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My Name Is Albert Ayler


Swing Low Sweet Spiritual


Spiritual Unity

New York Eye And Ear Control

The Copenhagen Tapes


The Hilversum Session


Spirits Rejoice

Sonny’s Time Now

La Cave Live

At Slug’s Saloon

Live In Europe 1964-66

Stockholm, Berlin 1966

Lorrach/Paris 1966

Lost Performances 1966

In Greenwich Village

Love Cry

New Grass

Music Is The Healing Force Of The Universe

The Last Album

Live On The Riviera

Nuits De La Fondation Maeght


Holy Ghost


Complete List

Unreleased Recordings


Don Ayler Discography

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Unreleased Recordings



Ornette Coleman, jam session with Albert Ayler

According to the Jeff Schwartz biography: “Two jam sessions including Ayler and Coleman exist on private tapes, probably in Coleman's possession. The first features Albert on his usual tenor sax, Fred Lyman on banjo, an unknown bassist, and Ornette playing trumpet and violin, his first known performance on these instruments.”

Apartment of Fred Lyman, New York, early December 1963.
Ornette Coleman (t), Norman Butler (as, cello), Charles Tyler (C-melody sax), Albert Ayler (ts), Fred Lyman (banjo), Errol Henderson (b).
Unknown titles/improvisations.


John Coltrane

Philharmonic Hall, Lincoln Center, NYC, 19th February 1966.
Don Ayler (t), Carlos Ward (as), Albert Ayler (ts), John Coltrane (ss,ts,perc), Pharoah Sanders (ts, perc), Alice Coltrane (p), Jimmy Garrison (b), Rashied Ali, J.C. Moses (d).
‘My Favorite Things’ (35-40 mins.)

Further information about the concert has been supplied by David Wild. Dan Morgenstern did a 'fairly unfriendly review' for Downbeat (April 7 '66): "... Lambert announced Coltrane's group. Bassist Garrison, and drummers Ali and Moses caused no great surprise, although the group's new pianist did. But that was as nothing compared to what was still to come: Sanders, the Ayler brothers and, a bit later, altoist Ward ... Coltrane, appearing relaxed and happy, gave his minions time to group themselves on stage while Garrison played nimble, flamenco-like solo bass. Coltrane then introduced My Favorite Things on soprano. A few restrained choruses was to be the sole reference to this point of departure during the following 35 minutes ..." The review lists the sequence as Coltrane, Sanders, Albert Ayler, Don Ayler, and Carlos Ward, a duet between the Aylers, chanting from Coltrane, and a closing solo by Coltrane. Coda also reviewed the concert (April/May '66). John Norris did a more balanced review, and he mentions the set as lasting 40 minutes. "The music began with a long, Spanish tinged bass solo from Jimmy Garrison before the music exploded with Coltrane's ‘My Favorite Things’. “

As for the recording, David wrote as follows: "I can't offer anything additional about the recording of the concert. I suspect there is one, but I don't know that for certain. By 1966 Coltrane was recording a lot of his own performances, separately from Impulse--the music from California (Live in Seattle, the Kulu Se Mama session) was recorded that way. The Olatunji concert from '67 which will be out in September (2001) was similarly recorded (by Bernard Drayton) at Coltrane's request. Ravi Coltrane has been going through tapes sporadically at the Coltrane home, and some stuff has surfaced. But I haven't heard about the Ayler set."


Berlin, 1966

Berlin Jazz Festival, Berliner Philharmonie, Berlin, Germany, November 3rd, 1966.
Donald Ayler (t), Albert Ayler (ts), Michel Samson (vln), Bill Folwell (b), Beaver Harris (d)
TV broadcast.
Ayler’s complete 30 minute set has survived on video but has never been released commercially, However, a brief excerpt is included in kasper Collin’s film, My Name Is Albert Ayler. The soundtrack is included on Holy Ghost and Stockholm, Berlin 1966.


