雖然Albert Ayler的音樂生命只有短短十年的時間，但他卻是60年代最有影響力的音樂家之一。在生前，他的音樂是受到爭議的，因為他的音樂十分前衛，不是一般的弦律和節奏，大部分人的耳朵仍是保守的，直到後來才被越來越多人肯定他的創作。 由於服役的地方是法國，他也認識許多在法國的音樂家，像是同為薩克斯風手的Dexter Gordon。退伍之後仍留在歐洲，1962年時在哥本哈根錄製他的第一張唱片。在歐洲，Albert Ayler開啟了一扇爵士的大門，自由即興、實驗、前衛爵士在Albert Ayler身上找到更多的淵源。
這張錄制于1964年的自由即興、實驗大作，在現在聽起來會比當今很多自由作品順耳很多，但這僅僅是吵鬧度上，混亂的薩克斯，無調的旋律。Bass很無精打采的時不時來兩下。粗礪的薩克斯重頭到尾就在一種絕望的狀態下，用詭異的聲音在驅趕著自我的魂靈，在聽完Ghosts: Second Variation 之后，我就被這個來自地域的聲音嚇住了，但是在聽過第三首spirits之后，這樣的恐懼感比起狂醉后倍感的孤獨凄涼好受的多。這是一張令人絕望的作品，一張隨時會破壞你心情的專輯。當然很多人都是在自虐，Albert Ayler又何嘗不是。

In November 1964, Giuseppi Logan went to Bell Sound Studios to record his first album for the newly formed ESP-Disk' label. He added Don Pullen and Milford Graves, and bassist extraordinaire Eddie Gomez. Research, accurate session date information, and analog tape transfer by Michael D. Anderson.

This music was recorded July 17, 1964, by New York artist Michael Snow for use as the soundtrack for his film entitled "New York Eye and Ear Control". The music was recorded prior to the production of the film.
Alto Saxophone – John Tchicai
Bass – Gary Peacock
Drums – Sonny Murray
Recorded By, Cover – Michael Snow
Tenor Saxophone – Albert Ayler
Trombone – Roswell Rudd
Trumpet – Don Cherry

Bass – Gary Peacock
Cornet – Don Cherry
Design – Omar Khouri
Drums – Sunny Murray
Engineer – Jan Schelling
Photography By [Cover Photo] – Elliot Landy
Producer – George Coppens
Producer [Session Originally Produced For Vara-radio By] – Aad Bos, Michiel De Ruyter
Production Manager – George Abi-Hanna
Remastered By [Digital Restoration] – Douglas McGregor
Tenor Saxophone – Albert Ayler
Written-By – Ayler* (tracks: 1 to 3, 5, 6), Cherry (tracks: 4)
Recorded On November 9, 1964, Hilversum, The Netherlands. Session originally produced for VARA-Radio.
Originally released on LP as Osmosis (H) 6001.
All works © and ℗ 2007 ESP-Disk', ltd
© Syndicore Music (BMI)

Albert Ayler was an American avant-garde jazz saxophonist, singer and composer. After early experience playing R&B and bebop, Ayler began recording music during the free jazz era of the 1960s.

Albert Ayler was an American avant-garde jazz saxophonist, singer and composer. After early experience playing R&B and bebop, Ayler began recording music during the free jazz era of the 1960s.

Albert Ayler was an American avant-garde jazz saxophonist, singer and composer. After early experience playing R&B and bebop, Ayler began recording music during the free jazz era of the 1960s.

Alto Saxophone – Marion Brown
Bass – Henry Grimes
Engineer – Richard L. Anderson
Liner Notes – Hans Schreiber, Tom "Tornado" Klatt
Liner Notes [Esp-disk Story] – John Litweiler
Percussion – Dave Grant (tracks: 1, 3, 4), Tom Price (tracks: 2)
Photography By – Ray Gibson
Piano, Harp [Piano], Percussion, Composed By – Burton Greene
Tenor Saxophone – Frank Smith (tracks: 4)
Recorded on December 18, 1965. The booklet also contains an "ESP Fax Interview" between Bernard Stollman and Tom "Tornado" Klatt (April 1992).

