2025JulySept

Thanks to Richard Koloda (author of Holy Ghost: The Life And Death Of Free Jazz Pioneer Albert Ayler) for sending this collection of random Ayler cuttings from The Cleveland Press. Some of the relevant bits are quite small, so I’ve extracted those and if you want to see them in context just give them a click.

The Cleveland Press (20 July, 1936 - p.23)

(Birth notice for Albert)


	The Cleveland Press (4 August, 1953 - p.27) Golf.



	The Cleveland Press (3 June, 1955 - p.43) Golf 2.


	The Cleveland Press (12 November, 1954 - p.41) Don’s penpal.

The Cleveland Press (9 September, 1958 - p.20)

Don - baseball.

The Cleveland Press (23 September, 1958 - p.3)

Albert joins the army

The Cleveland Press (15 April, 1966 - p.15)

La Cave mention

The Cleveland Press (16 April, 1966 - p.19)

La Cave advert

The Cleveland Press (14 January, 1972 - p.13)

‘Cleveland needs Few admirers’ by Bernard Lairet.

The Cleveland Press (6 September, 1979 - p.59)

Donald Ayler Quintet at Peabody’s Cafe.

The Cleveland Press (8 November, 1979 - p.66)

Donald Ayler Sextet at Peabody’s Cafe.

Albert Ayler Award 2025

Steve Tintweiss writes:

“This year’s recipient of the annual Albert Ayler Award at Queens College Aaron Copland School of Music was presented to saxophonist Jiayu Wang at the 2025 graduation ceremonies. I am sponsor of this ongoing honor in recognition of an outstanding Master of Music in Jazz Studies graduating instrumentalist or composer as selected by a faculty committee.”

Film News

Always like writing that, although it’s mostly just youtube stuff, not all of it specifically Ayler-related.

1. There is a new film about Improvised Music, entitled MAËLSTROM for improvisers. I would have added the trailer to this site, but something popped up saying it had to be watched on youtube, so that’s where the link will take you.

2. The second part of the Neil Turner documentary, Jazz and the Avant Garde: The Free Jazz Innovators is now on youtube. This features sections on Cecil Taylor, Ornette Coleman and Albert Ayler. The Ayler section starts around the 59 minute mark and runs for 34 minutes till the end of the film. There’s nothing new in there, and there are mistakes in the chronology of events and omissions in the story, but it’s o.k. It’s mostly photos and still images with either Albert speaking (‘My Name ...’, interviews etc.) or narration, but there is a clip from the Bordeaux concert towards the end.

3. ‘Jazz in the Concert Hall’ is a TV programme broadcast in the U.S. on March 11th, 1964. So, not a film as such, but it is fascinating. Its title on youtube is ‘Leonard Bernstein Meets Eric Dolphy’ which suggests something else - Dolphy is just one of the musicians in the jazz group which plays alongside the New York Philharmonic in Gunther Schuller’s peterandthewolfish ‘Journey Into Jazz’, although its worth waiting for his eventual, brief solo. The other members of the group are Don Ellis (t), Benny Golson (ts), Richard Davis (b) and Joseph Cocuzzo (d). Dolphy and Golson sit out on the other orchestra and jazz group piece, ‘Improvisations for Orchestra and Jazz Soloists’ (hey, that’s catchy) by Larry Austin. And Aaron Copland also appears as the soloist in his own ‘Concerto for Piano and Orchestra’.

4. And, in case I haven’t mentioned it before, there’s much more Dolphy in the feature-length documentary, Eric Dolphy - Last Date..

5. Now I’m just adding random jazz things, but this does look interesting and I haven’t watched it yet, it’s the PBS documentary, Ron Carter: Finding The Right Notes.

6. And to finish off I thought I’d just note that the Kasper Collin film, My Name Is Albert Ayler is currently on youtube.

***

Stuff

This is Dirk Goedeking’s selection for the month. He seems to move in different circles than me, involving fashion items and such.

- two “Love Cry” Shirts for the upcoming summer.

- you can enter the Ayler Orbit at

- the solved question of "Bells" song titles is answered too simply by AI. "Holy Ghost" is clearly separated by applause from "No Name", both aren't mentioned. AI is as intelligent as auto-generated mp3-covers are art.

- Daniel Jenkins put his version of an Ayler photo on canvas (It's the photo Impulse! used for Albert's signature card.)

