Ghosts, First Variation (1964). Albert Ayler

  Via Avant Music News, The Guardian reviews the new documentary of the jazz musician, "My Name Is Albert Ayler":

A project that began in 1998, Collin's film is testament to the passion and dedication that the man and his wildly honking, but strangely tuneful music can inspire. Having tracked down all extant film footage (including Ayler's performance at John Coltrane's funeral service), the film uses old audio interviews, and recent interviews with his brother and father as a framework for Ayler's story.

Jack Gold reviews the film (and tells the story of Ayler's suicide):

For those devoted to listening or to performing jazz, in particular free jazz or improvised music, heartbreaking as it is, this film is a rarity and not to be missed.

Of all the sixties jazz legends, I never cared much for what little I had heard of Ayler's music. But with a bit of inspiration from Devin Hurd, I'm liking it more and more.

Yesterday, I was trying to think of an example of a composer or musican who I initially hated and grew to really like. Even with Elliott Carter, Night Fantasies was instantly appealing. Lately, I've been listening to Mel Powell and Milton Babbitt but in both cases, I can't begin to understand it and more listening hasn't enlightened me. But Albert Ayler may be the best example where a deeper look has paid off. I wonder if this is because of my belated appreciation of Ayler's spiritual nature (as well as not judging his music in the shadow of John Coltrane and Dexter Gordon). For that matter, Powell or Babbitt may have a spiritual muse, but if they do, I haven't fought through the intellectualism to find it yet...

official film site. norwegian blogger who saw the film. albert ayler: his life and music (online book). click here and scroll for a matt groening quote on coming to terms with captain beefheart's trout mask replica.

Comments

[Devin Hurd]

It's good to learn that your ears are coming around to the music of Ayler. Or even that I may have had a small part in it.

With Ayler, there's this layer of ritual to his music that's every bit as challenging as the "intellectual rigor" of Babbitt. (The piano works of Babbitt have suddenly taken on a strong appeal for me - you might want to check those out). I've been diving into the Holy Ghost box set quite a bit this past week and discovering new layers I hadn't noticed before. "Children" from Albert Ayler's Quartet in 1964 struck me as particularly transcendent this time around.