Originally released in 1971 on CjR Recorded December, 1970 Superior Viaduct Reissue (2019) Style: Free Funk, Free Jazz, Abstract Groove … More
One can only imagine how Ayler bringing more commercial styles like R&B, Rock, and Gospel into his avant-garde music messed with critics and fans alike when it came out—the way it looked like commercial pandering to the Free Jazz listeners but was probably still too weird for new listeners. It helps to remember that Ayler came from R&B and went straight to the Free Spiritual Jazz of the early 60s, making Jazz critics highly skeptical skeptical by not climbing the bebop ranks like Coltrane before plunging into freedom. On New Grass, Ayler really started to synthesize the spiritual elements of many forms of Great Black Music, making more accessible music not as a way of selling out, but a way of sharing his beautiful spiritual message and sound with a wider audience. Plus this thing has Bernard Purdie on drums so of course it slaps.
If you dig this LP, I think he succeeded in this sound direction even more on his following albums Love Cry and Music is the Healing Force of the Universe. Albert Ayler was a pure soul that left this world too soon, grateful for the gifts of music and wisdom he left behind.
This impressionistic and contemplative collaboration channels deep American folk roots through free flowing improvisations. The panoramic and sensitive drumming of Jim White (Dirty Three, Cat Power, etc) is a perfect match for Marisa Anderson’s primitivist guitar sensibilities, which feel both immediate and abstract.
Style: Spiritual Jazz, Free Jazz
Vibe: Communal, Earthy, Energetic, Hypnotic, Intense, Loose, Mystical, Passionate, Spiritual, Tribal, Uplifting, Warm, Dance
Musical Attributes: Acoustic, Complex, Collective Improvisation, Percussive, Dense, Thematic, Suite
Released in 1974 on ESP-Disk Format: LP
Originally released in 1971 on CjR Records Superior Viaduct reissue (2019) Format: LP
Released in 1979 on ECM Records Recorded June, 1978 Format: LP
Released in 1972 on United Artists Records Recorded 1971 Format: LP
Released in 2007 on Kemado Records Format: LP, mirrored cover
Released in 1983 on Columbia Records Format: LP
Released in 1968 on Probe Records 1968 Second Pressing Format: LP
Released in 2018 on ECM Records Recorded July 2017 Format: LP
Released in 1971 on Atlantic Records Format: LP
Released in 1969 on BYG Records Japanese Pressing Format: LP Artwork by Moki Cherry Recorded August 22, 1969 in Paris, … More
Released on Ideological Organ in 2017 Format: LPx2
Self released in 2007 Format: 12″ EP, 45rpm Limited to 250 on brown vinyl
Originally released in 1994 on Thrill Jockey Records 2016 reissue Recorded November 29 thru December 5, 1993
Released in 1978 on ECM Records Recorded December 1977 Format: LP
Released in 1974 on ECM Records Format: LP
This hypnotic, noisy, and improvisatory live album from Australian experimenter, collaborator, and improviser Oren Ambarchi features two separate performances of his epic composition “Knots”. (Click for full review)
Released in 2015 on Joyful Noise Records Recorded April 4-5, 2014 Format: LP, clear seafoam green vinyl
Released in 1970 on Straight Records Format: LP
Originally released in 2003 on Thrill Jockey Records 2017 pressing Format: LP
Progressive Cool Jazz with thematic structural development, and ECM-Style reverbed production. Recommended track: Ark La Tex
Originally released in 1969 on Liberty Records 2014 pressing on Purple Pyramid Format: LP, pink/blue swirl vinyl Includes Poster
Originally released under the title Brown Rice in 1975 1977 pressing on Horizon Records Format: LP
The third album from the Melbourne (Au) violin/guitar/drum trio consists of loose, drifting instrumentals that conjure images of vast, open plains. Though the music here is often melancholic and lethargic, it is occasionally swept up with bursts of passionate energy and possessed by cathartic longing (especially the pleading and utterly beautiful violin solo on “Warren’s Lament”). All three instrumentalists have very individual styles that complement and dialogue with each other in refreshingly unique ways.
Originally released in 1969 on MPS Records 1972 BASF Pressing Format: LP
Released in 1969 on Elektra Records Format: LP
Spacious, Raga-inflected improvisations from Collin Walcott, Don Cherry, and Brazilian percussionist Nana Vasconcelos. Walcott has studied sitar directly under Ravi Shankar, and tabla under Alla Rakha, while trumpeter and flutist Don Cherry, after playing regularly with Ornette Coleman, has proceeded to travel around the world to study various musical traditions. Their wide influences come together organically to create meditative and exploratory music. A melodic and atmospheric fusion of airy flutes, watery sitar, hypnotic hammered dulcimer arpeggiations, driving webs of percussion, and bassy throat singing.
Released in 1966 on Blue Note Records 1971 United Artists Repress Format: LP
Recorded live at Cafe Monmartre in Copenhagen, Denmark on November 23, 1962 Released in 1976 on Arista Records
Released in 1988 on Parlophone Records 2012 Pressing
Released in 2002 on Arts & Crafts Records Format: LPx2
Information: Released in 2002 on Constellation Records
Released in 1968 on Columbia Records Recorded in 1967 Format: LP
Psychedelic post-punk from Chicago with noise rock dissonance, free jazz sax freak outs, Rhodes keyboards, proggy time signatures, and anxious vocals drenched in delays.
Album Information: This album was self-released on CD in 1997 This pressing was released by Constellation Records in 2013 Format: … More
Released in 1973 on CBS/Columbia Format: LP
Abstract fusion grooves, driving hard bop, and spacious modal jazz with horn overdubs and spacey synthesizers.
While living in London I had an apartment with a small garden. During he summer around 4 or 5 o’clock in the morning, just as the day began, Birds would gather here one by one and sing together, each declaring its freedom in song. It is my wish to share the same spirit with other musicians and communicate it to the people. -Dave Holland
Album Information: Released in 2017 on Blue Chopsticks Records (Imprint of Drag City Records) Eli Keszler – Drums, Percussion (Tracks … More
“Recorded in an old wooden barn, this second album is swaddled in twilight autumnal ambiance. While the record is bookended by the band’s awesome psych-rock explosions, much of the material here shows increased referencing of jazz influences (modal horns, brushed percussion) and a more organic deployment of micro-electronics. Raw and polished, visceral and cerebral, the band combines rock and jazz traditions of space music with the ‘instrumental’ potentials of mixing room to present a true gem of a record.” (Press Release)
An anxious, eccentric celebration of the mundane informed by post-punk, noise, no wave, and drone.