- Archie Shepp is still recording, e.g. "Souffle #1" with Naissam Jalal. The single was pre-released in March, the album followed in May. Available on youtube and bandcamp.

- Marshall Allen, still smoking, celebrated his 101st birthday.

Finally a headline for "New Grass": "The one album I totally love...and totally not understand. Crazy at its best".

My stuff

About the above, read the comments ... oh I don’t know, what’s the point.

1. Picking up on old people still playing (and smoking - bastud), there are some nice photos of Roscoe Mitchell at the 2025 Vision Festivel.

2. There’s a new book about New York in the 1960s, Everything Is Now:The 1960s New York Avant-Garde—Primal Happenings, Underground Movies, Radical Pop by J. Hoberman. This blurb mentions Ayler, but there was so much else going on then, I doubt whether there’s that much about him in the book.

3. There’s a review by Stuart Broomer on the Free Jazz Collective site about Paul Flaherty’s A Willing Passenger under the title ‘The Free Saxophone and the Hated Music: Die Like a Dog, Live with God, etc.’ Albert is mentioned a lot.

4. Marc Ribot chooses Live At Slugs’ Saloon among his favourite albums at Uncut.

5. Review of Joe McPhee at UK Jazz News and there’s also a video on youtube of a concert by McPhee’s group, Monster, at Pfarre St. Franziskus, Wels, Austria, on June 1st.

6. People talking about Albert Ayler:

a. Three blokes, two with hats, talking about Spiritual Unity, at length.

b. The Viagra Boys (a popular beat combo from Sweden) discuss the records they have bought in a large record shop in Hollywood. Among them at the 12 minute mark, is Ghosts (aka Vibrations).

What’s New April to June 2025 has been sent to the vaults.

***

August 1 2025

All Change At Hat Hut

‘Hat Hut Records – A New Beginning After 50 Years

The legendary Swiss music label Hat Hut Records, renowned for its groundbreaking releases in contemporary and improvised music, is entering a new era after half a century.

Musician Marco von Orelli and communications specialist Melanie Imhof have taken the helm and aim to carry forward the remarkable legacy of founder Werner X. Uehlinger, infusing it with fresh ideas and renewed energy. They are joined in this endeavor by Swiss saxophone pioneer Co Streiff, long-time companion of the label Christian C. Dalucas, and Werner X. Uehlinger himself, who will continue to support the label in an advisory role.

“I was immediately captivated by the innovative spirit of the catalogue, combined with WXU’s outstanding contributions to the avant-garde scene since 1975. I was also deeply impressed by the clear, almost austere visual language of the cover art. Each release is a collector’s item,” explains Marco von Orelli. And he adds: “Hat Hut stands for independent music and visionary artists – and that’s how it should stay.”

“The music market is changing rapidly, and the way music is consumed today presents an exciting challenge,” von Orelli continues.

The story of one of the most influential independent labels continues – with respect for the past and a clear vision for the future.’

I wish them all the best, especially Werner X. Uehlinger, who has done an enormous amount of work over the years keeping the memory of Albert Ayler alive. In fact, he is now contemplating a new project, a website in Memory of Albert Ayler. So, good luck with that, too.

Albert’s Birthday

Which I missed, as I always do. This time I was stuck in the 19th century working on my other website and neglected my emails since they hadn’t been invented, so missed all the messages from Steve Tintweiss and Richard Koloda telling me about the WKCR ‘Albert Ayler Birthday Broadcast’:

‘New York, NY — July 7, 2025 — WKCR 89.9FM is excited to announce a 24-hour broadcast on Saturday, July 13, in celebration of the life and music of avant-garde saxophonist Albert Ayler (1936–1970). Known for his radical reimagining of jazz, Ayler forged a deeply spiritual and emotionally raw sound that redefined the genre and remains unmatched to this day.

Born in Cleveland, Ayler was introduced to the saxophone by his father and played his first gigs in church. As a teenager, he joined Lloyd Pearson and the Counts of Rhythm and caught the attention of blues great Little Walter, with whom he toured. His musical evolution continued during his service in the U.S. Army, where he switched to tenor sax, jammed with Stanley Turrentine, and immersed himself in the recordings of John Coltrane, Sonny Rollins, and Ornette Coleman—influences that helped shape his singular voice.

Ayler’s music fused jazz with spirituals, marches, and folk melodies—resulting in ecstatic works like Ghosts, The Hilversum Session, and Truth Is Marching In. His live performances were intense and polarizing, with fervent group improvisations that pushed beyond traditional harmony and melody into realms of pure sound.

