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Albert Ayler - Love Cry (1967) FLAC

Albert Ayler - Love Cry (1967) FLAC

BAND/ARTIST: Albert Ayler

  • Title: Love Cry
  • Year Of Release: 1967
  • Label: Impulse!
  • Genre: Jazz
  • Quality: MP3 320 kbps / FLAC (tracks)
  • Total Time: 00:54:09
  • Total Size: 130.1 MB / 319,85 MB
  • WebSite:
Tracklist:

[3:56] 01. Albert Ayler - Love Cry
[2:50] 02. Albert Ayler - Ghosts
[3:20] 03. Albert Ayler - Omega
[2:25] 04. Albert Ayler - Dancing Flowers
[3:10] 05. Albert Ayler - Bells
[3:33] 06. Albert Ayler - Love Flower
[7:16] 07. Albert Ayler - Love Cry II
[4:15] 08. Albert Ayler - Zion Hill (Alternate Take)
[7:37] 09. Albert Ayler - Universal Indians (Alternate Take)
[6:09] 10. Albert Ayler - Zion Hill
[9:51] 11. Albert Ayler - Universal Indians (Full-length Version)

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ABOUT THE ALBUM
1 disque(s) - 11 piste(s)
Durée totale : 00:54:09
Artiste principal : Albert Ayler
Compositeur : Albert Ayler
Label : Impulse!
Genre : Jazz
16-Bit CD Quality 44.1 kHz - Stereo
© 1991 GRP Records Inc.
℗ 1991 UMG Recordings, Inc.

From the time he was signed to Impulse in 1966, it was assumed that Albert Ayler's releases on that label would be motivated by an attempt at commercialism. While the music was toned down from his earlier ESP recordings, by no means did Ayler ever make commercial records. Much in the same way John Coltrane's later-period Impulse releases weren't commercial, Ayler simply took advantage of a larger record company's distribution, trying to expose the music to more people. Ayler's uncompromising musical freedom mixed with his catchy combination of nursery rhythms and brass band marches remained prominent on Love Cry. The interplay between the Ayler brothers also remained fiery as younger sibling Donald is heard playing trumpet for the last time on a recording with his brother. Donald was fired from the band (at the suggestion of Impulse) and, unfortunately, was committed to a mental institution for a short stay after these sessions were made. The rhythm section of Alan Silva on bass and Milford Graves on drums continually instigates and propels this music into furious militaristic march territory. Unhappily, the four tracks in which Call Cobbs is featured on harpsichord tend to drag the music down; it's unfortunate his gospel-inspired piano or organ playing couldn't have been utilized instead.
© Al Campbell /TiVo








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