During 1967-69 avant-garde innovator Albert Ayler recorded a series of albums for Impulse that started on a high level and gradually declined in quality. This LP, Ayler's first Impulse set, was probably his best for that label. There are two selections apiece from a pair of live appearances with Ayler having a rare outing on alto on the emotional "For John Coltrane" and the more violent "Change Has Come" while backed by cellist Joel Friedman, both Alan Silva and Bill Folwell on basses and drummer Beaver Harris. ~ AllMusic
Albert Ayler was a lightning rod for criticism both from within the music community and from without. His free-thinking approach made him a bane for jazz traditionalists, and his incorporation of popular American musical styles like soul, R&B, and even rock made him a sellout to the free jazz crowd. His volume in The Impulse Story series – one of ten individual artist titles to accompany both the book The House That Trane Built: The Impulse Story by Ashley Kahn and the four-CD label history set of the same name from Universal, is in many ways the very evidence of both points on the scale. ~ AllMusic
Holy Ghost is the first comprehensive attempt to build a monument in sound to Albert Ayler. The settings – radio and TV sessions, studio demos, private recordings, live concert footage – find his music at its most liberated. And with the sponsorship and assistance of Ayler's family, friends, and colleagues, Holy Ghost documents his never-before-heard first and last recordings, bookending rare and unissued music from every stage of his career.revenantrecords.com
Recorded at Capitol Studios, New York City on August 31, 1967 (#1-6), and February 13, 1968 (#7-11) From the time he was signed to Impulse in 1966, it was assumed that Albert Ayler's releases on that label would be motivated by an attempt at commercialism. While the music was toned down from his earlier ESP recordings, by no means did Ayler ever make commercial records. Much in the same way John Coltrane's later-period Impulse releases weren't commercial, Ayler simply took advantage of a larger record company's distribution, trying to expose the music to more people.