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Revenant is planning big Albert Ayler box


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  • 2 weeks later...
Guest Chaney

I’m new here, but figured this thread would be as good a place as any to chime in…

Clem, count me as one of the ANYONES who likes CIMP- ‘dodgy’ sound or no. So maybe there’s a “debate” after all? I think we can at least agree on Khyber Pass- a very tasty joint when it comes to Afghani cuisine.

Following the directive & carryin’ on,

derek

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  • 3 weeks later...

i compared the info from

http://www.ayler.supanet.com/html/what_s_new.html

to see what's new on the ayler box, and came up with this list (things on ayler-tree = not counted as new).

HOLY GHOST - Albert Ayler

Revenant Records RVN213CD

9 CD box set

new:

Disc 1:

Herbert Katz Quintet: Katz (guitar) with Albert Ayler (tenor saxophone); Teuvo Suojärvi (piano); Heikki Annala (bass); Martti Äijänen (drums).

Recorded June 30, 1962 in Helsinki, Finland

1. Sonnymoon for Two (Sonny Rollins) 8:29

2. Summertime (George Gershwin/Ira Gershwin) 6:53

3. On Green Dolphin Street (Bronislau Kaper) 3:26

Disc 3 through 4

Disc 5:

Albert Ayler Quintet: Ayler (tenor saxophone) with Don Ayler (trumpet); Michel Samson (violin); Bill Folwell (bass); Beaver Harris (drums).

Recorded November 8, 1966 at De Doelen: Rotterdam, The Netherlands

6. Spoken introduction by Peter de Wit 1:25

7. Truth Is Marching In 11:14

8. Bells 5:35

9. Spirits Rejoice 10:51

10. Free Spiritual Music, Part IV 6:44

Disc 6:

Pharoah Sanders Ensemble: Sanders (tenor saxophone) with Chris Capers (trumpet); unknown (alto saxophone); Albert Ayler and unknown (tenor saxophone); Dave Burrell (piano); Sirone (bass); Roger Blank (drums).

Recorded January 21, 1968 at the Renaissance Ballroom: New York City

5. Venus (Pharoah Sanders)/Upper and Lower Egypt (Pharoah Sanders) 22:59

Albert Ayler: Ayler (tenor saxophone, vocal, solo recitation [track 7]) with Call Cobbs (piano, Rocksichord); Bill Folwell (electric bass guitar); Bernard Purdie (drums); Mary Parks (vocal, prob. tambourine); Vivian Bostic (vocal).

Recorded ca. late August 1968 in New York City area

6. Untitled Blues 6:04

7. Untitled Sermon 0:50

8. Thank God for Women (Albert Ayler/Mary Parks) 10:16

9. New Ghosts [demo fragments] (Albert Ayler/Mary Parks) 7:10

Disc 7 through 9.

end.

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  • 2 weeks later...

UP FOR PRE-ORDER AT CD UNIVERSE!

Holy Ghost

Albert Ayler Regular Price:  $97.89

Sale Price:  $77.17   :wub:     

 

Availability: Pre-Order Now! Available: Tuesday, October 05, 2004

I'd politely suggest that CD Universe orders be placed via JAZZMATAZZ.

CD Universe - Holy Ghost

Here we go again, folks.

CD Universe's price has been lowered to $74.19.

Edited by Chaney
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trying to find the cheapest place for this boxset

Blahdvd.com have it for £62.99 with free p&p (link) but i've never bought from this site.

can't figure if this is cheaper than CDUniverse's price of $74 plus shipping to UK plus duty. probably not much in it.

is the release date 27th of this month?

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Albert Ayler

Holy Ghost Revenant 10xCD

Like Charlie Feathers, Dock Boggs, or Charley Patton (all previous recipients of the deluxe Revenant treatment) saxophonist Albert Ayler was a visionary who helped define his artistic field, a marginalized figure in his own time whose influence was ultimately suffused into the mainstream. Ayer's massive tone and virtuosic control of the higher register raised the bar for every saxophonist who heard him or came after him; even John Coltrane credited Ayler as a profound influence. More important, the Cleveland-born saxophonist replaced bebop's preoccupation with chords and structure with an emphasis on pure sound and unfettered emotion, which he channeled through simple church-rooted melodies.

