Sunday, February 24, 2019

Eugene Chadbourne, Charles Tyler - 1977 - Ghost Legends

Eugene Chadbourne, Charles Tyler
1977
Ghost Legends


01. In Between Comme C And Comme Saw 0:30
02. Ghost Legends 0:15
03. Usually Not The Case 16:10
04. Memories Of The Schonee 11:37
05. Amber (Inc.) 1:3
06. Legend of the Lawmen 7:57
07. Improvisation 12:06
08. Ghosts 8:57

Acoustic Guitar [12 String], Electric Guitar [6 String] – Eugene Chadbourne
Baritone Saxophone, Clarinet – Charles Tyler
Recorded By – John Zorn

Recorded live at The Brook, NYC on Sept. 17, 1977


Ghost Legends was recorded live in New York on September 17, 1977. It features Eugene Chadbourne on acoustic 12-string and electric six-string guitars, and Charles Tyler on (mostly) baritone saxophone and clarinet. Sound quality is muffled but otherwise good. This is the complete tape of the performance, including "Amber," during which the tape ran out (after only a minute). The title refers to Albert Ayler whose classic tune "Ghosts" closes the set. This duo worked pretty well, better than Chadbourne's association with Frank Lowe. Tyler's free jazz background and tendency to flirt with contemporary music completes the guitarist's Derek Bailey-like inclinations. The saxophonist's "Legend of the Lawmen" and Chadbourne's "In Between Comme C and Comme Saw" stand worlds apart, and yet their coming together sounds perfectly normal. Tyler blows a beautiful clarinet solo on "Improvisation," one of the album's highlights; his colleague remains rather discreet throughout the show, leaving a lot of breathing room. "Usually Not the Case" describes pretty well how the listener feels hearing this delicate soft-spoken piece where the guitarist shows an impressive level of restraint recalling Roger Smith during his days with the Spontaneous Music Ensemble. All in all a very nice early session, Ghost Legends was reissued on CD-R by Chadbourne's House of Chadula label.

Charles Tyler - 1980 - Sixty Minute Man

Charles Tyler 
1980 
Sixty Minute Man



01. The Mid-Western Difter 14:50
02. From Saint Louis To Kansas City By Way Of Chicago 4:04
03. A Tale Of Bari Red 9:50
04. Sixty Minute Man 9:55

recorded in 1979

Weasel Walter drum overdub recorded on may 1, 2007
   
Charles Tyler - saxophones

with

Weasel Walter - drums


Charles Tyler spent the mid-'60s playing for the legendary Albert Ayler, with whom he shares his burly tone and wide vibrato. Tyler's 1980 LP Sixty Minute Man is a reasonably successful attempt to make his gutsy, blues-soaked belting work in a solo setting. It isn't nearly as fiery and invigorating as his work with Ayler, but that has more to do with the fact that there are fewer musicians to load the mix with ideas than with any major deficiency in Tyler's playing. He's at his best on the lengthy opening cut, "The Mid-Western Drifter," which begins with moving, lugubrious alto sax lines and becomes more frenzied as the piece progresses. The second half of the album sags a bit when Tyler switches instruments: He's best known for playing baritone, and he pulls off some pleasantly hypnotic circular breathing tricks near the end of "A Tale of Bari Red," but the piece mostly proves that his ideas didn't flow as freely on baritone as they did on alto. Still, the bulk of this release is exciting enough if you aren't expecting an Ayler-esque blowout; Sixty Minute Man may be more resigned than most free jazz, but it's nice to hear Tyler's rich, heavy tone in a more intimate setting.

Charles Tyler - 1980 - Folk & Mystery Stories

Charles Tyler
1980
Folk & Mystery Stories


01. Uptown Manhattan Puerto Rico 9:05
02. Folk Life 11:29
03. Friday The Thirteenth 7:39
04. The Warlock Mystery Drama 15:40

Bass – John Ore, Wilbur Morris
Cello – David Baker
Drums – Steve Reid
French Horn – Richard Dunbar
Saxophone – Charles Tyler

Recorded at Blue Rock Studio, New York, April 13, 1980.


