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Hilversum Session
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曲目リスト
1 | Angels |
2 | C.A.C |
3 | Ghosts |
4 | Infant Happiness |
5 | Spirits |
6 | No Name |
商品の説明
A legendary recording by tenor saxophonist Ayler with his amazing working band, recorded in Holland for radio play, here digitally remastered with new artwork, liner notes by Russ Musto. The Hilversum session by Albert Ayler is one of those legendary recordings in free jazz. It was recorded in a Netherlands radio studio in front of a small invited audience, at the end of the Ayler Quartet's European tour on November 9, 1964 in front of a small invited audience. The band-Ayler, Don Cherry, Gary Peacock and Sunny Murray-had been playing Ayler's tunes for months and were uncanny in their ability to hear one another and improvise together at that point. It was also the last time the group would record together under Ayler's name as a quartet and then went out at a peak. Unknown radio studio recordings from Hilversum, Holland, November 9, 1964, originally released on LP as Osmosis (H) 6001. Featured Artists Albert Ayler-tenor saxophone / Don Cherry-cornet / Gary Peacock-bass / Sunny Murray-drums.
登録情報
- メーカーにより製造中止になりました : いいえ
- 製品サイズ : 14.22 x 1.02 x 12.45 cm; 99.79 g
- メーカー : Esp Disk Ltd.
- EAN : 0825481040358
- オリジナル盤発売日 : 2007
- レーベル : Esp Disk Ltd.
- ASIN : B000UJBYC4
- ディスク枚数 : 1
- Amazon 売れ筋ランキング: - 254,255位ミュージック (ミュージックの売れ筋ランキングを見る)
- カスタマーレビュー:
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トップレビュー
上位レビュー、対象国: 日本
レビューのフィルタリング中に問題が発生しました。後でもう一度試してください。
今回ジャケも思い切って一新して、入念なディジタル・リマスターをしてCDとしてリリースされたわけであるが、聴いてみてびっくり、音質が驚異的に向上している!私は上記アナログ盤を二枚とも所有しているが、どちらもこのCDにはまったく敵わない。最近のディジタル・リマスターの技術の向上にはまったくもってオドロキである。演奏も素晴らしい。特にチェリーが加わったことにより、音楽が強力かつ色彩豊かになっている。オーネットのオリジナル・カルテットを振り出しに、コルトレーン、ドルフィー、そしてロリンズと、この時期の最重要ミュージシャンと共演を繰り返し、ついに「表現の極北」アイラーに辿り着いたチェリーは、ある意味時代の顔ともいえる。曲もアイラー・ファンにはお馴染みのものばかりに加えて、チェリーのオリジナルが一曲。
であるから上記アナログ盤をお持ちのファンのかたは買い替えても損をしない。オマケにジャケと同じデザインのポスターがついているし。
平面で、最初に形としての輪郭を持つのは三角形。「アイラー+マレイ+ピーコック」による
ピアノ・レストリオは、『Spiritual Unity』においてフリージャズの究極形、三位一体と呼び
たくなる完成度を示した。しかし意欲的なミュージシャンは、さらに先に進まなくてはならない。
何か新しいことを試みる必要に迫られる(名人芸披露に終始するタイプのミュージシャンもいる)。
アイラーは『Spiritual Unity』のトリオにドン・チェリーを呼び込み、2ホーン・カルテットに
することで新しいサウンドを模索している。ドン・チェリーは後に、他のフリー・ジャズ・ミュージ
シャンがたどり着けない場所で、独自音楽を展開するようになるが、オーネット・コールマンの元を
離れてから、ソニー・ロリンズ、アーチー・シェップなど、オーネット・クオリティのホーンの
需要に応える形でセッション参加を続けている。
アイラーはここで後期アイラーの橋渡しとなるような試行を行っている。面白いのは、新曲「No
Name」で、ゆったりとした単旋律が主役となり、ドン・チェリーのトランペットもフィーチャー
されている。その間、アイラーのテナーは沈黙。緊密な緊張感で自由なアンサンブルが持続する
即興曲ではなく、ゆったりメロディを奏でるミディアム・テンポのリニアな世界。これなら
マレイ+ピーコックという特化したリズム・セクションである必要性もない。アイラーはこの
方向に進み、バンドを組み直し、後期のアルバム群を制作していく。
チェリー参加も、この時のヨーロッパ・セッションで終わり、次作以降は弟のドナルド・アイラーが
トランペットで参加する。アイラーのヨーロッパ・ツアーに同行したチェリーは、そのままフランスに
残り、ガトー・バルビエリと出会う。そこからチェリーの独自音楽追求の道が、リーダー作の制作
という形で始まっていく。
他の国からのトップレビュー
This first-rate audio recording captures Albert Ayler’s second great combo –Don Cherry has replaced Ayler’s brother Donald on trumpet—performing at their peak in a 1964 concert in Sweden. Cherry is the only change in the group’s composition. Donald Ayler was a limited technician on his horn. Cherry was probably marginally superior but what catches your attention from the start of the session is how well Cherry had adjusted to playing with Albert Ayler. From the first cut, “Angels,” Cherry adapts his change-based approach to soloing to Ayler’s more aleatory approach: the horn as a voice in ecstasy. Peacock and Murray are invaluable to this music. It’s hard to say which adds more to the music –the answer is probably “Both.” Peacock brought exceptional technique (and thus flexibility in moving around his horn) and a rich deep sound –think Scott LaFaro with a broader range. His backing work is just right, hinting at chords but never tying the soloing horn down to the chords, providing a touch of indeterminacy combined with a sense of direction. His solos are masterful. Murray joins in on Peacock’s solos as well as throughout: every