Search - Albert Ayler :: Copenhagen Tapes

A great addition to Ayler's limited catalogue.

Jerry P. Eliason | Beachwood, OH USA | 07/18/2003

(5 out of 5 stars)

"By turns savage, eloquent, and achingly beautiful, this document of Albert Ayler's 1964 European tour needs to be grabbed by anyone familiar with the classic recording Spiritual Unity. Joining the trio (Ayler, Sonny Murray, Gary Peacock) was Don Cherry, veteran of the cutting-edge jazz groups of Ornette Coleman and Archie Shepp, among others. The early days of free playing certainly could ask for no better line-up, and it boggles the mind to consider that, had he not met an untimely demise in Germany, Eric Dolphy would have joined them. Unlike Albert's later trumpet foil Donald Ayler, whose full-throated trumpeting was conceived soley in service of his older brother's musical aims, Cherry played in a confidently realized style that provided coloristic contrast and dynamic tension when combined with Albert's hellbent preaching and crying. This is four-way playing of both great sensitivity and power that can startle a listener forty years after the fact. A great addition to Ayler's limited catalogue, and a marvelous flagship recording for the new label Ayler Records, devoted to the type of adventurous music making that can call Ayler one of its Godfathers."

A superb addition to the catalog of one of Ayler's best band

Michael Stack | North Chelmsford, MA USA | 09/14/2005

(4 out of 5 stars)

"For Ayler Records, a record label named after legendary saxophonist Albert Ayler, to get the rights to (courtesy of the Ayler statement) a previously unreleased and powerful recording by Albert Ayler is a huge coup. "The Cophenhagen Tapes", recorded in the weeks prior to the recording of the landmark "Vibrations", is one such recording. The record consists of two sessions with Ayler's then-working quartet-- trumpeter Don Cherry, bassist Gary Peacock and drummer Sunny Murray. The first is a live recording from Club Montmatre in Copenhagen on September 3, 1964, the second is three tracks recorded for Danish radio a week later.



The tracks from this album consist largely of pieces recorded for "Vibrations", the only exception being no less than three renditions of "Spirits" from Ayler's earlier album "Spirits". As such, this is essentially a live rendition of "Vibrations" (although "Ghosts" is curiously absent, which leads one to wonder if Ayler had once intended to use "Spirits" in its place). The performance are nothing short of stunning-- in particular it's notable to see the energy and interaction between the band grow in just a week, the three tracks from the the radio show a week later are unnervingly tighter and more powerful. On "Vibrations" from the 3rd, Peacock slightly tentative, playing pedal largely and echoing the horn line, but by the 10th, he's all over the place, explosive and powerful and urging on the horns-- plus his solo is jawdropping. Ditto for "Saints", which is ultimately haunted and dark on the 10th but somewhat lacking in this energy on the 3rd. Still, the earlier show is not without its merits, with stunning performances of "Spirits" (the first take is a breakneck improv that unfortunately is faded in after an announcement, the second is a brief reprise with a lovely restatement of the theme) and a positively mournful take on "Mothers".



Sonically, the album is a bit odd-- it's not upleasant, but it sort of feels like an older recording. Still, the balance is good, the instruments are clear and distinct, and certainly the broadcast portion is phenomenal.



Something stops me from giving this five stars-- probably because it's not quite as good as "Vibrations", where four days later Ayler and company had even a better feeling of unity, but it is awfully good. Highly recommended."

ESSENTIAL AYLER!

Michael Stack | 04/30/2003

(5 out of 5 stars)

"If you like Ayler's free jazz blowing, this combo with Don Cherry is absolutely fantastic. They do the usual little Ayler ditty introductions of a somewhat folkish or childish melody, and then Ayler and Cherry go absolutely mad, blowing out walls of brass like layers of paint on an abstract expressionist canvas, constantly changing in texture and depth, absolutely electrifying! Sound quality is more than adequate."