry added to the trio, Ayler returned to Europe in September 1964, playing dates in Denmark, Sweden and the Netherlands. The band played several radio dates during the tour (released posthumously) and another album for Debut, Ghosts (aka Vibrations). Don Cherry decided to remain in Europe, so when Albert returned to New York, he asked his brother, Donald, to join his band on trumpet. Donald had played saxophone, but his understandable limitations on trumpet (especially when compared with Cherry) meant that the music had to change. The new style, with the addition of Charles Tyler on alto, was compared to a New Orleans marching band (or a “Salvation Army band on LSD”) and gave the regular jazz critics even more problems, wondering whether it was meant to be taken seriously or as a parody. When ESP released Bells, recorded live at New York’s Town Hall in May, 1965, as a one-sided, transparent disc, the name of Albert Ayler became even more notorious. Ayler’s ‘final’ ESP album (several others have been released posthumously) was Spirits Rejoice, recorded in September 1965.

In November there was another record date, this time released under Sunny Murray’s name, on Leroi Jones’ (Amiri Baraka’s) Jihad label: Sonny’s Time Now. This included a performance of the overtly racist poem, ‘Black Art’, which caused some heated discussion in the pages of the UK magazine, Jazz Monthly. The circumstances surrounding this recording are a little vague, and it is Ayler’s only recorded connection with the ‘political wing’ of the free jazz movement - elsewhere, in interviews and in his own tune titles, he always seemed to favour the ‘spiritual’ aspect of the music, like his mentor, John Coltrane. The only recording of Ayler with Coltrane took place at the Lincoln Center, New York on 19th February, 1966 at the ‘Titans of the Tenor’ concert. Unfortunately this has never been released.

Ayler continued to play with various line-ups in New York throughout 1965 and 1966, several including the cellist, Joel Freedman. In April 1966 Ayler went home to Cleveland for a booking at the La Cave club, where he met a young violinist from the Netherlands, Michel Samson, and invited him to join the group. Charles Tyler left the band and the addition of the classically-trained, European violinist to the tenor sax/trumpet frontline altered the sound yet again. The La Cave sessions (with Mutawef Shaheed on bass and Ronald Shannon Jackson on drums) were recorded and were included in the Holy Ghost box in 2004. One month later the band (with Lewis Worrell replacing Shaheed on bass) was recorded again at another club date in New York, which was posthumously released as Live at Slug’s Saloon.

In November, Ayler was back in Europe, featured alongside Sonny Rollins and Max Roach as part of the ‘Newport Jazz Festival in Europe 1966’, promoted by George Wein. Albert and Don, Michel Samson, bassist Bill Folwell and drummer Beaver Harris, played concerts in Germany, the Netherlands, Sweden, Denmark, France and England. Several were broadcast on the radio or television (fragments of video have survived from Berlin and Bordeaux), but Ayler’s only appearance in the U.K., was deemed too distressing for the sensitive souls at the BBC and the programme was never broadcast and the tape was later wiped.

On his return from Europe, Ayler embarked on his first major recording contract, since John Coltrane had finally persuaded Bob Thiele at Impulse Records to sign him to the label. Finally Albert was making real money from his music and in June 1967 his group appeared at the Newport Jazz Festival. On 17th July, John Coltrane died. Albert Ayler was one of the two musicians asked to play at his funeral (the other was Ornette Coleman). Ayler’s first LP for Impulse was the concert recording, In Greenwich Village, which included the track ‘For John Coltrane’ recorded in February 1967. The second LP was a studio recording, Love Cry, the first side of which consisted of 6 short tracks, including ‘Bells’ and ‘Ghosts’ - an attempt, perhaps, to soften the impression that Ayler’s music was ‘difficult’. Free jazz was never a popular style, not even in the jazz world, and certainly not compared with rock, pop, soul, etc. And it was the sixties, the whole peace and love thing, the world did seem to be changing. So, it was understandable for Albert to want to tap into that and expand his audience. His next album was New Grass.