"The Har-You Percussion Group's self-titled album stands as a testament to how exciting and profound music education can be for kids ... Latin, Cuban, jazz, and blues influences combine to create their boogie-down melting pot of rhythm that keeps the feet moving." -- All Music Guide

This Latin soul group, led by master conga player Montego Joe as part of the Harlem Youth program of the '60s, is a fantastic mix of funky bass, heavy drums, burning horn lines, and soulful vocals. Quite simply one of the great Latin jazz releases of all time, this disc includes the monster tracks "Welcome to the Party," "Feed Me Good," and "Oua-Train."

Ronnie Boykins is best known for his work as bassist with Sun Ra (between 1958 and 1966), but the odd meters and horn arrangements in this 1975 septet session for ESP (the last release on the mythic free jazz label before it dipped out of sight a year later) recall Mingus more than they do Boykins' former employer. The opening title track features some solid soloing from James Vass (on soprano), but the recording throughout is oddly mixed (well, pristine sound quality never was a priority for ESP) and several horn solos sound alarmingly far away. More upsettingly, some of the heads and bridges are rather scrappily executed and/or edited (notably "Demon's Dance"), and the accompaniment behind Boykins' extended bowed feature "Starlight at the Wonder Inn" sounds somewhat lackluster. Ra's influence is more evident, as its title might suggest, on the final "The Third I," where ensemble members double up on percussion for an energetic polyrhythmic romp. Lively and entertaining it may be, but Heliocentric Worlds it definitely is not. ~ Dan Warburton, All Music Guide

Bass Guitar – Laurie Towers
Chorus ['Amen Chorus'] – John* (tracks: 8), Ras* (tracks: 8), Rocco* (tracks: 8)
Directed By [Musical Direction], Drums, Percussion – John Pietaro
Ensemble – The Red Microphone
Music By – John Pietaro (tracks: 8), Laurie Towers (tracks: 2), Pierre Degeyter (tracks: 1), Rocco John Iacovone (tracks: 1, 3)
Soprano Saxophone [Curved Soprano Saxophone], Alto Saxophone, Piano – Rocco John Iacovone
Tenor Saxophone, Flute, Percussion – Ras Moshe Burnett*
Words By, Lead Vocals – Amina Baraka

Alto Saxophone – Ornette Coleman (tracks: 1, 2, 4)
Bass – David Izenzon (tracks: 1, 2, 4)
Cello – Kermit Moore (tracks: 3)
Composed By – Ornette Coleman
Design – Michael Sanzone, Miles Bachman
Engineer – Jerry Newman
Percussion – Charles Moffett (tracks: 1, 2, 4)
Photography By [Original Cover Photo] – Charles Shabacon
Production Manager – Tom Abbs
Remastered By [Digital Remastering] – Douglas McGregor
Viola – Julien Barber (tracks: 3)
Violin – Nathan Goldstein (tracks: 3), Selwart Clarke (tracks: 3)
Recorded on December 21, 1962 at Town Hall, NYC.

Frank Lowe produced this session for ESP. The player labeled "The Wizard" was probably Leroy Jenkins, who was under contract to another label at the time. This version of Black Beings contains 15 minutes of additional material thought to have been lost. Additional material has recently been located, and will be released later in 2008.

Bass – Gary Peacock
Percussion – Milford Graves
Piano, Composed By – Lowell Davidson

On the evening of October 20, 1964, Paul Bley recorded Carla Bley's compositions with a quintet that included Eddie Gomez at Mirasound Studios, with Alfy Wade as engineer. His group also included Milford Graves, Marshall Allen of the Sun Ra Arkestra, and Dewey Johnson. Today, Allen leads the Sun Ra Arkestra.

The Chicago-born pianist Burton Greene first made his way to NY in 1962, just as the New Music movement was beginning to gain momentum. The following year he and bassist Alan Silva formed the Free Form Improvisation Ensemble (considered to be the first spontaneous composition group). This historic live recording was originally released on ESP-Disk in 1967. Get Back. 2007.

Credits
Artwork By [Calligraphy Design] – Barbara Wampole
Artwork By [Design] – Rafael*, Zusaan*
Composed By, Performer – Donald Rafael Garrett*, Zusaan Fasteau Garrett*
Engineer – Scott Trusty
Notes
Inspiration exploding from mysterious soft depths of spirit convex convolutions of soul illuminated by brightness and long clear vision warm seers exuding life rich with wide experience gentle with wise unbitterness, transcending the inevitable sorrow of today and tommorow, in ineffable beauty yearning in the cosmic sea, freedom transpiring in sacred humaness.