Albert Ayler - Witches and Devils (1964) [vinyl>flac]

Review by Barry McRae, Jazz Journal, July, 1972:
Some records are recommended because they are historically significant, others because they are just downright enjoyable. This album has the advantage of being both. Ayler is one of the really important players and this was the first record to find him in the company of men of equal stature. Murray makes a really telling contribution, with a jagged line that manages to achieve the flowing quality normally associated with more legato drummers. The brilliant Grimes is on all but one track and he contributes his normal creative figures even when sharing the bass duties with Henderson. Howard is from Ayler's hometown, Cleveland, Ohio and they had worked together there from some time before this date and, although melodically less ambitious than Ayler, he plays well.
Ayler's work needs little introduction at this stage. Here he makes use of his usual exaggerated vibrato, plays with great relaxation and offers impressive inventive powers. His solos are developed from a thematic starting point and gradually developed rather than reconstructed. This is particularly true of Holy, Holy, recorded elsewhere as The Wizard, where he uses his own composition as a genuine inspiration. On Witches we are more conscious of his exploitation of tonal variation and he pays considerable attention to variations of timbre, while Saints shows his mastery of slow material. Spirits is not the tune of the same title found on Spiritual Unity, but showcases another talent of Ayler's, as he displays superb instrumental control while moving into the upper register without a hint of tenseness.
Ayler uses freedom only as much as it suited his style. On this record he does not move too far out and there are few moments when the original melodic idea is jettisoned. There is a shapeliness in his phrasing and logicality in his improvisations that give his work meaning as well as depth and this, allied to the emotional quality of his music, ensures an album that offers the best aspects of contemporary jazz.

I purchased this back in '79 for £0.50, without sleeve. I played it to a friend of mine, who covered her ears and left the room! She described it as akin to the sound of a fly trapped in a bottle. A different view from Mr McRae's and also of Max Harrison (an article included in the post), but Ayler tends to have that 'love him or hate him' impact. This is the only Ayler record I own, but it's one I shall always keep.

(a) Witches And Devils
(b) Spirits
(c) Holy Holy
(b) Saints

(a) Norman Howard (tpt): Albert Ayler (ten): Henry Grimes, Earle Henderson (bs); Sonny Murray (dm).
(b) as (a) but omit Henderson.
(c) as (a) but omit Grimes. NYC, 24/2/1964