A later session from Tyler, employing an interesting line up, adding the chamber instruments French horn and cello to a quartet with two basses in the rhythm section. As with some of Tyler's other work from around this period, the music combines through composed sections with freer blowing, with Tyler's post-Ornette sound on the alto and bari sounding great throughout.

Charles Tyler - 1978 - Saga Of The Outlaws

Charles Tyler
1978
Saga Of The Outlaws


01. Chapter One
02. Chapter Two

Bass – John Ore, Ronnie Boykins
Drums – Steve Reid
Saxophone– Charles Tyler
Trumpet – Earl Cross

A polyphonic sonic drama
Performed by the Charles Tyler Ensemble
A tale of the old & new West


Saga of the Outlaws is just about the most fitting title one could expect for saxophonist Charles Tyler's fifth LP under his own name. Tyler was more than an outlaw (or a gladiator, to paraphrase Stanley Crouch), but unfortunately his name crops up rather rarely in discussions of jazz's historical vanguard. He traversed the Midwest, from Kentucky to Indiana to Cleveland, Ohio where he met saxophonist Albert Ayler in the late 1950s. He joined the Ayler brothers in New York in the 1960s and in their groups he gained a degree of notoriety. Tyler figures prominently on Albert Ayler's Bells (ESP, 1965), his feral wide-vibrato alto offering a more unhinged (and as LeRoi Jones would say "bloodthirsty") take on scorched-earth saxophone playing, a worrying bray that became a hallmark of the "Cleveland school," but in Tyler's hands it's significantly more severe.

But Tyler's recorded history is rather scattered, and it's a shame that he didn't make more of a name for himself considering his discographical pedigree. He waxed two dates for ESP under his own name in 1966 and 1968 (the latter while studying at the University of Indiana), as well as a pair of rare sides for his own Ak-Ba label in addition to this Nessa session. Recordings as a leader also appear on Adelphi (a solo baritone date entitled Sixty Minute Man) and European labels like Silkheart, Storyville and Sonet.

Waxed during the 1976 Wildflowers sessions, an acclaimed five-record set of "samples" from the New York loft jazz scene of the mid-1970s, Tyler's 36 minute Saga didn't really lend itself to excerpting. Luckily, Chuck Nessa stepped in to shepherd its release on his Nessa imprint. This is its first issue on compact disc. Tyler is joined here by regular foils, trumpeter Earl Cross, drummer Steve Reid and bassists Ronnie Boykins and John Ore. Reid, Boykins and Cross appeared on Tyler's excellent first Ak-Ba release, Voyage from Jericho, in 1975.

Ostensibly, the group and performance concept (subtitled "A Polyphonic Tale of the Old and New West") is that of a double trio sharing a drummer. Ore and Boykins tug at one another, but each supports a horn player, and the interplay is at first an outgrowth of superimposition. After a wide, keening coda from alto and trumpet reminiscent of mournful European or early American folk melodies, basses enter with alternating lopes, throaty stutter and ornate wraparounds as Reid inverts and double-times backbeats and breaks. Tyler's opening solo is hard-edged squall, flat-note shims with demarked length piling onto each other in speed-aided blur. Occasionally a bit of honky-tonk blues a la Ornette Coleman will creep out only to subsume itself into the white-hot sonic quilt. Perhaps too much could be made of Tyler's debt to the Aylers' approach, but it's hard not to equate the two, as the extraordinary speed of his improvisations coupled with an extremely wide and gut-wrenching bottom is pure Cuyahoga freedom. Tyler often plays around with that influence, referencing the "Witches and Devils" dirge before diving headlong into a Latin-Berber collision straight out of Science Fiction.