Albert’s marriage to Arlene (with whom he’d had a daughter, Desiree) had failed around the beginning of 1966 and he had met Mary (Maria) Parks. For those who rejected Albert’s attempts to expand his audience (or sell-out) she was often cast as the villain. Others blamed Impulse for the sudden shift in style. One casualty was Don Ayler. If the music was to change, to be softened for greater public consumption, then the abrasive, admittedly limited, trumpet of Don had to go. Whether Don’s mental problems were caused by the change in Albert’s music, or whether they were merely exacerbated by his brother’s rejection of him, is open to speculation. Don played no part in the recording sessions for New Grass in August/September, 1968 and the last-known concert featuring the two brothers took place at New York’s Town Hall on 11th January, 1969. Two numbers from the concert, promoted under Don’s name, were included in the Holy Ghost box, and although poorly-recorded, they do give an idea of another path which Albert could have followed. Instead, despite the poor reception for New Grass, he continued with the new style (although dropping the overdubbed additions of a horn section and ‘The Soul Singers’) and the last LP released during his lifetime was Music Is The Healing Force Of The Universe, which included a duet with Henry Vestine, the guitarist with Canned Heat.

In July 1970 Ayler made his final trip to Europe. He performed two concerts at the Fondation Maeght, with Mary Maria (vocals and soprano sax), Steve Tintweiss (bass) and Allen Blairman (drums). The pianist, Call Cobbs, also appeared on the second night. When he returned to America he discovered that his Impulse contract had been cancelled.

On November 25, 1970, Albert Ayler's body was found floating in the East River, at the foot of Congress Street Pier, in Brooklyn.

Following his death, at the age of 34, there was the usual outpouring of conspiracy theories: that there was a bullethole in the back of his head; that he was tied to a jukebox; that the F.B.I. had killed him as part of their policy of assassinating all prominent Black figures; that the Black Power movement had killed him because he wouldn’t support the cause; that the Mafia had tied him to the jukebox because he refused to make any more rock`n`roll records for Impulse. But the simplest explanation is that it was suicide. Guilt over the treatment of his brother, and Don’s subsequent illness, the fact that his attempt to popularize his music had not only failed, but alienated the critics and fans who had supported him in the past, the cancellation of the Impulse contract, all could have combined to tip him over the edge.

Albert Ayler was buried in Highland Park Cemetery, Beachwood, Cuyahoga County, Ohio on 4th December, 1970. The funeral was paid for by the US army (a benefit which every former serviceman is entitled to), and through some oversight, Albert Ayler's gravestone implies that he died in Vietnam.

For a more extensive biography of Albert Ayler I would suggest Jeff Schwartz’s Albert Ayler: His Life and Music, available online. The book included in the Holy Ghost box includes an expanded version of Val Wilmer’s original chapter on Ayler from her 1977 book, As Serious As Your Life, as well as an invaluable essay by Marc Chaloin: ‘Albert Ayler in Europe: 1959-62’. Peter Niklas Wilson’s 1996 biography,Spirits Rejoice: Albert Ayler und seine Botschaft has never been translated into English, although there is an Italian translation. Finally, if you can track it down, Kasper Collin’s 2005 documentary, My Name Is Albert Ayler, is excellent.

Recorded in Stockholm on October 25th, 1962, this session marks one of Ayler's earliest recordings, featuring a European backing group he assembled during his brief stay there, before returning to the States in 1963 and beginning his legendary run with ESP-Disk and Impulse! Though his genius was not yet fully formed, one can easily hear he's headed that direction, and this rare and long out of print recording is an essential piece of the history of one America's most uniquely lyrical voices on the saxophone.

Chris Hinze Combination - 1978 - Bamboo Magic

Chris Hinze Combination

1978

Bamboo Magic

01. Bamboo Magic 4:21
02. Venga 3:15
03. Until The Sun Stops Shining 8:40
04. Essence 4:41
05. People's Champion 4:13
06. I'm Gonna Love You 7:03
07. Le Mistral 7:13
08. Going To The Movie No. 1 0:18