Coltrane not only mentored Ayler but requested his group play at his funeral in 1967—an honor Ayler shared with Ornette Coleman. Later that year, Ayler recorded for Impulse! Records, releasing Albert Ayler in Greenwich Village and debuting his piece “For John Coltrane.”

Though his life ended tragically in 1970 at the age of 34, Ayler’s legacy lives on. His bold sound continues to inspire generations of musicians—from jazz and noise to rock and experimental music.

Listeners can tune in to 89.9FM in New York or stream the tribute worldwide at wkcr.org. Follow WKCR on Instagram (@wkcr) and Twitter (@WKCRFM) for updates on this and future broadcasts.’

Also, Dirk Goedeking spotted this, from Tel Aviv:

Levontin’s annual avant-garde marathon is back - Albert Ayler birthday celebration!
free entrance
13 July 2025
Doors - 19:30

Location: Levontin 7, Tel Aviv.

Mutawaf Shaheed in Acoustical Swing

There’s a really interesting essay by Mutawaf Shaheed (Cleveland friend of Albert and Don and bassist on the La Cave sessions) on Pierre Crépon’s ‘Acoustical Swing’. Here’s Pierre’s introduction to the piece:

‘Today’s post is an original, previously unpublished essay by Mutawaf A. Shaheed, who played bass with Albert Ayler, Charles Tyler, and the Black Unity Trio back in 1960s Cleveland. Mutawaf stopped playing in 1970 and has since then become a prolific writer of poetry and prose. But he only rarely addresses his time in the music frontally within his writings. In the piece below, among other things, Mutawaf makes what is in my opinion an important point about the discontinuous nature of the history of free music. There was a break, and it is being forgotten.’

And, related to both items above, Richard Koloda added this note to an email:

"... Anyway, our mutual friend Mutawaf Shaheed visited Albert’s grave on AA’s birthday.”

Talking of String Players

Steve Tintweiss has a new CD coming out - THE PURPLE WHY live in Tompkins Square Park NYC 1967.

And Dirk came across a vinyl reissue of Michel & Rebecca Samson’s The Claviorganum & The Violin.

Le jazz à la Fondation Maeght, une longue tradition depuis les années 60 !

Celebrating 61 years of jazz at the Fondation Maeght, the following is taken from this month’s F.M. email (I’ll just give the English translation):

‘The Fondation Maeght was inaugurated in 1964 with a concert by Ella Fitzgerald and Yves Montand. From 1965 to 1970, the Giacometti Courtyard came alive each summer with the Nuits de la Fondation Maeght — a vibrant laboratory of artistic experimentation.

Conceived as a meeting ground between the visual and performing arts, these evenings brought together some of the most influential figures of contemporary creation. In 1966, Merce Cunningham performed in Europe for the first time to music by John Cage, with sets by Jasper Johns. In 1967, Francis Arnaud staged a reading of René Char’s poetry with the Jacques Guimet theatre company, followed by Joan Brossa in 1968 and Cecil Taylor in 1969. In 1970, artist Hans Walter Müller erected an inflatable experimental theatre to host the legendary Sun Ra Arkestra, whose cosmic, unclassifiable jazz left an indelible mark.

These evenings also featured appearances by Albert Ayler, Frank Stella, Robert Morris, Lukas Foss, and Koering, among others.

Each edition paired a visual artist for the program cover with a writer or poet for the introductory text, embodying the Foundation’s interdisciplinary spirit. Under the artistic direction of Francis Moroglio, the Nuits fostered bold and unexpected encounters between composers, jazz musicians, painters, and poets — a richly inventive universe rooted in exchange, creation, and freedom.’

And here’s a photo of a concert from last year’s 60th anniversary:

Other stuff

Starting with Dirk Goedeking’s selection:

1. - Noël Akchoté released several new videos about Albert’s recordings, e.g. “Who’s Talking Behind Albert Ayler?”.

I never paid attention to this: People are talking (a Crowd in the Control Room, Talk-Back Mic left open?), while Ayler is in studio, recording the piece entitled “Free” (My Name Is Albert, Copenhagen 1963). It starts to be obvious during the Bass solo at 04:02 and lasts for a good minute, if not all the way through probably.

2. - an Instagram post about the "PROPHET OF FREE SOUND" uses the photo of a different person. Or am I wrong? Who's the guy with the white bearded chin?

