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A quick rundown of this product’s key features:
Package Dimensions : 5.55 x 4.97 x 0.54 inches; 2.83 ounces
Manufacturer : Get Back
SPARS Code : DDD
Date First Available : October 8, 2006
Label : Get Back
ASIN : B00004WFGF
Number of discs : 1
Our Top Reviews
Reviewer: Robert Keith Nicolay
Rating: 5.0 out of 5 stars
Title: Five Stars
Review: One of the best Ayler CDS Amazing ensemble interPLAY’;”;, coooolaroonie
Reviewer: Stuart Jefferson
Rating: 4.0 out of 5 stars
Title: New York Eye and Ear Control
Review: One disc,45 min. approximately. Remastered sound. A portion of this music was used for an experimental film in the sixties. Without seeing the film itself,its difficult to determine the music’s effectiveness in that context. What we’re left with is avant-garde music which sounds very much of it’s time and place. New York in the sixties was where a lot of these sounds eminated,and this is no exception.The first track is short(1:05)and serves as an introduction for whats to come. The second track is a bit over twenty minutes,which gives the players time to explore the tension and release,the quiet and harsher passages and the combined sound of their instruments. The final track,also over twenty minutes,is a bit more disjointed sounding(even for this music),with portions holding together over longer stretches of atonal dissonance.All compositions are by Albert Ayler and if you’re familiar with his style of writing,these will come as no surprise. A look at the list of players tells a lot about what to expect-everyone is well-known as an “outside” player. However,Ayler doesn’t play so much as a soloist,more an ensemble player. As with a lot of this music,repeated listenings are rewarded with an understanding and appreciation of totally “free” music. There is a constant intermingling of instruments as they weave in and out,slow down,and then accelerate through the compositions. If you’re appreciation of music runs in this area,this is something you should pick up. Ayler,Cherry,Tchicai,Rudd,Peacock,and the great drummer Sunny Murray have recorded these fine tracks which,at the time,and in the present,should be much more well-known.In this day and age of cookie-cutter,bland music,its nice to see a label like ESP re-release this and other albums in their catalogue,as a presciption for some of what passes for jazz and music in general. This music needs to be heard and paid attention to,if for no other reason than to keep us from sinking under the weight of bland,short attention span listening. Also look for NEW YORK ART QUARTET on ESP RECORDS for more good music of this type.
Reviewer: Jessamine
Rating: 5.0 out of 5 stars
Title: Increasingly enjoyable with repeated listening
Review: “New York Eye and Ear Control” was recorded on July 17th, 1964 by Paul Haines for Michael Snow’s avant-garde film of the same name. The gathering took place only a week after “Spiritual Unity” was recorded, and the same trio is supplemented here by three top-notch and highly creative musicians: Don Cherry, John Tchicai, and Roswell Rudd. The first track, entitled “Don’s Dawn” is only a minute long and features Cherry playing especially smoothly on trumpet with very sparse accompaniment, most prominently Gary Peacock on bass. A lyrical, short piece, it is quite a contrast to the subsequent two tracks, which are each over 20 minutes long and are comprised of mostly unstructured collective improvisation. These two longer tracks ebb and flow in intensity, at times are quite spacious, and for the most part Ayler dominants the proceedings. There are moments when Ayler states what sounds like the fragment or the beginning of a march theme, but each time it is quickly disposed of. The interaction among the musicians is at times awe inspiring, and this is truly a collective effort.The album truly rewards repeated listening. In fact, prior to really digging into this, I would have described the album as unstructured cacophony, with little apparent interaction among the musicians, filing it away with other less-than-successful efforts at collective improvisation. However, upon repeated listening the album has really started to grow on me, and I can’t believe that I overlooked how strikingly successful the group interaction really is and I found myself in awe at how downright amazing these guys really were.
Reviewer: Steve Holtje
Rating: 5.0 out of 5 stars
Title: Must-own
Review: Of all the Albert Ayler albums, this might be the best. Yes, Spiritual Unity will blow your mind, but so will this, and not only is his playing on a slightly higher level, Cherry and Rudd are amazing as well, plus the same great rhythm section of Peacock and Murray as on Spiritual Unity.
Reviewer: M. Pauli
Rating: 5.0 out of 5 stars
Title:
Review: New York Eye and Ear Control heißt der Film von Michael Snow für den dieser Soundtrack zusammengestellt wurde mit einer Creme-de-la-Creme des freien improvisierten Jazz. Sehr guter Sound, tolle Stücke, die wirklich sehr frei rüberkommen und eine Wahnsinns-Band (alleine das Namedropping: Albert Ayler, Don Cherry, Gary Peacock, Sunny Murray. Ayler und Cherry ergänzen sich supergut, dazu kommen noch AltoSax und Trombone – es gibt 2 über 20-minütige Stücke (das Intro zähl ich nicht) und darauf gehts ab nach allen regeln der Improvisation. Sehr gelungen und sehr schön, dass dieses 1964 eingespielte Stück Musik so klangreich rüberkommt!
Reviewer: Richard Leigh
Rating: 5.0 out of 5 stars
Title:
Review: When this record was first issued, I remember rather resenting the dominance of Ayler. With such a great line-up of players, I regretted not being able to hear more of the others. I didn’t know at the time, of course, how few opportunities Ayler would have to record. Hearing it again, I’m now struck by the interplay – my one regret is that there seems to be no more music from this session. I saw the film, once, at the London Film-Makers’ Co-op. As far as I can recall, after all those years, the film began in silence, with a seemingly interminable shot of a rowing-boat bobbing up and down at its mooring. The audience were so bored by this vacuous nonsense that, when Ayler’s playing suddenly erupted, they cheered wildly with relief. I don’t think the film began with the short Don Cherry track, though it was, as I say many years ago. What I read at the time is that Michael Snow had a microphone installed in the loft where the music was made, taped (presumably) as much as he needed, then stopped recording. The film was, I gather, made afterwards.Incidentally, anyone who thinks of the free jazz movement as unvarying noise should compare this record with Shepp’s “Four for Trane” – exactly the same instrumentation, and even with two musicians in common (Rudd and Tchicai).- but completely different and also great, in its way.
Reviewer: M. Bohn
Rating: 4.0 out of 5 stars
Title:
Review: Ich wußte, was ich mir hier kaufe. Freejazz für Harte. Meine Frau verließ das Zimmer beim Einlegen der Scheibe und hat dies nicht bereut. Ich hätte es bereut. Freejazz und das in dieser Machart hört man nicht jeden Tag. Aber ich mag die Scheibe.
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