One of the first big moments of Albert Ayler's work in the jazz mainstream – and a record that doesn't dim his greatness at all from the earlier sides recorded for ESP! The album's got a sharply angular sound that more than lives up to its vibrant cover image – a well-honed approach to improvisation, showcased by Ayler in a set of recordings done upon his return from work on the European scene. The material was recorded on two different dates – featuring two different groups: one with Alan Silva, Beaver Harris, and Joel Friedman; the other with Donald Ayler, Henry Grimes, and Michel Sampson. Titles are long, with the searing emotional sound that Ayler was peaking at during this time – and titles include "For John Coltrane", "Change Has Come", and "Truth is Marching On". CD

One of the first big moments of Albert Ayler's work in the jazz mainstream – and a record that doesn't dim his greatness at all from the earlier sides recorded for ESP! The album's got a sharply angular sound that more than lives up to its vibrant cover image – a well-honed approach to improvisation, showcased by Ayler in a set of recordings done upon his return from work on the European scene. The material was recorded on two different dates – featuring two different groups: one with Alan Silva, Beaver Harris, and Joel Friedman; the other with Donald Ayler, Henry Grimes, and Michel Sampson. Titles are long, with the searing emotional sound that Ayler was peaking at during this time – and titles include "For John Coltrane", "Change Has Come", and "Truth is Marching On". LP, Vinyl record album

One of the first big moments of Albert Ayler's work in the jazz mainstream – and a record that doesn't dim his greatness at all from the earlier sides recorded for ESP! The album's got a sharply angular sound that more than lives up to its vibrant cover image – a well-honed approach to improvisation, showcased by Ayler in a set of recordings done upon his return from work on the European scene. The material was recorded on two different dates – featuring two different groups: one with Alan Silva, Beaver Harris, and Joel Friedman; the other with Donald Ayler, Henry Grimes, and Michel Sampson. Titles are long, with the searing emotional sound that Ayler was peaking at during this time – and titles include "For John Coltrane", "Change Has Come", and "Truth is Marching On". LP, Vinyl record album

Pre-ESP Records work from the legendary Albert Ayler – and a really special set that definitely shows his strong ties to a previous legacy of African-American music! Ayler always clamed blues and other roots in his sound, but didn't always show them as clearly – given his free-thinking, forward-moving approach – yet this set has Albert really reworking an older influence, by taking older songs from gospel and secular sources, and using them as a completely compelling springboard for his new ideas on tenor and soprano sax! The album's the sort that David Murray might have cut in the mid 80s – but conceived by Ayler two decades before – and sadly unissued for years after its recording, possibly because it's a very sensitive, soulful set that's different than the frenetic power of later albums on ESP. A real treasure throughout – with work from Call Cobbs Jr on piano, Henry Grimes on bass, and Sonny Murray on drums – on titles that include "Swing Low Sweet Chariot", "Deep River", "Goin Home", "Ol Man River", "Down By The Riverside", and "Nobody Knows The Trouble I've Seen". CD

Pre-ESP Records work from the legendary Albert Ayler – and a really special set that definitely shows his strong ties to a previous legacy of African-American music! Ayler always clamed blues and other roots in his sound, but didn't always show them as clearly – given his free-thinking, forward-moving approach – yet this set has Albert really reworking an older influence, by taking older songs from gospel and secular sources, and using them as a completely compelling springboard for his new ideas on tenor and soprano sax! The album's the sort that David Murray might have cut in the mid 80s – but conceived by Ayler two decades before – and sadly unissued for years after its recording, possibly because it's a very sensitive, soulful set that's different than the frenetic power of later albums on ESP. A real treasure throughout – with work from Call Cobbs Jr on piano, Henry Grimes on bass, and Sonny Murray on drums – on titles that include "Swing Low Sweet Chariot", "Deep River", "Goin Home", "Ol Man River", "Down By The Riverside", and "Nobody Knows The Trouble I've Seen". LP, Vinyl record album

