lost and found.

- May 2 -

rendit: “There was also Sidney Bechet. I was crazy about him. His tone was unbelievable. It helped me a lot to learn that a man could get that kind of tone. It was hypnotizing—the strength of it, the strength of the vibrato. For me, he represented the true spirit, the full force of life, that many of the older musicians had—like in New Orleans jazz—and which many musicians today don’t have. I hope to bring that spirit back into the music we’re playing.” “The thing about New Orleans jazz,” Don broke in, “is the feeling it communicated that something was about to happen, and it was going to be good.” “Yes,” Albert said, “and we’re trying to do for now what people like Louis Armstrong did at the beginning. Their music was a rejoicing. And it was beauty that was going to happen. As it was at the beginning, so will it be at the end.” Nat Hentoff, “Albert Ayler — The Truth Is Marching In,” Downbeat, 1966 (via)

rendit:

“There was also Sidney Bechet. I was crazy about him. His tone was unbelievable. It helped me a lot to learn that a man could get that kind of tone. It was hypnotizing—the strength of it, the strength of the vibrato. For me, he represented the true spirit, the full force of life, that many of the older musicians had—like in New Orleans jazz—and which many musicians today don’t have. I hope to bring that spirit back into the music we’re playing.”

“The thing about New Orleans jazz,” Don broke in, “is the feeling it communicated that something was about to happen, and it was going to be good.”

“Yes,” Albert said, “and we’re trying to do for now what people like Louis Armstrong did at the beginning. Their music was a rejoicing. And it was beauty that was going to happen. As it was at the beginning, so will it be at the end.”

Nat Hentoff, “Albert Ayler — The Truth Is Marching In,” Downbeat, 1966

(via)

(via drum-taps-deactivated20121024)

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