3. - Unbelievable, but Marshall Allen just released a new album "Live In Philadelphia". His lineup of "Marshall Allen's Ghost Horizons" is first class and up to date with, among others, William Parker, James Brandon Lewis, Chad Taylor, Luke Stewart ...

4. - and another cover of "Bells". Again just because it's beautiful.

Back to me and I thought I should add the picture of the back cover of that release of Bells from the discogs link.

And the description of the front cover reads:

‘Front cover is black with a glued on metallic red/silver coloured 12" circle with text in white and lines in blue.’

Odd.

Also, among Noël Akchoté’s youtube videos is this one, Albert Ayler's (Free) Ghosts Changes #3, which is accompanied by this note:

‘Albert Ayler's (Free) Ghosts Changes #3
If indeed Ayler is looking for something else, with sounds, pitches, intonations and attacks, he also uses materials, phrases, motives, and you can hear plenty if you just try to concentrate on it. Digging deeper in his complete recordings (we have so far), I just wanted to underline, playing free isn't playing against the jazz history, by far! You also find a lot of the tradition (and often of the earliest kind), in his quest. For me Albert Ayler was always (and also), bringing jazz and playing, back to its origins (Buddy Bolden). If you agree to leave all the styles boxes and other filing favorites (its ok to define, but i'm more interested by what is common to all jazz, whole-jazz), you can't deny that for example Ayler's piece “Ghosts”, is just very very near Rollins’s “Saint Thomas” (and even more “Don't Stop the Carnival”). I'm just being factual, maybe because I always listen to both (and in fact, all), linking them, as they really are.
Let's Try!
Noël Akchoté (02 July 2025).’

The last thing I do before finishing the monthly update is check to see if Sonny Rollins has died. I’ve always felt that he, not Coleman nor Coltrane, was the main influence on Ayler’s saxophone style.

So, on to my contributions:

‘Healing Force of the Universe is not a cult.

We’re a record store and an event space located at 1200 E Walnut St Pasadena, California 91106.’

2. An extract from Bill Smith’s Imagine The Sound No. 5 The Book, which I found in Smith’s article, ‘BEAUTY IS A RARE THING: An Overview Of The Development In Improvised Music’ in Coda (No, 237, May/June 1991, pp. 26-27):

   ‘On February 13th, 1966, my wife gave birth to our first child. A daughter named Karla Chan. In celebration of this wondrous occasion I decided to go to New York City.
   I had a friend in New York who worked at ESP Records, a Dutch woman called Elizabeth Van Der Mei. She had an apartment in the east village and downstairs was the Astor Playhouse. In this theatre was to be the first intimate contact with the music of Albert Ayler. A small theatre and all of us just a short distance from the stage. Albert Ayler - Don Ayler - Charles Tyler - Joel Friedman, Ronald (Shannon) Jackson. The volatile energy of the rhythm mass poured all over the audience. Sanctified at last. My experience with Albert Ayler is very limited, as you can imagine, to just two recordings: Ghosts and Spiritual Unity. This is all I know about Albert Ayler at this time. Once you were there and Albert started playing, and you could see him and be part of his spirituality, his music, the power and the purity of his music would simply envelop your senses. Once again that experience of hearing music on record, then hearing it live, being there with the musicians, manifests itself into a new and strong identity. So I became almost instantly enthralled by the music of Albert Ayler. The very next day we visited ESP Records, which I recall as the upper floor of a garage, where even the lathes for cutting the lacquers were in the same room as the recording studio. It was all in one place, that's how I remember ESP Records. I acquired all the records of Albert that existed. What a wonderful introduction to yet one more layer of this music. Many years later it became apparent that the spirituality of Albert Ayler would reach out and eventually influence John Coltrane. On this same visit to New York I spent a large amount of time with Albert. I heard him in concert with John Coltrane at the Lincoln Centre’s Philharmonic Hall, at the Dom with the Tony Scott quartet, and we hung out at Slugs, the lower east side neighbourhood bar. I saw Albert only a few times after that, the occasion in England at the London School of Economics, and then at the Newport Jazz Festival where he was the conclusion of a Friday night performance that had included Count Basie, Thelonious Monk, Dizzy Gillespie, Max Roach, and the Modern Jazz Quartet. And there was Albert, such a visual person with his two tone black and white beard. He was physical like a rhythm and blues player, always moving so much. It all fitted with the energy. I still see him from that night, clear in my mind, even the three piece white suit and two tone shoes.
   The truth is marching in.