Acoustic Guitar – Jan Goudswaard
Alto Saxophone, Baritone Saxophone – Ronnie Cuber
Backing Vocals – Cheryl Alexander, Cissy Houston, Peggi Blu, Tasha Thomas, Tawatha Agee
Bass – John Turner
Bass Trombone – Dave Taylor
Clavinet – Dwight Brewster
Drums – Gerry Brown
Electric Bass – John Lee
Electric Piano [Rhodes] – Hubert Eaves III, James Batton
Flute, Piano – Chris Hinze
Grand Piano – Richard Tee
Guitar – Joe Caro, Philip Catherine, Reggie Lucas, Stephan Diez
Percussion – Mtume, Raphael Cruz, Sammy Figueroa
Synthesizer – Rob Franken
Tenor Saxophone – Bob Malach, Michael Brecker
Trumpet – Joseph James Shepley, Lew Soloff, Marky Markowitz, Randy Brecker
Vocals – Arnold McCuller, Norma Winstone

Gentle and soft arrangements, strings, horns section, soul singers in the background, great flute solos, like an orchestrated easylistening, but contrary to that the compositions are everything but typical, a lot of interesting stuff happening all the time, elegant harmony shifts etc. If some more complex Canterbury fusion album were interpreted by Andrew Lloyd Webber or something like that. I'd call it progressive easylistening.

You wish you knew about this kind of stuff. I mean actually lived in this era. Good mellow flutes here, Undisputed Truth type vocals with light orchestral disco, jazz and funk. WHO loses in this combination? WHO? Nobody.

Chris Hinze Combination - 1976 - Parcival

Chris Hinze Combination

1976

Parcival

01. Introduction
02. Theme From Parcival
03. Forest
04. Theme From Parcival
05. Destiny's Call
06. Love And Joy
07. Goodbye
08. Mystic Travelling
09. The Amazing World
10. Butterflies
11. These Lovely Animals
12. Bamboo Waltz
13. Dinosaurus
14. The Red Knight
15. The Battle
16. Moods
17. Our Immortal Love
18. Castle Of Happiness
19. Theme From Pacival
20. Fisherman
21. Holy Desire
22. Theme From Parcival
23. Duty Of A True Friend
24. Confrontation With Amfortas
25. Theme From Parcival
26. Time For Joy Is Here
27. Bodesius
28. Confrontation With Firefish
29. King Of The Holy Grail

Live performance on the occasion of the Holland Festival 1976, June 13 in "De Doelen" theatre, Rotterdam, Holland

Metropole Orchestra conducted by Dolf v. d. Linden

Chris Hinze Combination:
Chris Hinze: Electric Flute, Flute, Bamboo Flute, Bass Flute
James Batton: Keyboards, Synthesiser, Vocals
Doug Hammond: Drums
John Turner: Bass
Stefan Diez: Guitar
Charlie Mariano: Alto & Soprano Saxes and Nagafvaran
Jigs Whigham: Trombone
Ferdinand Povel: Tenor Sax and Flute
Milo Pavlovic: Trumpet
Kenny Wheeler: Trumpet
Mtume: Percussion
Erik van Lier: Bass Trombone and Tuba
Rob Langerijs: Uptight Bass
Peter Ypma: Drums
Mike Brecker: Tenor Sax
John Lee: Bass
Gerry Brown: Drums and Harp
Lead Vocals: Cheryl Alexander

Rhythm and Blues Background Vocals:
Tasha Thomas
Sharon Redd
Peggy Blue

Lead Vocals "Theme From Parcival" by Sharon Redd (Chapter I between First Introduction and Forest)
The Intro of "Duty Of a true friend" by Tasha Thomas
James Batton vocals in Goodbye, Destiny's Call and Time For Joy Is Here

All compositions and arrangements by Chris Hinze
Lyrics by James Batton

As I was making my way through the Chris Hinze discography for attempted completion (for which success is slated circa October 2079), I noticed this item and thought, please tell me it's not related to the Wagnerian opera with its embarassing fantasies (I here tactfully avoid use of the freudian word 'auto-erotic' often used in conjunction with this phrase and subject) of teutonic supremacy for which reason, along with the loathsome tautologies and indescribable boringness of his music, I now am utterly averse to this composer... but no, it's not related in any way to Parsifal the opera -- in fact it's one of those apollo moon landing attempts at combining jazz and classical with composed and improvised elements to craft a jazz-opera in double-LP format, back when the future was so beautifully bright for intelligent and adventurous and masterfully composed music--! and bell-bottoms, polyester suits, moon rocks, and Bill Crosby's Kool-aid (without the postmodern mass-death-irony of Jonestown's spiking) ruled the day... oh happy times....

