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About Touchin On Trane
Product Description Charles Gayle (tenor saxophone), William Parker (double bass), Rashied Ali (drums) TOUCHIN' ON TRANE (first Release by Free Music Production (FMP 048) in 1993) Recorded live, October 31 & November 1, 1991 during the Total Music Meeting at Haus der Jungen Talente in Berlin The essence of this music is way beyond those fundamental concepts [as notes, rhythms, harmonies] and besides, you were hip enough to buy this CD, therefore you probably don't need any instructions in appreciating how utterly wonderful this music is. Why is it that Charles Gayle - an American musician playing at the highest level a music that the American culture system grudgingly acknowledges as 'America's only original contribution to the arts' - has not been offered by an American label even one chance to record and that his public performances are almost exclusively limited to the streets of New York and an occasional Monday night at the Knitting Factory? What is it about America - a country which alternately bills itself as 'the leader of the free world,' 'the land of liberty' and 'the land of opportunity' - that the most free and liberated music receives virtually no opportunities? The answer lies in America's inherently racist cultural attitudes and power structure and the fact that the music Messrs. Gayle, Parker and Ali play is self-determination music of the highest order, which, by definition, is the thing that most scares the s-t out of the American white colonialist power structure. What scares the power structure so much about this music is that it is a dynamic, unifying force that is not only beautiful to listen to, but also expands the listener's awareness of what it means to be a human being and all the implications that follow. For example, Ellington was the first composer who recognized that sitting in the chairs holding their musical instruments were human beings - developed individual human beings. Hence, he composed taking into account the individual musician's strengths and weaknesses. He was the first truly democratic composer Gayle, Parker and Ali play in a context which is a natural evolution of Ellington's concept, each man contributing his whole musical self freely and spontaneously while at the same time taking into consideration the aesthetic needs of the composition and that each contribution/response blends with the others into a unified, harmonic whole. A spiritual unity and spiritual wholeness, which is finally, what this music is all about. Shortened version of the liner notes by Joseph Chonto, 1993 Review The story of 71-year-old Buffalo saxophonist Charles Gayle is one of the most remarkable in all of current jazz. Renowned during his long Buffalo residence as one of the most powerful and least compromised jazz musicians in town, his move to New York City saw his fortunes sink so low that he was a street musician and homeless for an estimated 20 years. This is, arguably, his finest achievement on disc. It was recorded in 1991 after he'd been "rediscovered" and is a tribute to the final music of John Coltrane, in particular Coltrane's last record, "Interstellar Space," which was a duet with drummer Rashied Ali. Ali is the drummer on this disc and William Parker is the formidable bass player. There's no question that Gayle's unquenchable avant-garde screaming could probably peel the paint off any walls that needed it, but anyone deluded for a single second about the quality of Gayle's jazz musicianship will find this disc a revelation. Kenny G., this isn't. Or, for that matter, Sonny Rollins or Kenny Garrett either. But it has moments that are magnificent. 3 and a half stars -- Buffalo News, Jeff Simon, November 28, 2010