The rhythm section is superb, with Reid a tremendously telepathic player whose swing goes beyond jazz into North African rhythms and a decidedly modern funk sensibility (his recordings on the Mustevic label are sought after by DJs). Coupling him with the rock-solid anchors of Boykins and Ore, who guided the music of Sun Ra and Thelonious Monk respectively, allows for a formidable and kaleidoscopic approach to rhythm that is nevertheless locked in forward motion. Trumpeter Earl Cross was very active in New York during the 1970s with Tyler, as well as saxophonists Noah Howard and Frank Lowe. Here, his skittering lilt and Moorish sensibility fill the ensemble's wide rhythmic and harmonic area with dusky daubs, a steely-voiced hummingbird to the leader's garish and joyous calls.

Saga of the Outlaws includes an extraordinary range of modern music in a simultaneous display of emotions and references. It's only too bad that Tyler himself is no longer with us to share in the rediscovery of his music.

Charles Tyler - 1977 - Live In Europe

Charles Tyler 
1977
Live In Europe


01.  Fall's Mystery
02. Folly
03. Voyage From Jericho

Charles Tyler, alto and baritone saxophone
Ronnie Boykins, bass
Steve Reid, drums
Melvin Smith, guitar

Reorded live at the Umeå Jazz Festival, Sweden, 24-26 October 1975.


A pretty darn nice session, recorded live at the Umea Jazz Festival in Sweden in 1975. Tyler's group here is a quartet, with Ronnie Boykins, Steve Reid, and Melvin Smith – and the group is working in the mode of modal rhythm with free out soloing that seemed to be a slight New York sub-genre at the time, informed by harmelodic experiments, but imbued with a freer sense of soloing.

Charles Tyler / Ensemble - 1975 - Voyage From Jericho

Charles Tyler / Ensemble
1975
Voyage From Jericho


01. Voyage From Jericho 9:46
02. Return To The East 12:50
03. Just For Two 6:00
04. Children's Music March 5:50
05. Surf Ravin 10:30

Charles Tyler: alto and baritone sax
Ronnie Boykins: bass
Earl Cross: trumpet
Steve Reid: drums
Arthur Blythe: alto sax on 1. and 5.

Recorded July 1974 at Studio ONE, N.Y.


Bari sax player Charles Tyler, one unsung hero of early free jazz generation,met Albert Ayler when them both were just a teens. Tyler moved to New York after Ayler and soon find himself playing in Ayler's band. Tyler recorded "Bells" and "Spirits Rejoice" with Ayler and recorded two albums as leader for legendary ESP (in 1967-68). Than moved to LA for few years where played with Arthur Blythe and David Murray among others. In mid 70s Tyler returned back to New York where he played and occasionally recorded some more albums. Being one of most significant baritonist of his generation (besides of more known Hamiet Bluiett) Tyler never received serious fame or following. In early 80s he toured Europe with Sun Ra Archestra and stayed in Denmark, than relocated to France where passed away in 1992.

"Voyage From Jericho" is Tyler's first in a line of albums, released in mid 70's. Excellent quintet,containing Arthur Blythe on alto, acoustic bassist Ronnie Boykins, trumpeter Earl Cross and drummer Steve Reid plays five free-bop originals, warm, groovy and tuneful. As on some other albums, Tyler successfully mixes Ayler's early jazz roots and free reading with Eric Dolphy's free-bop and Pharoah Sanders spiritual jazz. Quite simple,not overloaded music radiates original beauty and naturalism, both were often missed by later generations of free jazz musicians. 

Charles Tyler - 1967 - Eastern Man Alone

Charles Tyler 
1967
Eastern Man Alone


01. Cha-Lacy's Out East 11:04
02. Man Alone 9:08
03. Le-Roi 11:01
04. Eastern 8:55

Alto Saxophone – Charles Tyler
Bass – Brent McKesson, Kent Brinkley
Cello – Dave Baker

Recorded at Feature's Studio, Indianapolis, January 2, 1967.


