| | Albert Ayler Spiritual Unity CD Albert Ayler Discography of CDs
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Recorded in New York, New York on July 10, 1964. Originally released on ESP Disc.
Like all the great free-jazz players, Albert Ayler possessed a musical intelligence that ranged far and wide. With an approach to the saxophone that reinvents its vocabulary, Ayler's playing tests the limits and possibilities of harmonic structure and tonality. His work is singular however, and markedly different from peers Ornette Coleman and Eric Dolphy, in that it is not primarily intellectual or willfully deconstructive. Instead, Ayler's aesthetic is almost naïve; his motifs are based on folk melodies and popular themes turned inside out with a luminous, superhuman emotion and intensity.
SPIRITUAL UNITY is Ayler's defining statement. Ayler, bassist Gary Peacock, and drummer Sunny Murray form a telepathic network of accelerating and decelerating rhythms and ideas. Ayler's voice is perfectly realized here, from the surging run of "The Wizard," to the lyrical ruminations in "Spirits," to "Ghosts," whose two variations bookend the album, musically and thematically. Ayler unleashes bird-like flurries and guttural groans deep enough to coax spirits from the earth. His aggressive attack and wide vibrato are tempered by the child-like purity of his expression, and the listener is pulled inexorably into a transcendent unity promised by the title, making SPIRITUAL UNITY a free-jazz classic.
Albert Ayler Trio: Albert Ayler (tenor saxophone); Gary Peacock (bass); Sunny Murray (drums).
Albert Ayler: Albert Ayler (tenor saxophone); Gary Peacock (double bass); Sunny Murray (drums).Uncut (p.123) - 5 stars out of 5 - "[The album] blends the funereal tones of tradition with the fire music syncopation that was Ayler's mid-'60s signature."
The Wire (3/00, p.56) - "... gave voice to a personal vision so occult that it seemed to emerge straight from the Book Of Revelations..."
The Wire (6/01, pp.44-6) - "...Contains peak performances..." Albert Ayler Spiritual Unity Songs Spiritual Unity Review
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Purchase Spiritual Unity CD To buy, Click on price to add to cart | Cecil Taylor Unit Structures CD (1966)
Spiritual Unity album
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One of the most important albums of the 1960s free-jazz movement, UNIT STRUCTURES is an exemplary document of advanced musical conception and fiercely intense improvisation. Cecil Taylor had been working as a pianist, composer, bandleader, and iconoclast since the mid-'50s, with an increasing allegiance to radical, atonal music; his innovations kept pace with (and, in many cases, preceded) those of contemporaries like Ornette Coleman. The influence of modern classical music (the dramatic, fragmentary scores of Stravinsky, for example) plays heavily in Taylor's vision. The presence of oboe, bass clarinet, and bells on UNIT STRUCTURES (in addition to trumpet, alto sax, and a standard rhythm section) highlights the parallel.
As a pianist, ...
| | Andrew Hill Point Of Departure CD (1964) Remastered
Spiritual Unity CD music
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The Rudy Van Gelder Edition of POINT OF DEPARTURE includes an essay by Bob Blumenthal.
Digitally remastered using 24-bit resolution by Rudy Van Gelder (1998, Van Gelder Studio, Englewood Cliffs, New Jersey).
This is part of Blue Note Records "Rudy Van Gelder" Editions series.
Trying to describe Andrew Hill's POINT OF DEPARTURE in words is like trying to explain the pictures made by a kaleidoscope--it's impossible to be completely articulate about something so magically unique. Of course, with an assembled cast that includes Kenny Dorham, Eric Dolphy, Joe ...
| | Lady Macbeth Of Mtsensk DVD (1992)
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| | Isis Panopticon CD (2004)
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If the glacial dynamics of previous metal and hardcore abstractions Celestial and Oceanic didn't prove that Isis was a heavy band in every sense, then Panopticon should do the trick. The title comes from 18th century philosopher Jeremy Bentham's prison design, which was later referenced by Michael Foucault in the 20th century. The idea is that a centrally placed guard or watcher can keep track of a large number of prisoners, and it excited Bentham and concerned Foucault. Heavy stuff for a metal band, huh? Both are quoted in the liner notes, bookended by aerial industrial photos laying out society's open sprawl. It fits perfectly with the epic music on the disc itself, which is as angular as post-rock forefathers Slint and as cosmically expansive as Neurosis, yet closer to the intensity of hardcore than either ...
| | Miles Davis Cellar Door Sessions 1970 CDs (2005) Remastered; Box Set; Special Edition
Spiritual Unity album
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Contains previously unreleased material. Some of the recordings on the CELLAR DOOR SESSIONS were originally released in edited form on the 1971 double-LP LIVE EVIL.
There is an entire universe contained in this box. Sumptuously packaged and scrupulously annotated, CELLAR DOOR SESSIONS 1970 is a six-disc set that documents Miles Davis's extended residency at the Washington, D.C., club. Davis is backed by a group of genius musicians: keyboardist Keith Jarrett, drummer Jack DeJohnette, bassist Michael Henderson, saxophonist Gary Bartz, percussionist Airto Moreira and guitarist ...
| | Hank Williams: The Show He Never Gave DVD (1981)
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| | Hommage A Noir CD (1997)
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| | Louie Bellson Inferno!: 150 Mph/Dynamite CDs (2002)
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INFERNO! contains 2 original LPs on 2 CDs: 150 MPH (1979)/DYNAMITE! (1980).
Although the two albums combined on this reissue were recorded five years apart (150 MPH, though not released until 1979, was cut in sessions on May 25 and July 29, 1974, while Dynamite was recorded live at the Concord Jazz Festival in August 1979 and first issued in 1980), they have a lot in common. Both are big band dates, and some of the same personnel appear on both: trumpeter Bobby Shew; trombonists Nick DiMaio (the co-producer of 150 MPH), Dana Hughes, and Bob Payne; saxophonists Dick Spencer and Don Menza (who wrote six selections, four on 150 MPH and two on Dynamite); and percussionist/vibes player Jack Arnold. Beyond that, the musical approach is much the same on both albums. Drummer/leader Louie Bellson filled both with originals, most of them written either by himself or Menza, although there is a cover of Rodgers & Hammerstein's "Hello Young Lovers" from The King and I on 150 MPH and then-teenaged saxophonist Matt Catingub contributed the closing track, "Explosion," to Dynamite. Bellson and Menza's tunes are busy swing numbers with plenty of room for soloing by the horn players, particularly Shew and (on 150 MPH) tenor saxophonist Pete Christlieb. Of course, the leader gets his say, too, particularly on the barnburners that close each album, "Inferno" and "Explosion." The result ...
| | Gerard Manset Le Langage Oublie CD (2004) (Import) Canada
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| | Vacancy Heart Attack CD (2005)
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| | Kim Hoorweg Kim Is Back CD (2007) (Import) Import
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| | Ferrante & Teicher Soundproof-The Sound Of Tomorrow Today! CD (2007)
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| | Sidcar Evil Seed CD (2007)
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| | Uckdaddy Da Gangsta I Do Me . Com CD (2009)
Spiritual Unity CD music
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