Essential stuff! This 2 CD set includes the entirety of Albert Ayler's Live In Greenwich Village album – plus a huge amount of previously unreleased live material, played by the Ayler group in New York, during 1966 and 1967. Ayler's brother Don is on trumpet, and other players include Joel Freedman, George Steele, Bill Fowell, Beaver Harris, Sunny Murray, Alan Silva, and Henry Grimes. The tracks have the same intensity of Ayler's ESP work – and many tunes are quite long, very free and open. Titles include "Light In Darkness", "Divine Peacemaker", "Angels", "Omega Is The Alpha", "Universal Thoughts", "Change Has Come", "Infinite Spirit", and "Spiritual Rebirth". 14 tracks in all – and one of the most important slices of Ayler's career! CD

One of the last records made by avant sax legend Albert Ayler – a really mind-expanding album that's unlike anything else he ever did! By the time of the record, Ayler had made a full round trip between the New York and European jazz scenes – leaving important influences wherever he went, and trying desperately to pick up new ones the further he moved on. Here, he's working in a style that's a bit like that of Archie Shepp at the time – still steeped in free jazz and new thing ideals, but infused with a free-thinking approach to the music that allows for bold new styles and sounds. In addition to his own stunning work on tenor, Ayler's also blowing bagpipes and vocalizing a bit next to singer Mary Maria, who does a great recitation on one track of the record. Rhythm is by the two-bass team of Stafford James and Bill Folwell, next to drums by Muhammad Ali – and the whole thing's capped off by guitarist Henry Vestine, who plays in modes that range from bluesy to free. At the time, this one was kind of dismissed as a messed-up mistake that occurred at the end of Ayler's too-short life – but honestly, over the years, this record really really opens itself to us more and more, and we have to say that we think it's one of his most groundbreaking albums! Titles include "Island Harvest", "Drudgery", "Oh Love Of Life", "Masonic Inborn (part 1)", and "A Man Is Like A Tree". CD

One of the last records made by avant sax legend Albert Ayler – a really mind-expanding album that's unlike anything else he ever did! By the time of the record, Ayler had made a full round trip between the New York and European jazz scenes – leaving important influences wherever he went, and trying desperately to pick up new ones the further he moved on. Here, he's working in a style that's a bit like that of Archie Shepp at the time – still steeped in free jazz and new thing ideals, but infused with a free-thinking approach to the music that allows for bold new styles and sounds. In addition to his own stunning work on tenor, Ayler's also blowing bagpipes and vocalizing a bit next to singer Mary Maria, who does a great recitation on one track of the record. Rhythm is by the two-bass team of Stafford James and Bill Folwell, next to drums by Muhammad Ali – and the whole thing's capped off by guitarist Henry Vestine, who plays in modes that range from bluesy to free. At the time, this one was kind of dismissed as a messed-up mistake that occurred at the end of Ayler's too-short life – but honestly, over the years, this record really really opens itself to us more and more, and we have to say that we think it's one of his most groundbreaking albums! Titles include "Island Harvest", "Drudgery", "Oh Love Of Life", "Masonic Inborn (part 1)", and "A Man Is Like A Tree". CD

One of the last records made by avant sax legend Albert Ayler – a really mind-expanding album that's unlike anything else he ever did! By the time of the record, Ayler had made a full round trip between the New York and European jazz scenes – leaving important influences wherever he went, and trying desperately to pick up new ones the further he moved on. Here, he's working in a style that's a bit like that of Archie Shepp at the time – still steeped in free jazz and new thing ideals, but infused with a free-thinking approach to the music that allows for bold new styles and sounds. In addition to his own stunning work on tenor, Ayler's also blowing bagpipes and vocalizing a bit next to singer Mary Maria, who does a great recitation on one track of the record. Rhythm is by the two-bass team of Stafford James and Bill Folwell, next to drums by Muhammad Ali – and the whole thing's capped off by guitarist Henry Vestine, who plays in modes that range from bluesy to free. At the time, this one was kind of dismissed as a messed-up mistake that occurred at the end of Ayler's too-short life – but honestly, over the years, this record really really opens itself to us more and more, and we have to say that we think it's one of his most groundbreaking albums! Titles include "Island Harvest", "Drudgery", "Oh Love Of Life", "Masonic Inborn (part 1)", and "A Man Is Like A Tree". LP, Vinyl record album