How could this formidable accomplishment (in an operatic box no less, not foldout sleeve) be so forgotten, abandoned by the wayside like the detritus of a fast food picnic, even in the realms of jazz? Possibly because it's terrible and deserves to be forgotten? Not likely if it includes such luminaries as Jiggs Whigham, Gerry Brown on drums, Charlie Mariano on saxes, Michael Becker, and the whole apparatus composed and arranged entirely by Chris!

But you can judge for yourself if this is alike to the aforementioned hamburger wrapper or instead Hinze's magnum opus lost to history... I have recorded it for your enjoyment and in the end, you decide... is this cd-worthy or delete-bin-worthy? My own opinion is obvious, I spent several hours in an attempt at properly cutting the chapters into tracks that could be more easily enjoyed... but we need a master shige or should I say, remaster shige, to properly do justice to this work. One thing that I would mention is I would have wished that it had been recorded in a studio, no matter how professionally the sound is recorded live, it's always lacking something in clarity, although I understand others feel the opposite, that the live nature of it enhances enjoyment in some subtle way.

Now for those who are impatient I would ask you to proceed on to the music, I want to do this work a bit of justice by discussing the story behind it and Chris Hinze's original conception which was indeed to attempt to emulate Wagner by resuscitating the old forged (it is of course not an original element of goth mythology like siegfried) story of Parcival or Persifal, however you wish to spell the name. It's a beautiful story though and it's unfortunate it was essentially co-opted by Wagner, in the same way that, in modern times, the search for the holy grail from the crusade days cannot be told without reference to Monty Python's treatment of the subject, at least for those who are older than about 35 (40?) I would think. For I experimented at work and asked all those in the sub-35 set about the holy grail and the looks of befuddled puzzlement were totally at odds with the twinkling in the eyes of all those over 40, who immediately set into talking about the knights who say ni, etc. Anyways the story is about how the hero both must prove himself to King Arthur and the other knights of the round table (oh no not them again...) and also attempt to find the holy grail and the sacred spear to be brought back 'home' again to England. He must both prove himself a valiant knight and show himself to be pure (good luck on that one).

Biographically, Chris Hinze studied first at the royal conservatory in The Hague, then moved on as so many brilliant composers did to the Berklee School in Boston. For the 1972 Holland Festival he was commissioned to compose "Live Music Now" a suite for orchestra which won him the Beethoven prize in Bonn in 1974. The present work was also a commissioned piece for the Holland Festival, of 1976. What glorious times those must have been in the musical world...

I mentioned some of the luminaries on this recording, the orchestra is conducted by Dolf v.d. Linden, the actual CH combination includes James Batton on keyboards and voices (he's phenomenal), Doug Hammond on drums, John Turner on bass, Stephan Diez on guitar (who went on to do a fantastic fusion album called Mirrors), Mariano on saxes... Others are Kenny Wheeler on trumpet, John Lee on bass, Cheryl Alexander on lead vocals-- Hey wait a minute do we need this many bassists and drummers?

As you listen bear in mind that Chris is responsible for all the composition and arrangements, from which you can see his talent is immense. This is so much more than just a straightforward jazz concept album, there is an incredible variety to the music, especially notice the Ravel-like impressionist pieces at the start of the second side, evoking mystic travels, butterflies, various animals, and the dinosaurus (?!? what the--?), my favourite part of the piece for its compositional complexity and interest.

I will do scans later (there is a booklet inside, and the record cover has a hilarious walkman ad with hinze promotion) and attach as its own package. Note that the uploads are failing again most of the time due to large file sizes, please be patient for the post, it's as slow as the snail mail these days.

Big apology for the scratchiness of side c, hopefully you can get past it to hear the theme from parcival again, by the fourth side you get pretty sick of hearing that same melody -- shades of Wagner I guess. I would love it if folks could come back and comment on their opinion of this work later after listening... good or bad, of course.

And please check Chris' website to see what he's up to today-- living in Ibiza, playing the flute, and meditating apparently-- that's the way to live your life... There he lives and works in a quiet and secluded spot up in the mountains with a beautiful view over the Mediterranean Sea.

