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Albert Ayler - Reference: Albert Ayler Quintet Copenhagen, Bordeaux 1966 & Newport 1967 Live First Release - Import CD Limited Edition
Albert Ayler - Reference: Albert Ayler Quintet Copenhagen, Bordeaux 1966 & Newport 1967 Live First Release - Import CD Limited Edition
CD
Jazz
Avantgarde/Free Jazz
January 28, 2026
Will usually ship within 1~5 business days of receiving cleared payment.
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Catalog No.: 2501
JAN/ISBN: 7649988716805
Number of Discs: 1
Country/Region of Manufacture: Import
Credits:
Albert Ayler
Description:
In 1966, George Wayne organized the "Newport in Europe" tour, which featured mainstream jazz stars such as Dave Brubeck, Stan Getz, Max Roach, Sonny Rollins, and, surprisingly, the Albert Ayler Quintet. Known and controversial at the time for its recordings on the independent ESP label, it was first introduced to a limited number of avant-garde music fans in Scandinavia and Europe through earlier, even more obscure sessions on labels such as Bird Notes (Sweden) and Debut (Denmark). What no one knew at the time was that the concerts of this tour (Berlin, Lerach, Rotterdam, Helsinki, Stockholm, Copenhagen, Paris, and Bordeaux) were recorded by local radio and television stations, and the tapes are still available today, and more than 50 years later, this exceptional group The tapes are still being recorded and greatly enhance the reputation of this exceptional group more than 50 years later. Eiler's musical vision, of course, underwent major changes during his all-too-brief eight-year career. It can be characterized as a period of development (1962-63), a breakthrough year (1964), an expansion of the ensemble (1965-67), and "the other" Eiler (1968-70). The powerful performances in Copenhagen and Bordeaux, first officially presented here and at the Newport Music Festival in the U.S., show the collective inevitability of the music-the true ensemble coordination that Eiler consciously incorporated, refined, and romanticized in New Orleans' historical precedents, the march s direct emotional and constructive connection in the theme (interactive repetition and commentary), the layers of tonal contrasts (Donald Eiler's sharp and exciting brass, Albert's melismatic leads, powerful but droning strings, Beaver Harris's propulsive drums), and the melodic flow's Further evidence of the explosive cohesion within and without. Yet, despite its undeniable energy and passion, the extremity of Eiler's music, his willingness to use the unrecognizable periphery of freedom (i.e., the rejection of musical orthodoxy, or radical restructuring as such) as a conduit for spiritual transformation, has invited much speculation and interpretation. There is no question that Eiler's status as an innovator is unquestionable. What has not been adequately considered is his relationship to his equally dedicated and unconventional jazz and blues-based improvisations, and to the cathartic tradition of saxophone and vocal music of the Holiness Church. (1/3)
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