(Imagine The Sound No. 5 The Book Photographs and Writing by Bill Smith / Nightwood Editions pp. 63-66)’

And in Coda (September 1975, pp. 2-10) Bill Smith interviews Roscoe Mitchell, and the following extract concerns the latter’s first impressions of Albert Ayler, when they were both in the army.

‘B.S.: Were the army bands that you’re talking about in America?

R.M.: In America, but mostly in Europe. In Europe is when I had the opportunity to meet Albert Ayler, We were playing in Berlin. Every year they’d have this big parade where they’d bring in the bands from all over and we’d all come together to make one big band. When I first heard Albert Ayler I was mostly just bebop. That was basically where I was at. As a matter of fact Braxton and I had a chance to be around this musician Joseph Stevenson who’s a reed player. Very good musician. I think he’s a warrant officer now. And at that particular time he was my idol, because he played the saxophone very fluently and is a very good composer. Very traditionally straight. When I heard Albert Ayler I knew enough about saxophones and everything to know that he was getting a tremendous sound out of the instrument. At first the things he was playing sounded rather harsh to me, but then one day we had a session, and everybody was playing, playing the blues, I think, and Albert Ayler started off playing a couple of choruses of the blues, I mean really straight blues things and it really started getting me listening to him, and then he just went completely into another world after that. I think that kinda opened my ears up to another level. At that particular time I just didn’t jump off and abandon bebop music or anything and try to go over into that area of music. It still took me a couple of years after that.

B.S.: Did Ayler already have a form of music of his own by 1959?

R.M.: Well he was definitely experimenting with the sound areas that he recorded on records later. He was into that type of thing, he didn’t really play conventional music, but the direction that he was trying to go off into at that particular time was definitely not a conventional direction.

B.S.: But he was playing military music?

R.M.: Yeah, with a military band.

B.S.: A lot of his music sounded like that. He must have really dug that parade kind of thing.’

3. Greatest spiritual jazz albums: 15 transcendent masterpieces, ranked

On the BBC Music Magazine’s Classical Music site, Spiritual Unity makes it in at No. 11, Coltrane’s A Love Supreme is top.

4. Tim Witham emailed to let me know about the 2011 documentary on BBC radio, ‘Blue Notes, Cold Nights’, concerning the American jazz musicians who spent some time in Scandinavia. I didn’t remember it at all, but I checked the site and he’d told me about it when it first appeared. We’re like two owd men ... Anyway, thought I might as well mention it again since it’s still up there and worth a listen. In my original post I described it thus:

“There’s quite a bit about Don Cherry, and Albert Ayler gets a mention around the 20 minute mark. While someone recalls witnessing an Ayler performance (and the green leather suit) in the early 60s and Mats Gustafsson adds his comments, ‘Water Music’ (from The Last Album) plays in the background. Which seems an odd choice, but the programme did go out at 11.30 in the morning so maybe they chose something that wouldn’t frighten the horses.”

5. There’s a fascinating interview with Dr. Michael White, clarinetist and New Orleans jazz expert on youtube. Albert gets a brief mention around the 40:30 mark. I checked his entry on wikipedia and it revealed this horrendous tale:

‘White was living in a one-story home in the Gentilly district of New Orleans, near the London Avenue Canal during Hurricane Katrina in 2005. White was a collector of jazz artifacts and local history for 30 years. He owned the original sheet music of "Dead Man Blues" by Jelly Roll Morton, a clarinet mouthpiece by Sidney Bechet, and an estimated 5,000 records and LPs which were lost during the flooding.’

6. And staying with youtube, here’s one for the Ayler soundtracks section.

And finally ...

Talking of soundtracks. No. 1 on the list was In Spite Of The Tennis, The Facts Are There from 1967. Cast your minds back to an item in the April, 2015 update:

‘Pierre also sent me the link to this advert in The Daily Collegian of Pennsylvania State University (27 April, 1967 - p.6). He’d been unable to find any further information about the film and suggested I had a go. I also came up empty. Then Richard Rees Jones sent me the same ad and said he’d got nowhere. So now (echoing Ricardo Montalban) it taxes me. You get so used to finding things on the internet, that when the almighty google comes up with nothing, it niggles. So, here it is. A short film from the 1960s with a soundtrack by “Albert Ayler & Co.” (presumably just a track from one of his LPs) and a title taken from Waiting for Godot - the “Grand Prize - Angola Film Festival” I assume is a joke. Any information about the film or the director, Tyrone Goss, would be greatly appreciated.’