Chris Hinze Combination - 1974 - Sister Slick

Chris Hinze Combination
1974
Sister Slick

01. Skyrider (8:28)
02. Easy Answering (8:41)
03. I Like To Feed A Smile On Your Face (5:21)
04. Unity (9:44)
05. The Second Coming (6:28)
06. Sister Slick (5:03)

Rob Van Den Broeck / piano, grand piano, electric piano, soloist
Jasper Van 't Hof / piano, electric piano, soloist, organ
Henny Vonk / vocals
Jan Huydts / piano, grand piano, synthesizer, soloist
Philiip Catherine / acoustic guitar, electric guitar
Gerry Brown / percussion, drums
Chris Hinze / flute, alto flute
John Lee / bass, writing
Robert Jan Stips / organ

Recorded at the Dureco Studio, 16 track, dolby-system, Weesp, Holland.
Recording Dates: May 25th, 26th, 29th, 30th 1974.
Mixing dates: June 28th, July 1st 1974.
Robert Jan Stips by courtesy of Polydor Records.
Philip Catherine by courtesy of Atlantic Records.

Sister Slick is probably Hinze's heaviest album, with Philip Catherine on guitar while Hinze wails on flute. A very good representation of the harder edged fusion style. My second favorite Hinze album, only trails behind Mission Suite.

ut to me, the real highlight on this record is the Bass playing of John Lee. This guy sounds like he has come straight out of a session with a Zeuhl band. So dexterous and so colorful. A real rhythmic and melodic workout.

This is a must listen for Fusion fans. Its pretty readily available these days too and not that expensive. 

Chris Hinze Combination - 1973 - Chris Hinze Combination & Charlie Mariano

Chris Hinze Combination

1973

Chris Hinze Combination & Charlie Mariano

01. Lullaby For Dewi 7:38
02. Mirror Of Your Mind 9:43
03. Traditional South Indian (Carnatic) Kirtanam (Ragam Madri) 6:35
04. Lassana Lamaya (Beautiful Child) 11:35

Alto Saxophone, Soprano Saxophone, Flute, Flute [Indian], Nadaswaram – Charlie Mariano

Flute, Alto Flute, Piccolo Flute, Piano – Chris Hinze
Piano, Electric Piano – Wim Stolwyk

Recorded in Baarn, Holland, 31st July 1971

Charlie Mariano and Chris Hinze noodle around with their saxes, nadaswaram, and flutes over a loose modal beat surrounded by poorly miked drums that have too much reverb or sound like cardboard boxes. The last track is a fraction more interesting as it exhibits some sign of development and mild variety in structure. I don't really care for the rest too much, since these improvisations are too fractured to go anywhere interesting. Listen to We Keep On for some of these ideas. Charlie Mariano teamed up with Embryo managed to synthesize substantially more cohesive improvisations. The former album also has the productional polish which is light-years ahead of this work.

Chris Hinze Combination - 1973 - Mission Suite

Chris Hinze Combination

1973

Mission Suite

01. Di-da-de-lu-da (8:08)
02. Mission Suite (14:50)
03. Deliverance (11:20)
04. The Ballad (3:49)
05. Bamboo Funk (5:26)

Cees See / guest, percussion
Wim Van Der Beek / percussion
Henny Vonk / vocals, percussion
Chris Hinze / piccolo flute, flute, alto flute
Gerry Brown / drums
John Lee / bass, electric bass
Rob Van De Broeck / electric piano
Sigi Schwab / guitar, guest, twelve-String guitar, electric guitar

Recorded by MPS at the Cornett (note: a typo on all releases) Studio, Köln.

As my obscure fusion binge of '73 is finally reaching its end it's time to see what came on top. There're are a several more works in this field left to explore and some I will, but the others I'm either unable to find or choose to stay away for any number of reasons. This one here stood out immediately, and after repeated listens I'm still fairly impressed with its contents.

The opener is a marriage between energized jazz-rock, zeuhlish ambience found on Fœtus and progressive funk of its time at the end. It's not my favorite cut on it, but you can already hear the tightness of the rhythm section, harmonic intensity and restless swings of tonality that differentiate this from your average jazz-rock of the time. The real meat is situated at the middle of the album, particularly the long zoned out jazz improvisations of ""Mission Suite" and "Deliverance".

