Touchin on Trane [Import]

Charles Gayle | Format: Audio CD

Product Details

• Audio CD (April 10, 2001)
• Original Release Date: 2008
• Number of Discs: 1
• Format: Import
• Label: Import [Generic]
• ASIN: B00000AQ38
• In-Print Editions: Audio CD  |  MP3 Download
• Average Customer Review: 4.4 out of 5 stars  See all reviews (7 customer reviews)
• Amazon Best Sellers Rank: #325,263 in Music (See Top 100 in Music)

Track Listings

1. Part A

2. Part B

3. Part C

4. Part D

5. Part E

Editorial Reviews

Buffalo News, Jeff Simon, November 28, 2010

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 --This text refers to an alternate Audio CD edition.

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
--This text refers to an alternate Audio CD edition.

Customer Reviews

Most Helpful Customer Reviews

16 of 16 people found the following review helpful:

5.0 out of 5 stars Speaking in Tongues, January 23, 2004

By 

Christopher Forbes "weirdears" (Brooklyn,, NY) - See all my reviews
(REAL NAME)   

This review is from: Touchin on Trane (Audio CD)

Charles Gayle - Touchin' on Trane

The story of Charles Gayle is a modern day Romantic legend. A veteran of the New York free jazz scene of the late 60s and early 70s, Gayle could never quite fit in with the scenes in the city. His aggressive saxophone style dominated the groups he played with at a time when the idea of the "collective" was in the air. Gayle's tenor style was as aggressive as Albert Ayler, and perhaps even more uncompromising. So somewhere in the early 70s he disappeared onto the streets and remained there for almost 20 years, playing for change and living where ever he could. In the late 1980s he was rediscovered by the manager of the Kitchen in New York and he made a triumphant return to performing and recording.

Gayle has definite scars from his years on the streets. And he also has a reputation for ideas that are not politically correct. Gayle is a born again Christian and makes no secret about it, with a heavily religious content to the titles of his albums and in some club dates, monologues at the audience about religion, morality and abortion, all fueled by his religious background. This has caused Gayle to be boycotted by some clubs. But if one can get past the politics and disagreements that you might have with his religion, Gayle is an astonishing musician. This album, Touchin' on Trane, is perhaps the best recording to introduce yourself to the wild art of this unique artist.

The trio on this group includes the marvelous William Parker on bass and Coltrane's final drummer, Rashid Ali. The combination could not be better. Parker and Ali work together like hand and glove. Parker is unique among his generation of free jazz bassists, in that he is not afraid of a groove. Parker can do a free walk with the best of them as is evidenced by the first cut on the album. Ali made his name as the drummer who drove Elvin Jones out of the Trane ensemble, and as a musician who did away with pulse in a quest for a free music devoid of the "tyranny of the beat". And yet, on this album, Ali shows he can swing as hard as any bebopper. Together, they form a terrific bass over which to feature Gayle's wild blowing.

Gayle himself is a wonder on this album. His style is influenced by the overblowing of the Albert Ayler school, particularly the early trio records Ayler made. But if you listen you can also hear the roots of this music in the primitive Gospel music of Pentacostal churches. Gayle in fact believes that the music he heard in black churches was as free as any avant-garde music. Much has been made of the "glossalia" aspect of the music of Albert Ayler. The same could be said for Gayle. His improvisations are more than just music; they are truly "speaking in tongues". All of the cuts on the album are freely improvised, with not tunes or heads. Gayle's improvisations start out where other musicians end...at a fevered pitch, and they go up from there. This is extreme music, extremely well played. The cuts range from up tempo numbers to fast, unmetered pieces, to wide, Ayler-style ballads. Gayle's voice on tenor is dominating, but always controlled.

Gayle is perhaps one of the best documented of modern free jazz musicians. This recording, though it doesn't include any examples of Gayle's unique alto style or his individualistic approach to the piano, or his work on bass clarinet, is still perhaps the best place to begin exploring this important improviser. The sound is strong and compelling. And, for those who have difficulty with the musician's belief set, this one makes no reference to these beliefs. Progressives can listen to this album with a clear conscience.

7 of 7 people found the following review helpful:

5.0 out of 5 stars An excellent set, August 24, 2000

By 

Stephen (Virginia Beach, VA USA) - See all my reviews

This review is from: Touchin on Trane (Audio CD)

Unlike other reviews, I believe this set, more than anything else I've heard, carries on the spirit of Coltrane. This music does "TOUCH" on Trane from time to time. With Ali (a former drummer for Trane) and Parker (a Garrison student) as a rhythm section there are some obvios references to Trane. Gayle's playing here is also in that tradition. While Gayle's Live From the Knitting factory sets have a strong Ayler feel, I don't find that to be the case on this one. And the reference to Coleman is strange since Gayle's tone and playing style bear no relation to Ornette.

Its a great CD, not nearly as "out" as Gayles other work.

6 of 6 people found the following review helpful:

5.0 out of 5 stars The quintessential Charles Gayle album, February 25, 1999

By A Customer

This review is from: Touchin on Trane (Audio CD)

Although it is named after John Coltrane, this album owes more to Albert Ayler and Ornette Coleman. The fact that Rashied Ali plays on it is sure to draw comparison to late period Coltrane, but Gayle plays more anger and less delicacy than Coltrane, which makes the overall feel of this album thoroughly modern. To add to this asthetic, William Parker plays with unrelenting endurance to provide a solid, though thundering, foundation for the trio. This album is no stretch for Ali. He plays with usual graceful explosiveness (how many crash cymbals does that guy have?) This is the quintessential Charles Gayle album.