Albert Ayler Trio: Prophecy Live, First Visit

This 1964 New York City recording, now remastered and released on the Ezzthetics label, captures Albert Ayler with Gary Peacock and Sunny Murray at a crucial juncture in the saxophonist's development. This performance at the Cellar Cafe marks an early, vital snapshot of a trio that would become foundational to the free jazz movement. It is a chance to hear Ayler's radical sonic explorations in their initial stages before his sound fully solidified into the intensely spiritual and often ecstatic expressions he's best known for. The trio's raw energy is undeniable as they navigate the nascent stages of Ayler's spiritually charged free jazz. However, even with the remastering, sonic limitations still hamper the listening experience, making this a challenging listen even for seasoned free jazz aficionados. The album serves as an important, if flawed, document of a band pushing the boundaries of the genre.

"Spirits" opens the set, immediately throwing the listener into the deep end. This track is particularly significant as it would become a recurring and evolving piece in Ayler's repertoire. Here, you can hear the nascent form of its melodic fragments and the searching quality that Ayler would later imbue with even greater spiritual weight. Ayler's tenor saxophone conveys a searching, almost anguished quality, a hallmark of his sound that would only intensify. Murray's drumming, while characteristically explosive and inventive, often dominates, threatening to bury Peacock's crucial bass lines. Peacock provides a grounding presence, but his contributions are frequently relegated to the lower frequencies. The track hints at the spiritual intensity that would become a defining characteristic of Ayler's music, but the sonic limitations, though somewhat mitigated by the remaster, still make it difficult to fully appreciate the nuances.

On "Wizard," the drummer's piercing snare hits and oscillating flow sharply pepper Ayler's frenzied phrasings. However, Saints" offers a fleeting connection to more conventional melodic qualities or at least the memory of it. Ayler hints at the familiar theme, but the trio's relentless intensity quickly subsumed it. Even in what might have been a moment of relative calm, the music is driven forward with frantic urgency. Murray's drumming is particularly relentless, often overshadowing the other instruments. Peacock's bass, when audible, provides glimpses of harmonic grounding. However, these moments are fleeting, as the trio quickly spirals back into collective improvisation. The track highlights the tension between Ayler's melodic sensibilities and his desire to break free from traditional jazz constraints.

The remastering has yielded certain improvements, primarily by reducing surface noise and enhancing stereo separation. While the fundamental limitations of the original recording persist, there is a noticeable increase in overall clarity and sonic depth. Ayler's tone benefits somewhat, exhibiting a bit more body. However, the muddy soundscape while improved remains a factor.

For Ayler completists, Prophecy Live First Visit remains a necessary document, providing invaluable insight into the trio's formative period. It captures a crucial moment in free jazz development now slightly more accessible. For the casual listener, the historical value may still outweigh the sonic challenges, but the gap is a tad smaller now.

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