The first one is carried throughout its fifteen minute span by the distinctive double bass lines of John Lee who really is one of the superstars of the entire album and reflects some of Miroslav Vitous' aesthetic in his musicianship. Once the odd meter is established Hinze goes on frenzied attack with his flute(mostly sounds like alto, though don't quote me on that), but he never becomes comfortable in any setting, avoiding the dreaded 70's auto-pilot mode where someone is soloing over a pedestrian groove over a prolonged time. With the occasional tempo/harmony modulation he urges the supporting cast to guide him to fresh ground for the collective solo effect like Weather Report used to when it was still interesting. After thunderous poly-rhythms, rapturous flute effort and arcane harmonies by Rhodes they end contrasting a neurotic bass solo against obscure Rhodes wizardry similar to Joe Zawinul. After which a celestial scat section gradually evolves with the flute and a surprisingly catchy and melodic Latin melody abruptly pops out of Hinze's reed and the track soon ends. Fantastic, as far as I'm concerned!

The grizzled fuzz bass that introduces us to "Deliverance" resonates some of the aggressive feel and punchy dynamics they use in the beginning of the track. The middle section is a blend of neutral to downright mellow sounding fusion and passive-aggressive glides in scales and rhythms. Whereas the third half of the track is again carried by the Rhodes towards another oddball of vocalizations not far off from some zeuhl records. It follows the same anxious and perfectionist approach that permeates the record which refuses to accept static and one-dimensional delivery. I think the definitive version of this track is on its cousin album Infinite Jones which I will be trying to dissect next. Chris Hinze himself penned a few tracks and played flute on it and John Lee on bass here is one of the main writers of that great work.

A catchy Rhodes ostinato, wordless vocals and some weird keyboards lead us into the short, almost spiritual-jazz sounding " The Ballad" which might have Hinze's best melody on the entire album. A truly spell-binding, orgasmic convergence of notes and instruments in the middle of it! I just wish it was double the length of it. As the title of the track "Bamboo Funk" suggests you can accept someone blowing a bamboo flute over a funk beat. Sigi Schwab, who contributed to some of Embryo's albums is also fretting some of his stringed instruments on this one. A decent track, but with its middling, mellow melodies and static nature it feels more like an anticlimax than the opposite, especially considering what preceded it.

A rich album that offers a lot to the attentive listener. I can hear some zeuhl vibes and early Weather Report here, but usually the musicians are talented enough to make the influence less obvious through the out of the box approach to the chosen aesthetic. This band manages to find the link between the abstract and more obvious lines that I think Weather Report never managed to do on their debut album. Really great stuff.

Dutch flautist Chris Hinze was far more than just your usual jazz flute player. Especially on Mission Suite which can be considered the perfect marriage of jazz improvisation, especially in the stand up bass and drum work, combined with strong rock elements, such as electric guitar and the Rhodes sounds. Through it all, Hinze wails almost non stop on a variety of flutes. As good as the best Bjorn J:Son Lindh in this genre - even better actually.

Chris Hinze Combination - 1972 - Virgin Sacrifice

Chris Hinze Combination

1972

Virgin Sacrifice

01. Roman Frescoes (4:00)
02. Virgin's Sacrifice (3:26)
03. A Collection Of Potsherd (3:20)
04. The Viking Ships Of Roskilde (2:30)
05. Oak-Leaf (4:23)
06. Statuettes Of Children (2:08)
07. The Rune-Stone Of Haitabu (2:55)
08. The First Wheel (2:38)
09. The Shifting Sands Of Mantinge (3:26)
10. Eros & Psyche (3:00)
11. Frisian Mounds (3:43)
12. Cult-Bowl (2:57)
13. Bamboo Feelings (1:45)

Gerry Brown (drums, percussion)
Chris Hinze (flute, organ)
John Lee (bass)
Wim Stolwijk (piano, spinet)
+
Louis van Dyke (piano)
Roger Cooke (bass)

Recording dates: August 14 & 15, 1972 at Nederhorst den Berg

A very good compilation of melofies that have worn well. One hears that this is still the young composer/musician, however, the music is atmospheric and would be of interest also to those who look for mood music.

