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.