Albert Ayler

The album "Spirits," released by a debut label based in Copenhagen, marked the first opportunity for Ayler to record his "free music" in February 1964 in New York. The musicians selected by him included notable figures such as Cecil Taylor (with drummer Sunny Murray), members from Sonny Rollins' band (bassist Henry Grimes), and musicians from his Cleveland period (trumpeter Norman Howard, bassist Earl Henderson). This work also represents his first focus on his own compositions, which includes Howard's piece "Witches and Devils."

The concept is unique yet fits the principles of vorticism. It conveys a dramatic sense of 'chaos invading the concept' through the energy generated by interacting horn and percussion lines, harmony occurring simultaneously via two basses played with bows and strings, and the ensemble's sculptural quality. Counterpoint melodies intersect at related timbres, overlapping in a 'plane' that illustrates a fusion and separation. The piercing tone of Howard's trumpet contrasts with the rich resonance of Ayler's tenor saxophone, seemingly chiseling from a hard surface.

The 17 months between "Spirits" and "Spirits Rejoice" were filled with significant changes in Ayler's music and life. He scaled down his quintet to a trio and produced a groundbreaking live recording for ESP that shocked the jazz world. He then expanded the ensemble during sessions for "I" and "Ear Control" in New York, altering the group's dynamics. After a period of activity with an unrecorded band, including pianist Paul Bley (who continued featuring the composition "Albert's Love Theme," written by his then-wife Annette Peacock), he returned to Scandinavia leading a quartet that included Don Cherry. Upon returning to America, he brought in his brother Donald as the trumpeter instead of Cherry. Energy here is equated with intensity, which does not rely on speed or volume for its effect.

"Spirits Rejoice" evokes a fluid intensity rather than meticulously crafted details. The title track bursts forth with a fanfare (converging toward "La Marseillaise"), fervent horns, surging basslines, and relentless drums, indicating a new direction for Ayler's ensemble in the following year. The rest of the album provides differing perspectives, with "Holy Family" addressing a bright, cheerful theme in contrast to the intense, obsessive "Prophet." "D.C." reflects an important motif that Don Cherry previously recorded with Ayler in "Infant Happiness" and revisited in "Elephantasy" and "Awake Nu."