Chris Hinze composed the music for the Teleac TV-series on archeology ‘Digging for the Past’, performed by his Combination with famous musicians like John Lee (bass), Gerry Brown (drums), Louis van Dijk (piano) and Roger Cooke (bass) as guest musicians. On request of a large number of viewers an album was compiled. Source of inspiration was one of the subjects of these programs: the mysterious death of ‘the girl from Windeby’, whose body was found after centuries of conservation in the swamps. A ritual offering? We will never know. Certain is that it inspired Chris Hinze to create this beautiful music. 

Chris Hinze Combination - 1972 - Who Can See The Shadow Of The Sun

Chris Hinze Combination

1972

Who Can See The Shadow Of The Sun

01. Lullaby For A Locomotive (8:33)
02. Steps To Giulia (Parts 1 & 2) (9:30)
03. Surface (3:57)
04. Lullaby For Dewi (Parts 1, 2, & 3) (13:34)
05. Six (Venus) (2:37)
06. Who Can See The Shadow Of The Sun (5:40)

Wim Stolwijk / grand piano, electric piano, voice
Cees See / percussion
Wim Van Der Beek / percussion, voice
Roger Cooke / bass
Chris Hinze / piccolo flute, electric piano, flute, alto flute
Letty De Jong / voice
Jimm Shaaperoe / drums

Recording dates: February 27 & 28, 1972

Chris Hinze Combination - 1971 - Live At Montreux

Chris Hinze Combination

1971

Live At Montreux

01. My New Thing
02. Visiting Newark
03. Neighbors

Roger Cook / bass
Wim Stolwijk / keyboards, electric piano
Chris Hinze / piccolo flute, arrangements, writing, flute
Jim Shaaperoe / drums

From the liner notes: recorded live in Concert At The Montreux Jazz Festival in the Casino at the border of Lake Geneva, on Wednesday, June 16, 1971.

Apart from his baroque-jazz and world music Chris Hinze demonstrated still more sides of his versatile musical personality: the funky jazz-rock 'Chris Hinze Combination' was presented internationally in 1971 in the Casino at Lake Geneva. There 'the magician of Montreux', as they called him, received the Press Award for best soloist of the Montreux Jazz Festival. From then on Hinze went on the road all over Europe. Mainly American musicians joined the Combination, like John Lee, Gary Brown Charlie Mariano, James Batton, Kevin Eubanks, and many others. But also European musicians like Jasper van ‘t Hof, Rob van den Broeck, Henny Vonk, Sigi Schwab, Joachim Kühn, Philip Catherine played in The Chris Hinze Combination until Hinze left for New York in 1976 where he lived until 1979.

Chris Hinze Combination - 1970 - Stoned Flute

Chris Hinze Combination

1970

Stoned Flute

01. Stoned Flute - Suite (22:20)
02. Ann (12:24)
03. Bamboo Dick (9:24)

Ruud Jacobs / producer
Jorge Souto / tambourine
Andre V.d. Water / engineer
Henk Alkema / piano
Harry Van Zijl / design, cover
Chris Hinze / composition, arrangements, flute, alto flute
Roger Cooke / bass
Louis Debij / drums
Wim VanderBeek / guiro, cowbell, castanets

Recorded in Nederhorst den Berg, Holland, September 13 & 14, 1970.

Chris Hinze plays a silver Muramatsu flute.

CHRIS HINZE COMBINATION is an jazz ensemble led by Dutch jazz and new age flautist Chris HINZE. At the start of his musical career, HINZE was working as a pianist until 1967 when he first started playing the flute profesionally. First solo records soon followed and in 1970 he also won the Best Sloist award at Montreux Jazz Festival. His COMBINATION ensemble first performed in the Casino at Lake Geneva at the Montreaux Jazz Festival in 1971 and from then on continued touring and recording under its name for decades, with line-ups and genres changing as time went on. The group line-up has included many European and American musicians throughout it's years of activity, like Gerry BROWN (RETURN TO FOREVER), Philip CATHERINE (FOCUS, PORK PIE, SUNBIRDS), John LEE (PORK PIE) and many others.

