6 Songs, 37 Minutes

EDITORS’ NOTES

Also known as Ghosts, Vibrations was recorded on September 14th, 1964, in Copenhagen. Ayler’s usual trio of Sunny Murray (drums) and Gary Peacock (bass) was augmented by Don Cherry on cornet. Having partnered with Ornette Coleman during Coleman’s formative years, Cherry’s fearlessness made him the perfect match for Ayler, and their instruments spend much of Vibrations in a rapturous dance. Contained are two versions of Ayler’s signature song “Ghosts,” its skittering playground melody rupturing towards blasts of blues and sanctified passion. “Children” and “Mothers” contain some of Ayler’s most lyrical, stirring performances, while “Holy Spirit” is a tour de force. In an astounding supporting performance, Murray offers tempo and texture, without ever allowing his drums to provide the kind of boxy definition Ayler was attempting to transcend. With the addition of Cherry, Ayler and his band seem re-energized, and for all the torrential aggression of Vibrations, the ultimate tone of the album, as with all of Ayler’s music, is one of uplift.

EDITORS’ NOTES

Also known as Ghosts, Vibrations was recorded on September 14th, 1964, in Copenhagen. Ayler’s usual trio of Sunny Murray (drums) and Gary Peacock (bass) was augmented by Don Cherry on cornet. Having partnered with Ornette Coleman during Coleman’s formative years, Cherry’s fearlessness made him the perfect match for Ayler, and their instruments spend much of Vibrations in a rapturous dance. Contained are two versions of Ayler’s signature song “Ghosts,” its skittering playground melody rupturing towards blasts of blues and sanctified passion. “Children” and “Mothers” contain some of Ayler’s most lyrical, stirring performances, while “Holy Spirit” is a tour de force. In an astounding supporting performance, Murray offers tempo and texture, without ever allowing his drums to provide the kind of boxy definition Ayler was attempting to transcend. With the addition of Cherry, Ayler and his band seem re-energized, and for all the torrential aggression of Vibrations, the ultimate tone of the album, as with all of Ayler’s music, is one of uplift.

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