Search - Albert Ayler :: Rejoice

A powerful recording.

Michael Stack | North Chelmsford, MA USA | 09/15/2005

(4 out of 5 stars)

"Albert Ayler's "Spirits Rejoice" represents the first real codification of the sound which he would work in for the next several years-- while "Bells", recorded three months prior began introducing this sound, "Spirits Rejoice", from September of 1965 fully embraces it. Relying on multiple horns and march-like (or gospel-like) melodies, the music is deceptively simple, serving as a launching point for improvisation. The thing that's intriguing is that for pieces that are by-and-large considered difficult, Ayler's melodies are catchy and get stuck in your head, and by and large this is the pinnacle of the direction his career has been heading.



Performing exclusively on tenor sax, Ayler is joined by two other horns-- his brother Don on trumpet and alto saxophonist Charles Tyler. Don provides an interesting foil for Albert-- whereas Cherry provided a foil in delicacy to Ayler's aggressiveness and Cherry's predecessor Norman Howard adopted Ayler's wide vibrato, Don pursues an aggressive mode that avoids emulating his brother's vibrato. Unfortunately the third horn in Charles Tyler is virtually inaudible. The remainder of the band is bassists Henry Grimes and Gary Peacock (the latter recording with Ayler for the last time) and drummer Sunny Murray. The bassists maintain a dialog with each other, providing a foundation, a countermelody, and almost a pillow to work on-- this role had previously been filled by Murray, who seems now concerned largely will accent and space and almost a direct beat statement rather than pure implication.



The pieces are by and large ecstatic-- generally avoiding the lyricism found on earlier records for excited call and response pieces ("Spirits Rejoice", which is almost a carefully constructed variant on "Bells" and the gospel-like theme "Holy Family") or aggressive explosivenes ("D.C" and "Prophet"). On the latter two, Don Ayler in particular solos powerfully and aggressively, managing to step out of the shadow of his brother, even if only briefly. The only cut that breaks this sound is titled on here "Angels" (although previously referred to as "Prophecy"). Featuring Call Cobbs on poorly recorded harpsichord (and with Don Ayler and Charles Tyler laying out), Albert digs in deep in a ballad form and expresses himself in a lyrical manner that belies the usual suspicions that he's incapable of straight playing as he stays pretty far inside on his beautiful soloing.



Edit: An important note-- vastly improved sound quality is available on the 2006 remaster of this recording from the recent-resurrected ESP-Disk record label, that's the one you want.



Ayler's music is exciting and this is really quite a good example of it, it's not quite the masterpiece some of his earlier work (free jazz summit "Vibrations") is, or quite as good or essential an example as "Live in Greenwich Village", but its really quite a good record. Recommended."

A bit of a transistion, maybe

Stephen | Virginia Beach, VA USA | 10/27/2000

(4 out of 5 stars)

"Ayler was fleshing out his group at this point from a trio to the larger ensembles utilized on the impulse! recordings. Like most ESPs this is a very short set, not that that should matter when the music is so strong. I give this recording 4 stars in relation to other Ayler releases. Personally, I think The three essential Aylers are Spiritual Unity, Greenwich and Love Cry. Those new to ayler should start with one of those and after you've discovered the beauty of his work, dive into the rest of his ESP discs."