CHRIS HINZE COMBINATION followed HINZE's studies into music of Tibet and South Asia in the 80's so eventually they also incorporated electronic and new age elements in their records but there is plenty of music made under the COMBINATION moniker also for fans of avantgarde jazz, funk, as well as progressive jazz rock and fusion.

A terrific free jazz album, a true must have. It's baffling to me why this gem was never reissued, 'cause it sure as hell deserves to be. As stated in another bit of comment that I once wrote, I'm not a real free jazz connoisseur, but every now and then there's an album that just knocks my socks off. This is one of them. I can only describe the album as a 40 minute trip that spirals around you as the music progresses. Profound, moving, at times wild and, as is the case with the absolutely fantastic bass/drum break in "Bamboo Dick", incredibly funky. Roger Cook's bass playing is magnificent, rubbery almost, Louis Debij's drumming keeps you on the edge of your seat, Henk Alkema's work on the keys rolls on like a strong undercurrent and of course Chris Hinze's flute playing kicks ass. What stands out, is the sheer enthusiasm and craftsmanship of the musicians that is really audible. The exchanges between them, the anticipation, the tension they build up, it just doesn't get any better. What's even more fun when you listen to this one, is that you keep discovering new details with every spin. Especially with track times this long -the title cut already clocks in at over 20 minutes- you just can't ingest it all at once; there's so much exciting stuff going that you can't blame yourself for missing certain bits. But, nil desperandum, you'll hear 'em the next time. And the next. Never reissued, not even in Japan, so the only version we're left with so far, is this pressing from 1970. Get it, enjoy it, cherish it.

Hozan Yamamoto & Chris Hinze - 1974 - Kyorai

Hozan Yamamoto & Chris Hinze

1974

Kyorai

01. Shakuhachi's Prolog 1:56
02. Flute's Prolog 2:05
03. Encounter Of Shakuhachi And Flute 4:47
04. Wave 1 5:35
05. Oriental 5:20
06. Classics (Sound) Contemporary 20:36

Flute, Flute [Alto, Indian Bamboo Flute] – Chris Hinze
Shakuhachi – Hōzan Yamamoto

Chris Hinze, Tadao Sawai & Hozan Yamamoto - 1974 - Keden

Chris Hinze, Tadao Sawai & Hozan Yamamoto

1974 

Keden

クリス・ヒンゼ, 沢井忠夫 & 山本邦山 ‎- 1974 - 怪顚 

01. Koto's Prolog = 箏プロローグ 2:05
02. Shakuhachi's Prolog = 尺八プロローグ 1:50
03. Indian Bamboo Flute's Prolog = インド竹笛プロローグ 2:18
04. Keden = 怪顚 6:42
05. Rakka = 落花 9:47
06. Wave II Nehan = 〈波〉II〜涅槃 4:17
07. Hiyoku = 比翼 5:28
08. Renri = 連理 6:40

Recorded on October 4, 1974. at Aoi Studio

Flute, Flute [Indian Bamboo Flute], Piccolo Flute, Alto Flute – Chris Hinze
Koto – Tadao Sawai
Shakuhachi – Hōzan Yamamotod.

Sigi Schwab Chris Hinze Jasper Van't Hof - 1982 - Total Musik

Sigi Schwab Chris Hinze Jasper Van't Hof

1982 

Total Musik

01. Sphinx 6:52
02. Orfeo Ed Euridice
Part I 8:42
Part II 6:44
Part III 2:29
03. Children Suite
Part I 17:10
Part II 6:08
Part III 2:54

Guitar – Sigi Schwab
Piano – Jasper Van't Hof
Flute – Chris Hinze

Recorded at the Sound Push Studio, Barlicum Holland on March 22 and 23, 1982. Mastered at CBS Studios Holland, with CBS Disc.

File somewhere between electronic, jazz, classical and folk, with a little mbira on top. Sometime I'll get around to posting Schwab's album "Meditation", which is up there with some of Ashra's longform guitar workouts of the 70's. And Jasper Van't Hof's explorations of African music and collaborations with Archie Shepp, Markus Stockhausen, etc. will get their due soon too. Guitar, flute, woodwinds, thumb piano, acoustic piano, synths... give your ears a highbrow sound bath.