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Steve Dawson: Finding the Secret of a Song
by Jakob Baekgaard
It might be that singer/songwriter Steve Dawson was born in California and raised in Idaho, but he has become a son of the city he calls home: Chicago. He is teaching at the acclaimed Old Town School of Folk Music and while preparing others for a life in music, he has also followed his own musical ...
Albert Ayler Trio: 1964: Prophecy Revisited
by Mark Corroto
Albert Ayler is often quoted as saying “Trane was the Father, Pharoah was the Son, I am the Holy Ghost," referring to John Coltrane, “Pharoah Sanders," and himself. It might be better said that Ayler was John The Baptist, the musical prophet that proclaimed the coming of free jazz. Like many a prophet, his end was ...
Don Cherry: Cherry Jam
by Karl Ackermann
In the same year that composer/multi-instrumentalist Don Cherry recorded his milestone Complete Communion (Blue Note, 1966) he took his cornet to the studio of Danish National Radio. Cherry had established himself by the early 1960s, playing with Steve Lacy, Ornette Coleman, Paul Bley, John Coltrane, Charlie Haden, Archie Shepp, Albert Ayler and Ed Blackwell. Copenhagen began ...
Shabaka & the Ancestors: We Are Sent Here by History
by Serena Antinucci
Siamo stati spediti qui dalla Storia inconsapevoli di ciò che sarebbe accaduto. Avevamo un compito, l'abbiamo disatteso. Avevamo uno scopo, l'abbiamo dimenticato. Abbiamo disimparato la lingua della natura, sopraffatti dal potere e dall'egemonia capitalista. Oggi siamo stati chiamati ad afferrare la mano degli spiriti antenati, che tentano di soccorrerci, indicandoci una nuova strada della creazione, originata ...
Hailu Mergia: Yene Mircha
by Chris May
While Mulatu Astatke is the musician most widely associated with the creation of Ethio-jazz, fellow keyboardist Hailu Mergia is among other significant figures. Astatke is best known overseas because he was the most outward looking of Ethio-jazz's first generation, studying at London's Trinity College of Music and Boston's Berklee College of Music and making his first ...
The Jazz Avant-Garde in the 1960s (1960 - 1966)
by Russell Perry
Nurtured in the seminal recordings of Ornette Coleman and Cecil Taylor in the mid to late 1950s, the jazz avant—garde came into its own in the 1960s with their continuing creations, those of John Coltrane already featured in this program and those of next generation players, Joe Harriott and Albert Ayler. Defining statements of the free ...
Results for pages tagged "Albert Ayler"...
Albert Ayler
Born:
Tenor saxophonist Albert Ayler was born on July 13th 1936 in Cleveland Heights, Ohio. He learned to play the alto sax at a young age. His father, Edward, encouraged his musical interests and was his first teacher. Albert Ayler continued his musical education at John Adams High School, where he played oboe, and at the local music academy. His first gig was with Lloyd Pearson and his Counts of Rhythm when has was 15 in 1951. This led to a job with Little Walter Jacobs’ R&B band with whom he spent the following two summer vacations traveling. After graduating from high school in 1954 he went to a local college but financial difficulties forced him to leave college in 1956 and join the army
Mikko Innanen: Autonomus I - XXX
by Anthony Shaw
Mikko Innanen has been a prolific saxophonist on the Finnish scene for so long that one can no longer refer to him as any sort of new boy in town. But with the passing of the years there have been changes of focus and style, and the release of the album Autonomus sees a new experimental ...
Quartets 1964: Spirits To Ghosts Revisited
By Albert Ayler
Label: Ezz-thetics
Released: 2019
Track listing: Spirits; Prophecy; Holy Holy; Witches And Devils; Ghosts; Mothers; Vibrations; Holy Spirit; Ghosts (short version); Children.
Avram Fefer Quartet: Testament
by Mark Corroto
After a blindfold listening test, maybe the greatest compliment you can give Testament is to guess the leader's name to be drummer Chad Taylor, or maybe bassist Eric Revis, guitarist Marc Ribot or saxophonist Avram Fefer himself. This misapprehension is attributed to the equal footing each of the four musicians is given on the recording. Partly ...