A seminal Albert Ayler session from the 60s – recorded at the legendary Judson Hall with an incredible sound! There's a bold, righteous feel to this record that possibly even tops other Ayler classics for ESP – and the spacious setting makes the notes echo, rebound, and come back together with searing intensity throughout. The group features Ayler on tenor, brother Don on trumpet, Charles Tyler on alto, Sunny Murray on drums, and both Henry Grimes and Gary Peacock on basses – using a unique two-bass approach that only further emphasizes the unique qualities of the record. Call Cobbs plays a bit of harpsichord too – and tracks include "Sprits Rejoice", "Holy Family", "Angels", and "Prophet". CD

A pair of classic Albert Ayler albums from 1964 – back to back on a single CD! First up is Spirits – only the second album ever recorded by Albert Ayler, but a tremendous statement of music that clearly marks the tenorist as one of the most important jazz talents of the 60s! The set was recorded in New York, and only ever got initial exposure overseas – but has grown to become one of the best-remember Ayler albums over the years – thanks in part to a rock-solid lineup of equal visionaries in the group, a lineup that include Sunny Murray on drums, Norman Howard on trumpet, and both Henry Grimes and Earl Henderson on bass – playing together on the title track, which gives the whole thing a really tremendous power. Ayler's clearly the spotlight, though – shining his light with brilliance both in his phrasing of the tenor, and his sense of timing and inherent rhythm – which opens the door to whole new pathways in jazz. Titles include "Spirits", "Prophecy", "Holy Holy", and "Witches & Devils". Next is Ghosts – a seminal early moment from the legendary Albert Ayler – an important session recorded overseas in Copenhagen – where enthusiasm for Ayler's music caught fire more strongly than in the US! The group's got an edge that's maybe even sharper than some of Ayler's ESP material, but no less powerful – with Don Cherry on cornet, Gary Peacock on bass, and Sunny Murray on drums – working through tremendous readings of six Ayler classics that include "Ghosts", "Children", "Holy Spirit", "Vibrations" and "Mothers". A wonderful precursor to the ESP years – and equally great! CD

Classic early material by Albert Ayler, recorded in New York in 1964, but originally issued only in Europe! The session features Ayler with the obscure trumpeter Norman Howard, plus Henry Grimes on bass and Sonny Murray on drums – and has all the crackle and imagination of Ayler's ESP recordings. In fact, the album stands as a key record that's as essential as Spiritual Unity or Spirits Rejoice – and has a very similar feel to both of those sets. Titles include "Spirits", "Witches & Devils", "Holy, Holy", and "Saints". LP, Vinyl record album

Classic early material by Albert Ayler, recorded in New York in 1964, but originally issued only in Europe! The session features Ayler with the obscure trumpeter Norman Howard, plus Henry Grimes on bass and Sonny Murray on drums – and has all the crackle and imagination of Ayler's ESP recordings. In fact, the album stands as a key record that's as essential as Spiritual Unity or Spirits Rejoice – and has a very similar feel to both of those sets. Titles include "Spirits", "Witches & Devils", "Holy, Holy", and "Saints". CD

A cheapo package, but some really great material! Side one features two long cuts recorded live – with Gato Barbieri on tenor, Don Cherry on trumpet, and Karl Berger on vibes – on "OCDC" and "Third Movement". Next is another live track – Albert Ayler's tenor on a version of "Ghosts" with Norman Howard on trumpet, Earle Henderson and Henry Grimes on basses, and Sonny Murray on drums. Last is a side-long take of "If Only We Knew" – led by John Handy on alto – with Michael Sampson on violin, George Tucker on bass, and Bobby Fuhlrodt on drums. LP, Vinyl record album

