Albert Ayler: The Last Album in Two Parts (2/2)

It’s certainly not in bop territory and as Ayler attempts to get free from whatever he felt weighing him down on earth and in his music, it’s important to note that this effort remains far beyond most players – then and now. “All Love” isn’t a monumental achievement for Ayler, but it would have been for some one else.

 
4. Toiling: That electric guitar makes its return here as does the more overt blues influence. The track almost swings – but in a drunken, staggering manner. In a way “Toiling” and its inclusion of electric guitar foreshadows Bill Frisell’s work from a few years on. There isn’t a hint of country here, but the intonation utilized with that six string is ample connection to the future. And while the Seattle based guitarist no doubt took a listen, a New York group that included John Lurie early on most likely cribbed a few notes from this particular track. The Lounge Lizards aren’t the most even keeled group, but its swagger unquestionably is tied to Ayler’s work.


5. Desert Blood: Despite its odd title, this track isn’t all menacing – and in fact works much in the same way as some combination of “Again Comes the Rising of the Sun” and “All Love.” In that confluence isn’t some higher ground, but instead a just a mashing together of Aylers disparate ideas. This time, instead of making use of some guest vocalist, Ayler himself gets behind the microphone as he croons – unsteadily – about the disapora, human relations and a spate of other concepts tied to peace loving latter day free jazz players. What this track – and the entirety of the disc – lacks is some overt Afrocentric lyrics. Of course, since Ayler’s mention of ‘brotherhood’ can be interpreted in any number of ways, it’s all up for debate. But what’s more likely is that the sax player felt the need to ramble on about the transgression’s of man and make mention of biblical characters.


6. Birth of Mirth: To close out the disc, Ayler begins this track with some relatively staid soloing only backed with slight drum accompaniment prior to that modal piano kicking up again. It’s not all twinkling keys and lovely sentiments, but the band leader is able to keep it all relatively light – for a while at least. As the song progresses, Ayler’s work gets exponentially more knotty until finally, that sax is whirring from sound to sound without any semblance of normalcy. It’s Ayler getting talkative. But listeners should note that the final song of this disc relates to new ideas. And while that’s as endearing as those other titles tied to love, folks should wonder what Ayler aimed to achieve beyond this.  

Unquestionably, The Last Album, isn’t the best place for new Ayler initiates to begin. It is, however, an indispensible portion of the Clevelander’s legacy. No one’s going to make the mistake of heralding this particular disc as his career ending pinnacle, but there’re enough entertaining moments to dissect as to keep most folks enrapt in the myth that Ayler was able to craft during a short career.