Tuned in to the Holy Ghost - Chapter 5

Albert Ayler: Holy Ghost Box Set - Disc 5

Black History Month is marching in and so is the Holy Ghost experience as I take a focused listen to disc 5 of this reverently presented and restored collection of rare and obscure recordings by Albert Ayler.

I've been trying to think of when I first became aware of Albert Ayler. His all-too brief period of creative activity ended before I was born and I'm embarrassed to admit that it took a conversation with Anthony Braxton to draw my attention to this enormously important figure of the 1960's avant garde. With ears full of Ayler's confident voice it's hard to imagine not knowing his incredible range and deeply influential ideas.

Disc 5 continues to present the 1966 incarnation of the Albert Ayler Quintet found on the previous two discs (with a different rhythm section on these particular recordings). The first set is from November in Berlin, Germany and the second is five days later in Rotterdam, The Netherlands.

The first thing I notice with disc 5 is the recording quality. It takes a moment to adjust to the sound of the decaying analog tape... but only a moment as the content makes clear the value of restoring this particular performance document. The immeasurably appealing combination of Donald Ayler on trumpet, Michel Sampson on violin and Albert Ayler on tenor and soprano sax from the Cleveland material earlier in the box set are back with even more chemistry.

Nearly all of Ayler's signature tunes are found on this disc. The Rotterdam version of "Truth Is Marching In" is possibly the best I've heard it played. The Berlin version of "Omega" is also exquisitely represented with this take.

Sampson has a great dynamic range for these sets that allows him to forcefully take a lead solo as well as add some great texture during his deftly creative accompaniment roles. The arco playing of Bill Folwell on bass compliments Sampson's sawing on the violin well (especially on "Bells").

High praise is in order for Revenant Records for the new standard they set for presentation. Albert Ayler was long overdue for a compilation of this magnitude and Holy Ghost is the most lovingly crafted and respectful collection I've seen for any composer or performer. The spirit and hard-fought voice of this visionary is well served and the scholarly essays are much appreciated.

Scale of the Day: E Flat Lydian 2% wide

The E Flat Lydian 2% wide Scale.

Four Compositions

Roscoe Mitchell: Four Compositions.

Black History Month continues here at HurdAudio. Tonight I apply ears to this 1987 Lovely Music release of mostly notated music by Art Ensemble of Chicago co-founder Roscoe Mitchell.

I first became aware of Roscoe Mitchell when he played an opening set for the Equal Interest trio a few years back. He played solo, unaccompanied alto saxophone for about an hour straight and it was riveting. So I snapped up this CD as it touches on several of my personal obsessions: contemporary chamber music, atonal music, wind instruments in extreme registers and it's written by a master improviser from the AACM.

"NONAAH (Trio version)" opens this disc. Scored for flute, bassoon and piano. This is understated, pointilistic writing for an unusual combination of instruments. After a brief opening by the flute and bassoon playing independent parts the piano answers with its own pointilist texture before all the instruments begin playing together. Then the textures and tempos shift while sustaining the harmonic atonality of the piece. As a whole, "NONAAH" as a shimmering, haunting work that lingers in the mind even after it has stopped sounding.

"Duet for Wind & String" for violin and alto saxophone. Roscoe Mitchell performs the sax part on this recording. These instruments blend together surprisingly well. It starts with a thoughtful series of dyads that subtly include some multiphonics and a few other extended techniques on the sax. Gradually some melodic lines are added (mostly in unison) in between some variations on the opening dyadic material. Eventually the melodic lines dominate the texture and break into two separate lines. It's a nice form that is well executed.

"Cutouts" for wind quintet. This work is the highlight of the disc. Wind instruments really are Mitchell's best medium and he really nails a great sound with this composition. There's a nice balance of shifting parts and dynamics in this composition. The degree of independence between parts is fluid throughout. This is atonal music with a lightly dissonant touch.

