Letzter Post in Sachen Vallet, hatte heute morgen nach Valet gesucht, Revenant haben ihre Ayler Seite gelöscht, aber hier kann man den Essay von Marc Chaloin noch nachlesen…. zB:
„By that time, a dedicated 18-year-old local pianist by the name of Jean-Luc Vallet had managed to gain acceptance from the hard-core of modern jazz players on the base, and would come over daily to hang out, play, and talk about music with them. Vallet and two friends of his comprised the house trio at a local joint where American and French would rub shoulders (and sometimes come to blows). After adding White to the trio as their featured soloist, they became a minor sensation–a black American saxophonist was a most prestigious asset for a barely half-professional French jazz group back then–and were able to find regular work in the EM clubs, plus the occasional college-dance gig or club matinée in Paris. Unfortunately, Vallet, the only real French „insider“ among the Army band clique that interests us, passed away a few years before this author was in a position to track him down. His friend Alain Baudet, then the bass player with the group, by his own admission was not getting along with Ayler and never came to know him well. He recounts how Ayler, whom they derisively called „the dwarf“, had gotten into the habit of showing up wherever he knew they had a gig, and sitting in with them uninvited. In spite of his own reservations, and much to the displeasure of the other three, White would let him play „because he was a friend. I respected what he was doing … but I just didn’t want to play that way.“ Baudet describes a familiar pattern of Ayler sneaking on stage, horn in hand, starting to blow whenever he felt like it, completely unmindful of (or oblivious to) what was being played and in which key, out of the harmonies and with a rather unpleasant, harsh tone. Reports Baudet:
‚ We were playing a blues in F–everybody knows the blues in F. Now, when Albert Ayler would start off on that, first he would never identify it as being in F, and then it would never be a blues anyway. And that didn’t matter; it worked fine for him that way. But it was hard to bear; it was a source of tensions. My best buddy was the pianist and all of a sudden he would have to stop playing, because he realized that it didn’t fit at all with what the saxophonist was playing. As for us, the bassist and the drummer, our thing was merely rhythmic: We would play riffs and stuff, whatever we could. … There were no cues … no beginning, no end, nothing to hook on to. ‚ “
und noch ein Zitat von ‚White‘
„He came in a real good player, he was playing straight-ahead jazz, bebop … he could play rock-and-roll, he could play blues, he could play it all. But after listening to Ornette Coleman he started playing weird music, about a year after he got in.“ To White’s ears Ayler „sounded a lot like Harold Land when he came into the army“–a rather surprising comparison–but then, „he got carried away with Ornette and he started playing crazy and playing wild, and just totally out, and nobody understood what he was doing or why he was doing it…“
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