This 1967 recording by the avant-garde saxophonist -- his second for ESP-Disk' -- features Tyler on alto sax with accompaniment from David Baker (cello), Brent McKesson (bass) and Kent Brinkley (bass). The album starts out with 'Cha-Lacy's Out East' which revisits a theme from his first album as leader, (ESP 1029 Charles Tyler Ensemble). The proceedings are heady free-form avant-jazz, reaching into cosmic realms with it's string-heavy backing providing soaring atmospheres. Tyler cut legendary records as a sideman to Albert Ayler (ESP 1010 Bells, ESP 1020 Spirits Rejoice), but as a leader, proves to be one of the most advanced, challenging, and exploratory players of the late '60s avant-garde.

That Charles Tyler comes out of the school of Albert Ayler is a well-known fact. Listening to Tyler in his quartet on Eastern Man Alone, recorded in January, 1967, his second for ESP, is delving into history. His music is seminal, even more so it seems than either Coltrane’s and Coleman’s was, because it is downright raw. Besides the uniqueness of the sound, additionally innovative in this recording is the prevalence of the strings: David Baker plays cello; Kent Brinkley and Kent McKesson, bass. There are no drums. Tyler is the sole horn player on alto.

Tyler’s alto is altogether searing, staying within a range that does not cover too many extremes. Tyler carves out the shape of the rhythmic choruses, which repeat and fall apart in patterns, eventually to be rediscovered in refreshed form. From the very upbeat first cut, “Cha-Lacy’s Out East,” the strings synchronize with Tyler so that it seems as if the horns have multiplied. Tyler’s tone is not pure; it is reedy and describes so well the era of Ayler when improvisation let loose only to circle round in simply structured choruses to build the body of composition. Both with pizzicato and bowing, the strings seem to monopolize the music in all but the first number, after Tyler lays the groundwork for where the basses can and do go. Only in the last “Eastern,” does Tyler, as does Baker and the other bassist, fold into what the arco bass starts.

Cellist Baker wrote “Le-Roi.” All the instruments are synchronized at the outset; the ascent into the break-out tune loops gradually until one bass finally ushers Tyler to take the reins. The strings have arco drive and a slippery grind. A singular, but not foreign, high-pitched tremolo on the cello stops the music with ethereal strangeness.

Tyler's second ESP-Disk album "Eastern Man Alone" was recorded in 1967. This record should have been called The Psychedelic Sounds Of Charles Tyler because that's just what it is, high energy trip music that will space you right out like it does for me and I haven't used drugs in over 20 years.

Charles Tyler Ensemble - 1966 - Charles Tyler Ensemble

Charles Tyler Ensemble
1966
Charles Tyler Ensemble


01. Strange Uhuru
02. Lacy's Out East
03. Three Spirits
04. Black Mysticism

Bass – Henry Grimes
Cello – Joe Friedman
Alto Saxophone – Charles Tyler
Drums – Ronald Jackson
Vibraphone – Charles Moffet