Ironically, the final work is called "Prelude" for voice, bass saxophone, contrabass and triple contrabass viol. I love the photograph included on the sleeve of this particular quartet of large, low-sounding instruments. The focus on this extreme register is not a gimmick for this piece. Mitchell builds a great sound with this unique combination that complements Tom Buckner's singing voice.

Listening to Four Compositions is like experiencing a high quality chamber music recital. Mitchell's approach to writing for wind instruments is haunting and it makes this a CD that stays with me as I keep coming back to it as a model of great arranging of uncompromising compositional ideas.

Scale of the Day: E Flat Lydian augmented 5 -- 1% wide

The E Flat Lydian augmented 5 -- 1% wide Scale.

Message From Home

Pharoah Sanders: Message From Home.

It seemed fitting to ring in Black History Month with Message From Home by Pharoah Sanders. Kicking off with "Our Roots (Began in Africa)" it immediately embodies the spirit of celebrating a rich cultural heritage that I value and admire.

With an ostinato chant reminiscent of Coltrane's "A Love Supreme" the voices intoning "Our Roots! Began in Africa!" are at once an infectious hook, a solemn prayer and a righteous affirmation. The band is hot and the production quality (Bill Laswell) is smooth. The end result is actually too polished at times. The rich and attractive texture of the large ensemble replete with studio effects nearly overwhelm Pharoah's excellent playing. He's had a long recording career and it's clear on this disc that he's still got immense creative chops after well over thirty years. Which is the real triumph of Message From Home. After spending several listenings mesmerized by the band and the production quality I find my ears are still drawn to the incredible and timeless quality of Pharoah's saxophone improvisations. Sanders positively soars in any context and draws from an immense well of verve and inspiration. At times I wish Laswell had given this centerpiece a little more space to breathe in the mix.

Another detail not to be overlooked are the compositions themselves. "Our Roots (Began in Africa)" casts a strong spell that nearly eclipses the pieces that follow. "Kumba," co-composed by Sanders and Foday Musa Suso, is rich with detail and great arranging featuring Suso's kora, dousongonni and vocals with Pharoah's flute and sax laid out on a lush bed of percussion. "Country Mile" closes out the disc on a note of celebration. I find the production level far too smooth on the final track (the piano is far too saturated with effects for my taste). But the sax solo work on that track is so nearly perfect I soon forget about such production qualms. Especially as it wisely closes out on a choice, unaccompanied phrase played like a gentle "amen" from the Pharoah.

Scale of the Day: E Flat Lydian mapped to the 3/2

The E Flat Lydian mapped to the 3/2 Scale.

Cascades

Marilyn Crispell/Barry Guy/Gerry Hemingway: Cascades.

This is perhaps one of my favorite incarnations of the classic jazz piano trio instrumentation. Pianist Marilyn Crispell had already played frequently with drummer Gerry Hemingway as members of the great Anthony Braxton Quartet (as well as other ensembles and straight duo settings) so they've developed a deep improvisational chemistry before this summer 1993 date in Vancouver, British Columbia. And Barry Guy is a perfect bass player add. The result is one of those CDs that I keep coming back for.

These are such inventive textures from this trio. These group composed pieces explore a great range of what this instrumentation is capable of. "Violet Sparks in Soft Air" features extended techniques on all three instruments as the entire piece works in a dynamic form that builds organically from quiet materials built from strummed piano strings and light percussion offset by Guy's expressive acoustic bass vocabulary. The piece that follows; "Resonances" features a delicate interplay between Hemingway and Guy with almost transparent entrances by Crispell. Then "Cascades" hits with the full force of Crispell's pianistic momentum that pulls the rest of the trio on board without pause as the trio launches on an exhilarating, high-energy journey across a wide canvas.

Marilyn Crispell's playing often makes me think of painting analogies. And on Cascades it really comes across as a wildly colorful and spontaneous work of three sympathetic virtuosos collaborating on a thoroughly modern and abstract endeavor. Each gesture and blur of notes sounds as a deliberate brush stroke that fits into the work as a whole with mature contrasts of density and spareness.