HEALING FORCE: THE SONGS OF ALBERT AYLER

HEALING FORCE: THE SONGS OF ALBERT AYLER

Vinny Golia-reeds

Aurora Josephson-voice

Henry Kaiser-guitar

Mike Keneally-piano, guitar and voice

Joe Morris-guitar and double bass

Damon Smith-double bass

Weasel Walter-drums

Seven major figures from the art-punk, free-jazz, brutal prog, improvisational and modern jazz world come together for a ROCKING tribute to the unfairly ignored, misunderstood and vilified late period works of Albert Ayler. These late period songs have always seemed to me like they may have been some of the most personally spritually resonant for Ayler, but the musicians and the culture of the late 1960s were possibly not able to successfully translate and perform his concept of spirituality, free jazz, boogaloo, nursery rhythms, marching bands, blues and r’n'b, and certainly the free-jazz following public was not ready to accept it. Now, 40 years and many stylistic mash-ups later, perhaps these works can be better enjoyed.

?Albert Ayler’s later works (Love Cry, New Grass and Music is the Healing Force of the Universe) seem to be generally reviled. Through meditations, dreams, and visions, the players on this project were given the message to once again attempt to send the people of earth a message of love, peace, and spiritual understanding. We selected a representative set of tunes for this material and essentially let it play itself through us. We hope you will be as surprised as we still are by the results of this invocational experiment. We hope you will like this record.? – Henry Kaiser, producer and guitarist

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Mujician : THERE

Mujician : THERE’S NO GOING BACK NOW

RUNE 232

For almost two decades, this British free-jazz quartet has been working and refining their dynamic take on improvised jazz with the same quartet of musicians, all of whom are long-time mainstays on the English and European free-jazz scene: Paul Dunmall-saxes, Tony Levin-drums, Paul Rogers-7 string A.L.L. double bass and Keith Tippett-piano. On this, their sixth album, they do what they have always done, which is to dig in and to investigate the music and where the music takes them, which in this case is a single, 45′ long piece!

“Working within the instrumental parameters of the standard post-bop combo – piano, bass, drums and saxophones – the band situates itself in a space midway between what could be called Brit-Improv and American energy music…their sound is, if anything, more exhilarating than it has ever been.” – Jazz Weekly

“With There?s No Going Back Now we are confronted with yet another example of a gripping mindset where total time and concentration takes control over an extended period. The fact that the result is such a grand, beautiful epic is some kind of justification, truly now there can indeed be no way back from instant classic status. This performance will haunt Keith Tippett, Paul Dunmall, Paul Rogers and Tony Levin forever. There?s No Going Back Now has the kind of definitive aura associated with Soft Machine?s Third or Kronos Quartet?s White Man Sleeps; there will be other music to come but this one will set the seal on everything else that follows. I guess, some days these things just happen.” – Steve Day

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Bill Brovold and Larval : Surviving Death/ Alive why?

Bill Brovold and Larval

Surviving Death/ Alive why?

label: Cuneiform Records

ref: Rune 248/249

players: Various

A large ensemble project featuring traces of classically influenced rock melodies played in acoustic instruments and featuring arrangements by way of progressively superimposed layers reminiscent of late 60s progressive experimental rock. Livelier, driving tempos introduce harder stances with larger doses of free instrumental techniques, dissonant harmonies and improvisation. Density is achieved both through the use of unison and noise-wall techniques. Acknowledged influence, their aesthetics is inspired on the collage of materials and crossbreeding of styles of downtown N.Y. cum Zorn.

Un proyecto a cargo de un grupo amplio con rastros de melodas de rock de influencia clsica interpretadas en instrumentos acsticos y con arreglos a modo de capas superpuestas de forma paulatina reminiscentes del rock experimental-progresivo de los 60. Tempos ms vivos y rtmicos presentan miradas ms duras, con mayor cantidad de tcnicas instrumentales libres, armonas disonantes e improvisacin. La densidad se logra tanto por medio de tcnicas de unsono como de ?muros de ruido?. Conscientes de la influencia, su esttica se inspira en el colage de materiales y fusin de estilos propios del downtown New York y Zorn.

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Richard Pinhas : Metatron

Richard Pinhas

Metatron

label: Cuneiform Records

ref: Rune 228/229

players: A. Paganotti (drums), P. Gauthier (mnimoog), A. Renaud (guitar), Ch. Oken JR. (Synth), Ph. Simon (violin), D. Batard (Bass), J. Schmidt (Laptop & loops), R. Pinhas (guitar, electronics and Metatronic process).

Heavily overlaid materials of instrumental origin weave a complex superimposition of semi transparent lace layers, resulting in a shifting game of oriental scented shadows that hint at phasing rhythmic traditions and gamelan timbre frameworks. Occasionally, the tracks present a more overt idiomatic envelope and harsher rock stances.

Densos estratos de materiales de origen instrumental tejen complejas superposiciones de tejidos semitransparentes, dando lugar a juegos de sombras cambiantes de aroma oriental con guios a tradiciones rtmicas del phasing y tmbricas gamelanescas. Los cortes presentan a veces formas mas idiomticas y planteamientos de rock ms duros.

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Dean, Dunmall, Levin,Rogers, Rudd, Tippet : Bladik

Elton Dean, Paul Dunmall, Tony Levin,Paul Rogers, Roswell Rudd y Keith Tippett

Bladik

label: Cuneiform Records

ref: Cuneiform Rune 92

year:1997

players: Elton Dean: Saxes, Paul Dunmall: Saxes, Tony Levin: Drums, Paul Rogers: Bass, Roswell Rudd: Trombone, Keith Tippett: Piano

BLADIK is something of an event, as it features Roswell Rudd, one of jazz’s wildest & wooliest trombone players. Here, it’s a summit of sorts with Rudd joining up with some of the leading lights of the United Kingdom’s free jazz scene. BLADIK is a studio date that sounds totally improvised (one giveaway: there are 3 longs pieces with the whole group receiving composer-credit) – so, if you’re looking for “conspicuous” structure, you won’t find it here. But at the same time, this session forgoes the bloodless, arrhythmic meandering that mars much European free improvisation. The sextet plays with a sense of internal logic, generating harsh, clattering group improvisation & letting loose with fierce, cathartic solos. Rudd is a joy – his jovial, smear-y trombone tones chasing the ghosts of Armstrong, Teagarden and Coltrane. BLADIK will blast all the cobwebs & dust from your synapses.

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Carlew : Fabulous Drop

Carlew

Fabulous Drop

label: George Cartwright. Cuneiform Records 1998

ref: Cuneiform Rune 105

year:1998

players: Ann Rupel, Chris Cochrane, George Cartwright,Davey Williaiams y Kenny Wolleson

Fabulous Drop is the seventh album from this all star downtown band. This fantastic, extremely high-energy release features leader/saxist George Cartwright, the great dual guitar team of Davey Williams & Chris Cochrane, bassist Ann Rupel & drummer Kenny Wollesen. Great tunes, great playing & a unique sensibility – George mines a unique, truly Southern avant esthetic unlike anything else in new music. “…one hell of a group…”-The Wire. “This is seriously good music & the performances are deceptively tight…if you’re looking for something with 1st rate musical standards, smart performances, brilliant sonic surprises & nutritious brain food, grab it.”-Memphis Commercial Appeal.

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