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Prophecy |
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PROPHECY
Tracks 1. Spirits (7:15) 2. Wizard (8:00) 3. Ghosts: first variation (10.00) 4. Prophecy (6:35) 5. Ghosts: second variation (7:40) (All compositions by Albert Ayler)
Personnel Albert Ayler (tenor saxophone) Gary Peacock (bass) Sunny Murray (drums)
Recording Details June 14, 1964 The Cellar Cafe, New York
Release Details Released as Prophecy on ESP 3030 (US), SFX10711 (Japan), Base Record (Italy) ESP-3030. |
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[CD cover of In Respect IR39501] |
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Tracks Tracks 1 to 5 as on ‘Prophecy’ 6. Sweet: first variation (6:29) 7. Ghosts: third variation (10:20) 8. Truth Is Marching In (10:53) 9. No Head (6:44) 10. Sweet: second variation (9:22) (All compositions by Albert Ayler)
Personnel and recording details the same as ‘Prophecy’
Release Details Released as Albert Smiles With Sunny on In Respect (Germany) IR 39501. [Tracks 6-10 (the 5 tracks on the second CD of Albert Smiles With Sunny) are included in the 2004 release of HOLY GHOST: rare & unissued recordings (1962 - 70) 9 CD Spirit Box on Revenant Records RVN 213, under the following titles: 1. Spirits [incomplete] (6:38)
NOTE: Both Prophecy and Albert Smiles With Sunny were released posthumously but I could never understand how the same Prophecy material could be issued simultaneously by different record companies. The mystery was solved when I read the following passage in the Sunny Murray interview in the Paris Transatlantic magazine. Mr. Murray was discussing the activities of Bernard Stollman, the founder of ESP records: “He also released “Prophecy” after Albert died, without Albert's signature, but because I also had a copy of the same tape I released mine through a company in Germany [“Albert Smiles with Sunny”, In Respect 39 501], as a correct move for me and Al. Bernard's so-called son tried to put the stops on my album, and finally did. However my tape was better quality than his and also at the correct speed, so mine sounds better. That tape's thirty-four years old, made up on 91st Street at Cellar Cafe [June 14th, 1964], where Paul Bley and all those cats first started playing, the white avant-garde guys, Barre Phillips, Gary Peacock... Gary Peacock had just gotten in from California to play with Miles, and he wanted to play with us.”
From the sleevenotes “Ayler was destined to suffer public indifference, incomprehension, not to mention often overt hostility. Mocked, ridiculed, his music was initially received as violent provocation, or senseless aggression. Its intense expressive power disturbed and frightened those listeners who expected music to be a simple background cushion of agreeable sounds.” Bernard Lairet (from the sleevenotes of the Base Records LP release) *** “let them never forget; just as charlie parker, herbie nichols who were totally destroyed by this shit of a corrupt music system, so was albert. because if magilla the gorillla don’t get us in the end poverty will; that is if we let it go that way. just imagine if al and others (me as well) received just 25 percent of the money owed to us some of our life would make sense to us, and why? it is very clear, my friends, in the music and life of albert ayler lives the truth of a richness of spirituality, and magic like coltrane/bird/cecil/eric/rollins/murray/max/elvin/etc. and this truth in richness of quality of spirituality is what moves the people. eternally. just as albert smiles with us. al always.” Sunny Murray (from the sleevenotes of In Respect IR 39501)
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