The New Jazz Musings

 Albert Ayler's first record for Impulse was a live recording. Taped at the Village Vanguard in December 1966 and the Village Theater in February 1967 it became the last record of his most critically acclaimed musical period (albeit much of this acclaim came after his death), and before he changed direction. A wonderful record, it's really interesting to have two contemporary reviews. One is from Elisabeth van der Mei, a definite "New Thing" believer (see her separate Pharoah Sanders interview). The other from the un-believer (or not convinced) side, but shows how you could be swept away by an Ayler live concert.  Unfortunately I don't have the review sources, which come from a bound folder of Ayler interviews, magazine articles, album and live reviews I recently acquired. The Village Theater review ties in well, the Village Vanguard review looks to be several months prior, but still contemporary. Albert Ayler Village Theater, New York City Personnel: Donald Ayler...

Albert Ayler was loved by many, both as a musician and a person. Amiri Baraka (formerly LeRoi Jones) was a highly influential New York based African-American poet, writer and critic who became a leading advocate of Black Nationalism in the 1960s. He first met Ayler in 1963 and saw him as a proponent of Mao's "The Great Disorder" and a leading Avant-Gardist, but with roots deep into African-American culture. He felt the power in Albert's playing reflected Black Power, the assertion of a rightful place. John Coltrane also loved Ayler, promoted him, and got him signed to Impulse Records, releasing Live in Greenwich Village. Musicians playing on the live album included Joel Freedman and Michel Samson. Joel Freedman Joel Freedman was one of the pioneering wave of cellists in the new music in New York. Active in several groups at the time, he came to Ayler’s attention while playing in a Jazz Composers’ Guild concert in March 1965. “I have a confession to make: Befo...