Revenant's design team has outdone itself with Holy Ghost; the imagination, effort, and sheer fetishistic music-collector insanity that went into this thing are staggering. It comes packaged in a black, faux-onyx "Spirit Box" cast from a hand-carved original. Inside you'll find ten CDs, a 208 page clothbound book, and assorted mementos including reprinted pamphlets and handbills, a dogwood blossom, and a photo of young Al with his horn. The handsome hardcover book is the latest word on Ayler scholarship. Some of it is familiar; Val Wilmer’s essay is condensed from As Serious As Your Life, and Amiri Baraka dishes out a lot of his usual bluster in the course of evoking the socio-political milieu of Ayler's time. But other sections of the text -- Marc Chaloin's discussion of Ayler's complex relationship with his European audience, Ben Young's incisive evaluation of the CDs content -- bring new information and fresh thought to the table. The last word goes to Ayler himself, in the form of two CDs' worth of interviews that present him optimistic in 1964, exhausted and haunted in 1966, and expansive despite gathering clouds in 1970.

And the music? Some of it's pretty raw, taken from tapes whose dodgy sound quality is eclipsed by their historical significance. Nearly everything here is previously unreleased in a commercial or legal format. Holy Ghost established a career-spanning time-line that begins with Ayler's very first recordings; two songs cut in 1960 with a rather laggard Army big band are confined to their own disc. It ends with one of his final concerts, played in France in July 1970 just four months before his lifeless body was pulled out of New York's East River. That's not a long time for a genre-shattering career, and packed into it were several distinct creative phases, each represented here. Disc one includes a 1962 set of standard material with a Finnish quintet that sounds polite beside Ayler's colossal sound, and a Danish radio broadcast from the same year with the trio Cecil Taylor brought to the Café Montmartre. It's a historically momentous track, but like later-vintage selections that capture Ayler sitting in with Burton Greene and Pharoah Sanders, it's sideshow stuff compared to the brilliance of Ayler's early groups with Sunny Murray, Gary Peacock, and (part of the time) Don Cherry. This is the most radical music; in control, untethered from steady time, and accompanied by completely sympathetic partners, Ayler wrote a dream of union between the living and spirit worlds using pure keening sound.

Subsequent discs chart the changes in his music, many either driven or facilitated by his changing musical associations. Two nights in Cleveland in 1966 introduce his brother Don on trumpet, and with him a greater emphasis on fixed melodic elements and march rhythms; it's just as wild and passionate, but more accessible. The presence of classically trained Michel Sampson, who was in town to play at a furniture store opening (!) and asked to sit in, shows how this kaleidoscopic and inclusive music, while full of spontaneity, was nonetheless scrupulously structured. Other discs unveil legendary moments, such as the appearance at John Coltrane's funeral and a wooly concert at Newport, both featuring drummer Milford Graves. Then there's the troubled late phase, when Ayler's populist philosophy, the influence of his partner Mary Parks, and Impulse's ill-fated agenda to turn him into a pop star resulted in a still-born gospel-rock hybrid, and the final concert, where you can hear Ayler continuing to push his playing in new directions even as his musical cohorts flail in a desperate attempt to keep up.

The set is not for the casual listener; the merely curious should start with Spiritual Unity and Live in Greenwich Village. But if you're ready for total immersion, Holy Ghost is essential -- don't even wait for Christmas. -- Bill Meyer, signal to noise

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:D

You seem to be much more familiar with Meyer than I but as I typed that piece up (it's not a copy-and-paste job), I though to myself, Gee... this isn't very good, is it?

Nice to hear of what's on the set -- not that that informations is not already out there -- but still! :mellow:

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Interesting article, but this part stood out and I'm not sure what to make of it.

"Holy Ghost" is coming out against the wishes of Ayler's widow, Arlene Ayler of Euclid, and their daughter, Desiree Ayler of Garfield Heights.

"We gave [Revenant] no authorization," Desiree says. "They don't want to pay us. . . . My father would be very upset if he knew these people were doing this to us."

Ayler also is survived by a son, Curtis Roundtree, from a different relationship.

"Revenant always endeavors to work as closely as possible with the family members, friends and colleagues who were close to the artist, and did so in this case as well," says Blackwood, who is an attorney.

"As a legal matter, the Ayler estate is far from settled," Blackwood says. "All legitimate claimants to the estate have been or will be compensated as provided for by law."

Hmmmm.....

Edited by Matthew
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