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。

阿曼多·安東尼·奇克·柯瑞亞 是美國的爵士鋼琴家、鍵盤手以及作曲家。 他作的許多曲子都被視為是爵士的標準曲目。在1960年是邁爾斯戴維斯樂隊的一份子，他同時參與了融合爵士的建立與茁壯。在1970年代他組成了回歸永恆樂團。

Bass - Bill Folwell , Stafford James
Chanter, Saxophone [Tenor], Vocals - Albert Ayler
Drums - Muhammad Ali
Guitar - Henry Vestine
Piano - Bobby Few
Vocals - Mary Maria
Recorded at Plaza Sound Studios, New York City, August 26, 27, 28 and 29, 1969. (Throughout the album Bill Folwell's bass is heard on the left channel, Stafford James' on the right.)

Ascension is the single recording that placed John Coltrane firmly into the avant-garde. Whereas, prior to 1965, Coltrane could be heard playing in an avant vein with stretched out solos, atonality, and a seemingly free design to the beat, Ascension throws most rules right out the window with complete freedom from the groove and strikingly abrasive sheets of horn interplay. Recorded with three tenors (Trane, Pharoah Sanders, Archie Shepp), two altos (Marion Brown, John Tchicai), two trumpet players (Freddie Hubbard, Dewey Johnson), two bassists (Art Davis, Jimmy Garrison), the lone McCoy Tyneron piano, and Elvin Joneson the drums, this large group is both relentless and soulful simultaneously. While there are segments where the ensemble plays discordant and abrasive skronks, these are usually segues into intriguing blues-based solos from each member. The comparison that is immediately realized is Ornette Coleman's Free Jazzof five years previous. However, it should be known that Ascension certainly carries it own weight, and in a strange sense makes Coleman's foray a passive adventure -- mostly due to an updated sonic quality (à la Bob Thiele) and also Trane's greater sense of passionate spiritualism. Timed at around forty minutes, this can be a difficult listen at first, but with a patient ear and an appreciation for the finer things in life, the reward is a greater understanding of the personal path that the artist was on at that particular time in his development. Coltrane was always on an unceasing mission for personal expansion through the mouthpiece of his horn, but by the time of this recording he had begun to reach the level of "elder statesman" and began to find other voices (Shepp, Sanders, and Marion Brown) to propel and expand his sounds and emotions. Therefore, Ascension reflects more of an event rather than just a jazz record and should be sought out by either experienced jazz appreciators or other open minded listeners, but not by unsuspecting bystanders.