time I listen to him, I am astounded. He truly played “freed” percussion. It’s not that rhythm doesn’t appear in his backing work but it doesn‘t parallel or force the soloing horns down one rhythmic path. I was fully engaged in listening to jazz by the 1960s. I had listened to and watched the progression of jazz drumming from the bop greats –Roach, Blakey, Haynes—through the emergence of drummers like Elvin Jones. Listening to Murray (whom unfortunately I never caught live) is like listening to a different language entirely. Murray’s drumming isn’t to force the horns along a rhythm path and his clacks and bass drum bombs and rattles and shuffles don’t necessarily, indeed seldom, enforce a uniform rhythm pattern on the horns playing above him. Rhythm –pacing—in an Ayler session is more like breathing or talking, irregular and organic, and definitely not, not, not metronomic.
Then there’s Ayler. His sound –his big, giant sound—isn’t immediately attractive, and he distorts it for emotional, signifying effect. Then it clicks. You suddenly get a sense of what he’s doing, and of how revolutionary it was for jazz music. He sings like Holy Rollers talk in tongues and he plays his horn like the big horn honkers of the emerging r&b music played theirs. The tone is harsh, distorting often, but always speaking and always dominant: emotional truth pours out of his horn as he plays. Cherry’s a more closed in player by temperament, and if he was still playing his pocket trumpet then, he played a less expansive instrument than Albert, but he proves himself an able partner here. On a couple tunes, they improvise together –it‘s exciting—at moments, they sound like two ducks quarreling over food, live creatures not tied to chromatic scales and chord sequences.
All of the tunes but one are by Ayler. The exception is Cherry’s. They’re more than heads, less than fully integrated compositions. It’s become clear that though Ayler’s music seems hastily composed, it wasn’t at all. (Listen to Italian pianist Giorgio Gaslini’s 2010 Ayler’s Wings if you doubt me.) But he tended to use the same tunes over and over again. Here it’s “Angels,” “Ghosts,” “Sprits,” and “No Name.” The good news is that even playing the same melodies, Ayler varied his solos enough that each new version of an old melody was in effect new. Enough said. This is a superb album by superb, and seminally important, musicians. By any standards, Ayler, Murray and Peacock are giants. Cherry isn’t far behind.
The passionate and stirring music created on this date deserves to be much better known and it's a great pity that this extraordinary quartet never recorded again.
This live-in-a-radio-studio performance in Hilversum, the Netherlands also features trumpeter Don Cherry, there are precious few performances of Ayler with Cherry.
(the performance was first issued circa 1980 on an LP on Dutch label Osmosis).
Unfortunately, the historical importance is not quite matched by the music itself-- it's not bad, necessarily, but compared to "Vibrations", its a bit of a letdown. The musicians play well enough, and they certainly have a tight synergy, but nothing really jumps out except the jarring "Angels" (a nice enough piece with a humanistic sax line but a somewhat haphazard improv) and the delicate and unique "No Name", which finds Ayler and Cherry repeatedly stating a crying, lovely theme. But then it's got "Infant Happiness", which is pretty sludgey and kind of lifeless.
Still, for anyone who loved "Vibrations" and is craving more of the Ayler/Cherry/Peacock/Murray quartet, this is a worthwhile find. My rating truthfully might be a bit harsh, but I am considering it comparatively. One nice thing is that the ESP reissue sounds absolutely fantastic-- sonically the music is up front, crisp and clear. Listening with headphones, I was shocked-- Ayler sounds like he's blowing his horn right next me. Certainly, it's a great upgrade. Now, if only they'd get the rights to "Vibrations"...