One of the true firebrands of early creative improvised music, alto saxophonist Charles Tyler has always been revered -- especially by Europeans -- as a forefather of the free jazz movement alongside John Coltrane, Ornette Coleman, and Albert Ayler. Also titled Tyler's "First Album," Charles Tyler Ensemble has the same four tracks as the original album release, totaling about 34 minutes of music with no alternate or bonus cuts. This mid-'60s recording, one of two he did for ESP, has been identified by many as a cornerstone statement of the movement, and its issuance on CD does nothing to dissuade the listener of that notion. Regardless of genre, this is a very stimulating band that buoys Tyler's freedom statements, featuring a young pre-Ornette Ronald Shannon Jackson on drums, the emancipated-from-mainstream-jazz bassist Henry Grimes, and obscure cellist Joel Friedman, who worked briefly with Ayler. Drummer Charles Moffett -- also closely associated with Coleman in this time period -- plays the bright, so-called "orchestra vibes" on one track. With this vivacious music that stretches time parameters and harmonic envelopes, Tyler and his crew bend whatever malleable shapes they can, while burning down the traditional jazz house and still paying homage to bebop. It's intriguing to hear Tyler's expressive and robust color palette, using overtones juxtaposed in contrast with Moffett's tinkling vibes, a fickle sonance during "Strange Uhuru" as the bowed string players surround the sound in hushed tones. Jackson's bop-like rhythms permeate "Lacy's Out East" in a rambling deep blues that reflects his peer group of saxophonists, including Steve Lacy. "Three Spirits" is a song turned inside out, sped up and on fire with incendiary phrases in a fast free bop with little regard for subtleties. Tyler employs a spiky, tongued technique with harder accents of reference during "Black Mysticism," unafraid to wail as Jackson's rolling-thunder drumming makes this sound like a duet, though Grimes is present in rhythmic passion, more so during his and Friedman's bowed solos. This is certainly a definitive recording, a breakthrough for Tyler individually, but also one that sets the bar high for '70s free jazz to establish itself as a powerful force some ten years after it was brought into being, amidst naïve skepticism and misunderstanding. Bravo to Tyler for staying the course, starting with this bold and innovative album.

Charles Tyler, from Albert Ayler's band, makes a startling statement on his debut solo record. His group, featuring an unusual instrumentation of cello, bass, drums, orchestra vibes, and saxophone, plays through his original compositions and showcases some heated solos. 
Although primarily known as a baritone sax player, Charles Tyler is featured on alto sax yet his sound and concept are fully evident on this record. 

Charles Tyler Ensemble possesses a profound quality. Unlike many records of the mid-1960s, it burns with a quiet blue flame, eschewing the intellectual posturing that characterized much new music in the avant-garde era. Tyler, a baritone saxophonist who became an acolyte of Albert Ayler—following him to New York in the early part of the movement—transposes Ayler's famous gravitas to the horn of a higher register, the alto. 

This act alone gives his spare and deeply spiritual compositions more urgency. It is almost as if Tyler has come to feel the mortality of an artist in the grander scheme of things. He successfully creates a narrative soundscape where pure contrasts are highlighted: for instance, Charles Moffett orchestral vibes tinkle off the thunderous grunting of Ronald Shannon Jackson drums and the magnificent Henry Grimes plays staccato and legato passages in the swirling warmth of his bass, leaving room for Joel Friedman's cello to screech in counterpoint. Tyler himself wails and moans and lets slip burnished glissandi with surprising facility. He is vocal, expressive and chatters breathlessly, as if the idea and story of the moment exists only in that moment and must be told before it vanishes forever. And he does so time and time again. 

"Strange Uhuru" is an ironic, dirge-like wake for the freedom of flight, and the inner journey that didn't dig deep enough for the spirit to lift one's wings. "Lacy's Out East" seems to put enlightened thought in perspective, highlighting Steve Lacy and Tyler's own debt to the cradle of all sound—the primal Afro-centric polytonality that was born in the swinging depths of New Orleans. "Three Spirits" speaks of every free spirit that has blazed a trail for acolytes to follow. Hints of Charlie Parker Ornette Coleman and Albert Ayler—along with the chopped musical architecture of Thelonious Monk—fill the air in a cloud of notes and sounds. Grimes and Friedman solo with soaring brilliance—especially Grimes, whose pedal point is spot on. "Black Mysticism" rushes from Tyler's lips like a frenetic, dancing prayer circle. With Friedman bowing to create a swaying movement, Grimes fires rapidly, plucking intensely to feed the alto saxophonist's gathering fervor. The percussionists create polyrhythms underfoot and keep the prayer meeting going. 

Charles Tyler is gut-wrenchingly direct, suppressing the urge to intellectualize contemporary music in this veritable feast of modern sound. But he and his band also argue for the intelligent use of song, showing reverence for music history stretching as far back as the cry of Holy Rollers, bebop and shackled human beings. And they do it with perfect pulse in notime.