The new release of Albert Ayler’s “Revelations,” featuring recordings of two concerts that he gave in France several months before his death, is a crowning, jubilant glory, tnyfrontrow writes.
, who avowed Ayler’s profound influence on him, and who brought Ayler to perform with him in a 1966 concert at Lincoln Center. But, in finding his form so quickly, Ayler also reached an impasse quickly. Ayler’s record producers seem to have wanted him to rely on more commercial styles. Many of his late-sixties recordings featured vocals, electric instruments, and rock backbeats, but Ayler’s own improvisations didn’t mesh well with them.
The musical variety of the concert is astonishing. Parks sings in tongues, to Ayler’s accompaniment in the frenzied high register; Ayler sings in tongues and, building on the same melodies, solos on soprano sax with ferocious, frantic, sky-scaling shrieks. Parks sings to a catchy calypso in the vein of Sonny Rollins’s “St. Thomas.” She, too, plays soprano sax on many pieces with an altogether distinctive, deep, overtone-laden sound.
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