Jazzy musings, lots of weird instrumental touches, and players who include Tony Coe on tenor, Pete King on flute and alto, Henry Lowther on trumpet, Frank Rocotti on congas, and Rubert Hine on Arp! (Rock, Jazz) CD

Jazzy musings, lots of weird instrumental touches, and players who include Tony Coe on tenor, Pete King on flute and alto, Henry Lowther on trumpet, Frank Rocotti on congas, and Rubert Hine on Arp! (Rock, Jazz) LP, Vinyl record album

One of two rare albums recorded by organist Jimmy Caravan in the 60s – a really great talent on the Hammond, and a player with a really clean, lean, and groovy sound! Jimmy's style here borrows a lot from the Capitol jazz scene of players like Howard Roberts or Henry Cain – an approach to organ jazz that's a bit more stripped down and less gritty than that of labels like Blue Note or Prestige – and one that uses the cleaner sound to bring even more rhythm into the mix, letting the organ leap around the tunes in a groovily playful way! Caravan's got a great sound throughout, and although the other players aren't listed, the album's got a nice small combo sound all the way through. Titles include "Off A Brass Monkey", "Equinox", "UFO", "Cyclops", and a groovy version of "Hey Jude". CD

Easily one of the most powerful albums ever cut by Don Cherry – a searing set of tracks done for Blue Note in the late 60s – and featuring some tremendous tenor work by Pharoah Sanders! There's a tightness and level of energy here that surpasses even Cherry's other excellent Blue Note sessions – a rawness that recalls the style forged often on key ESP albums of the 60s, but honed here into a slightly tighter mode. Sanders' horn is especially well-placed in the set – and pushes Cherry past the spacier notes of other recordings, in a way that unlocks fire from the years with Ornette – but which opens up into a much freer groove. The rest of the group includes Henry Grimes on bass and Ed Blackwell on drums – both a perfect match for the quartet – and titles include the 17 minute "Unite", plus "There Is A Bomb", "Awake Nu", "Taste Maker", and "The Thing". LP, Vinyl record album

A great bit of work from the hip LA scene that centered around the Nimbus label at the end of the 70s – a collective who work together here with the same spiritual jazz modes you'd find on labels like Tribe or Strata East! The group features some bigger names from the scene, including some solo Nimbus acts – plus some other overlooked players – a lineup that includes Henry Franklin on bass, George Bohannon on trombone, Wilbert Hemsley on tenor, Dadesi Komolafe on flute, Jeff Clayton on baritone, and Gary Bias on alto and soprano sax. The album's also got some beautiful vocals from BJ Crowley – who co-leads the group, and sings out with a proud righteousness that recalls some of Dee Dee Bridgewater or Jean Carn's early early soul jazz recordings. The tracks are all long and spiraling numbers – never really "out", but in a free searching mode that's a perfect platform for the piano work of the other co-leader, Kaeef Ruzadun. Titles include "One Step Out", "Flashback Of Time", "All Praises Due", and "Stars In Lightyear Time". CD

A great bit of work from the hip LA scene that centered around the Nimbus label at the end of the 70s – a collective who work together here with the same spiritual jazz modes you'd find on labels like Tribe or Strata East! The group features some bigger names from the scene, including some solo Nimbus acts – plus some other overlooked players – a lineup that includes Henry Franklin on bass, George Bohannon on trombone, Wilbert Hemsley on tenor, Dadesi Komolafe on flute, Jeff Clayton on baritone, and Gary Bias on alto and soprano sax. The album's also got some beautiful vocals from BJ Crowley – who co-leads the group, and sings out with a proud righteousness that recalls some of Dee Dee Bridgewater or Jean Carn's early early soul jazz recordings. The tracks are all long and spiraling numbers – never really "out", but in a free searching mode that's a perfect platform for the piano work of the other co-leader, Kaeef Ruzadun. Titles include "One Step Out", "Flashback Of Time", "All Praises Due", and "Stars In Lightyear Time". CD