Now I can reveal the mystery has been solved by Richard Koloda, who found the following on youtube.

As suspected, the Ayler reference was merely a joke. Unless ... the title of this video is missing its second part, “The Facts Are There” so perhaps this is merely a hoax, a joke laid upon another joke.

???

September 1 2025

Jazz Hall of Fame

I may have posted this before (it rang bells when Dirk Goedeking sent it to me in his monthly Ayler gleanings) but it is neat, so I don’t mind. Plus, as Dirk notes:

‘Thinman-9 gives “extra points for putting Albert Ayler next to Wynton Marsalis” in the comments.’

Ever since the Ken Burns’ documentary series about jazz, Wynton Marsalis has become Albert’s deadly nemesis.

An Old Favourite

If it’s not ‘The Elizabethan Phrasing of the Late Albert Ayler’, then it must be Stan Douglas’ video installation "Hors-champs". Dirk found it at Waterville's Colby College Museum of Art in Maine.

In case you’ve forgotten, ‘Hors-champs’, created in 1992, features a group (Douglas Ewart (ts), George Lewis (tb), Kent Carter (b) and Oliver Johnson (d)) playing Albert Ayler’s ‘Spirits Rejoice’.

Japan

Dirk muses on the 45” release of Pharoah Sanders’ ‘Japan’:

‘ - Pharoah’s “Japan” single, being one of the few compositions Albert covered in concerts having reached stardom. The Stateside label (known for the green “Heart Love” monster) put a “FREE-JAZZ ou Slow de l’Hiver?...” sticker on the front. Did anybody ever dance a Slow to that?

Bennoit Delaune comments in his “Tauhid” book (google translate): “Moreover, the EMI France label may not have been mistaken: in 1969, in France, a 45 rpm record by Pharoah Sanders was released, including “Japan” (by Tauhid) and “Colors” (from Karma). Someone (a label executive?) had a sticker put on the record at the time that seems incongruous today: “Free Jazz or Slow de l’Hiver?...” This seems to mean that someone at EMI France once considered that “Japan” could be included in jukeboxes and had the potential to get customers in French bars and dance halls dancing...”.’

THE PURPLE WHY live in Tompkins Square Park NYC 1967

I mentioned Steve Tintweiss’ ‘new’ release last month, and here’s a review on the Jazzwise site. Steve also sent a note about DownBeat:

Hello folks. I think the CD got 4-Stars in the Historical recording section.

-Steve

Sheila Jordan (18/11/1928 - 11/8/2025)

Heard the news from a George Scala facebook post and thought I’d mention it, although, as far as I know she had no connection to Albert Ayler. However, Sheila Jordan did have connections to Free Jazz, featuring on Carla Bley’s Escalator Over The Hill and several Roswell Rudd albums, and I have fond memories of her version of ‘You Are My Sunshine’ on George Russell’s The Outer View LP (I had - still have - the Fontana reissue with the Marte Röling cover).

Other stuff

And while we’re on unrelated Ayler items:

1. Pierre Crépon has an article in the latest edition of We Jazz magazine (available from bandcamp) entitled ‘Elaine Brown and the Black Panther Party on Motown’. More details on Pierre’s Acoustical Swing blog.

2. ‘He’s quite an unusual character’ - Sun Ra interview and performance from 1988 - posted by the Jazz Video Guy and spotted by Dave Taylor.

And finally ...

Dirk suggested we repair to the bar and remember Albert Ayler with “A few anthological old Cognacs for this Sunday: A wild aperitif, followed by just two or three (or four) old Cognacs...”.

Perhaps whilst listening to ‘Exrreme Jazz Daddy’ from the 2023 EP Heavenly Jazz Noise Father by gaop and contemplating the following description:

‘The artist drew from a wide array of sources, including pioneers of free jazz like Albert Ayler and Ornette Coleman, spiritual experimentalists of avant-garde jazz like The Art Ensemble of Chicago as well as key figures in the noise and experimental music scenes. The EP isn't just about combining styles; it's an exploration of the "sacred grounds" between them, aiming to water the grass of a new sonic pasture, and sitting down to enjoy the breeze rather than simply layering and piling noises one atop the other.’

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