Copenhagen, 1966:

Tivoli Koncertsal, Copenhagen, Denmark, November 11th, 1966
Donald Ayler (t), Albert Ayler (ts), Michel Samson (vln), Bill Folwell (b), Beaver Harris (d)
Radio broadcast.
Available on this site:
Introduction (1:05)
Truth Is Marching In (9:47)
Holy Ghost/unknown title/Light In Darkness (9:06)
Our Prayer (3:59)
Unknown Title (incomplete) (3:43)


Paris, 1966

Salle Pleyel, Paris, France, November 13th, 1966
Donald Ayler (t), Albert Ayler (ts), Michel Samson (vln), Bill Folwell (b), Beaver Harris (d)
3 titles were issued on Lorrach/Paris 1966 but there is a 44 minute tape in circulation of this concert. However, this only contains one new track, a 5 minute version of ‘Truth Is Marching In’. The breakdown of the tape is as follows:
‘Truth Is Marching In’ (5:00), ‘Ghosts’ (8:00), ‘Infinite Spirit’ (11:00), ‘All-Our Prayer-Holy Family’ (5:00), ‘Ghosts’ (repeat of earlier track), ‘Ghosts’ (another repeat of the same track).


Bordeaux, 1966

1966 (14/11) Sigma Festival, Bordeaux, France, November 14th, 1966
Donald Ayler (t), Albert Ayler (ts), Michel Samson (vln), Bill Folwell (b), Beaver Harris (d)
TV broadcast.
A six minute performance by the Ayler group was included in a TV programme ("Carte blanche à: Nicolas Schöffer”) about the festival which was broadcast in France on 28th November, 1966. The programme has survived and is in the archives of the I.N.A. in Paris. A brief (90 second) clip of the Ayler footage was used in a programme (‘De Canvasconnectie’) about the American folk singer, Sam Amidon, which was broadcast in Belgium on 30th March, 2014 (with repeats on 31st March and 5th April).


Fondation Maeght

Albert Ayler played two concerts at St. Paul de Vence, France on the 25th and 27th of July 1970. Both concerts were recorded and selections from the second concert were released as the double album, Albert Ayler - Nuits de la Fondation Maeght on the Shandar label. Selections from the first concert on July 25th were given a limited release on the Italian Blu Jazz ‘label’ under the title Albert Ayler Quintet 1970 - Live (actually it’s a quartet since pianist Call Cobbs did not play at the first concert) and in February 2005 the recording was given its first legitimate release on the ESP label with the title Live on the Riviera.

There is also one title from the July 27th concert not included on the Shandar release:
Fondation Maeght, St. Paul de Vence, France, July 27th, 1970
Albert Ayler (ts), Call Cobbs (p), Steve Tintweiss (b), Allen Blairman (d), Mary Maria (voc)
‘A Man Is Like A Tree’ (6:43)

The extra material from the official Shandar recording has never surfaced and is presumed lost. According to the article about Shandar in the January 2003 issue of The Wire: “Shandar’s office was located at 40 Rue Mazarine, a small gallery space in Paris where Caux and Darcy worked together on a catalogue of immediate and future releases. ... One day in 1979 the cellar underneath the gallery in Rue Mazarine flooded, a catastrophe that destroyed most of the label’s vinyl stock and several master tapes. The gallery folded soon after and Shandar was no more.”

The concerts were also broadcast on French radio and the tapes of the complete concerts have survived and are in the archives of the I.N.A. in Paris. The tape of the July 25th concert has a running time of 1:57:29, the tape of the July 27th concert, 2:19:51. In April 2022 the radio tapes were released for the first time on Elemental Music’s Revelations: The Complete ORTF 1970 Fondation Maeght Recordings in box sets of 5 LPs and 4CDs.


The Fondation Maeght Film

The second concert at the Fondation Maeght was also filmed and a 51 minute documentary made, Albert Ayler: Le Dernier Concert. The film was produced by Jean-Michel Meurice, is in colour, and consists of excerpts from the performance intercut with an interview with Albert Ayler conducted by Daniel Caux. The film has been shown at various jazz and film festivals but has never been televised or made available in any commercial form. The film is kept in the archives of the Fondation Maeght in St. Paul-de-Vence. Stills from the film are available here.


Final Recordings

Remco Takken forwarded me the following from Bernard Stollman (founder of ESP Records), referring to his final meeting with Albert Ayler:

“Two weeks before he died, Albert visited me and played a cassette for me of gospel songs that he had taken way out to the point that they were only faintly recognizable, profoundly original and unlike anything I had ever heard him do. I do not know what happened to the tapes. Bernard”


Next: Albert Ayler Sessionography


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