Charl Gayle Albums: songs, disgraphy, bgraphy, and listeng gui - Rate Your Mic

Contents:

• CHARL GAYLE
• CHARLES GAYLE
• CONGRSMAN HANK JOHNSON WEL NEW CHIEF OF STAFF CHARL GAYLE
• THE COMPLETE DISGRAPHY OF CHARL GAYLE
• GAYLE KG AND CHARL BARKLEY TO HOST NEW PRIME-TIME SHOW ON CNN, PANY ANNOUNC

CHARL GAYLE

Charl Gayle ma his first signifint impact on the ee jazz scene wh a seri of crilly acclaimed New York performanc at the Kntg Factory the mid- to late '80s. Like Ayler, Gayle employs a huge tone which, more often than not, he spls to s dividual harmonic ponents.

CHARLES GAYLE

Timbral distortn is a key aspect of Gayle's work.

Gayle is also pable of great lyricism, imbued wh the same bracg tensy prent his high-energy work. Gayle was trigued by bebop; hearg Charlie Parker was a ccial experience.

Gayle attempted to learn nventnal harmony by analyzg sheet mic and workg thgs out on a piano. Gayle moved om Buffalo to New York Cy the '60s, where he beme volved the cy's nascent ee jazz movement.

CONGRSMAN HANK JOHNSON WEL NEW CHIEF OF STAFF CHARL GAYLE

Gayle reportedly tght a jazz urse at the State Universy of New York at Buffalo 1969, where one of his stunts was the saxophonist Jay Beckenste. There is at least one acunt of Gayle playg wh dmmer Rashied Ali's group around 1973, but ltle else is known about his activi durg this perd (he is not cled to go to tails when asked by terviewers about his past).

Gayle took to playg his horn on the streets and the subways, relyg on donatns om passers-by for e. Gayle lived a maly prer existence for the next twenty years.

Still, Gayle scuffled, though he was eventually able to rent a small apartment on New York's Lower East Si. In 1988, Gayle rerd a seri of albums for the Swedish-based Silkheart label.

THE COMPLETE DISGRAPHY OF CHARL GAYLE

In the '90s, Gayle took to performg on piano and bass claret basilly the same style that he displays on tenor, though the latter clearly remas his strongt stment. Gayle's preferred ensemble stmentatn ually nsists of himself, a bassist, and a dmmer. By the turn of the lennium, Gayle's ncerts had taken on aspects of performance art.

GAYLE KG AND CHARL BARKLEY TO HOST NEW PRIME-TIME SHOW ON CNN, PANY ANNOUNC

Gayle began drsg as a character he lled "Streets the Clown, " plete wh stume and face pat, wherpon he would perform his mic and preach a relig msage to his dience. Ined, Gayle's -ncert exprsns of his relig and polil views are a source of dismay to some crics and fans, and threaten at tim to overshadow his mic.

Charl Gayle has received a lot of love on FJB, and for good reason.

From tly humble begngs, Charl Gayle has bee a legend.

That romantic tge only holds, however, if you foc on the unpromisg qut for self-realizatn through mic and strip of the hardships endured a and a half of homelsns, whereby Gayle survived by bkg a fashn more likely to repel than attract the average passer-by.

This, of urse, was how Gayle refed his sound, which li somewhere between eicism of Charlie Parker, the spirualy of Albert Ayler and late-stage John Coltrane, and the off-the-walls adventurism of Arthur Doyle.

Gayle’s spiratn also emanat que unapologetilly om his relig fah (listen to the brief thank you at the end of Seasons Changg for a brief and clive claratn) and his oft-noted ristance to mercial nformy, as well as his experience, all those s ago, on the streets of New York. As Gayle himself explas, “I tried to py the sounds I heard: the traffic, the fire eng, the police rs, even babi cryg. Now, some three s after his first releas on Swen’s Silkheart label, Gayle is an octogenarian and he is still blowg his uniquely lored fire, as the two rerdgs om 2019 attt.

Charl Gayle, Gvanni Barcella, and Manolo Cabras - The Alto Ssns (el Negoco, 2019) ****. The Alto Ssns is a stud rerdg wh two micians Gayle first played wh 2011: Gvanni Barcella (bass) and Manolo Cabras (dms). From there, a wild ri endg abptly wh energy and some of Gayle’s (?

The send track, “Charl’s Speech” is a ballad, softer and blier than Gayle ually lays. In a way that seems only Gayle n mter, however, behd this aggrsive, spired abstractn ris and unrlyg pensivens and medatn.

It begs wh Barcella’s squealg ar bass, soon followed by tentatively mmagg dms and a surprisgly rtraed Gayle on piano. ” Here, the group renven their origal formulatn as Gayle returns to the alto and his tnted, ntorted phrasgs overlayg a propulsive, eply synergistic rhythm sectn.

All all, a well-balanced rerdg of the enzied, clunky ee jazz that has granted Gayle renown. Charl Gayle, John Edwards, Mark Sanrs - Seasons Changg (Otoroku, 2019) ****½.

Seasons Changg is pure Gayle fire-sptg ridg atop nsely latticed, knotted grov of John Edwards (bass) and Mark Sanrs (dms). As much as those latter releas offer some ntext particularly for Gayle’s approach, however, this November 15, 2017 ncert at London’s now legendary Café Oto documents a very different outg. Seasons Changg tak me back to my first few sps of my first Gayle album, Live at the Glenn Miller Cafe.

And, clearly, Edwards and Sanrs have got their own thg gog on that tertw so impecbly wh Gayle’s. Six-mut to the first piece on this two-disc live date, Sanrs and Gayle step asi and let Edwards show his angular chops.

Soon, Sanrs reptur the grove and Gayle squeaks his way back to the ay, fallg to a sharp, spired melody. Intersperse adjectiv such as “soulful, ” “squonky, ” “paed, ” and “beatific” here and there, and the scriptn above scrib the entirety of the two sets, whether Gayle is on sax or piano.

This is classic ee jazz chiseled for the prent by s ( Gayle’s se, eight s) of mil history, exploratn, and awarens. The image of Charl Gayle as homels -- the saxophonist spent two s. But Gayle's circumstanc are more fortable the.

Gayle spoke by phone om his apartment the East Village on December 30,.

piano, Gayle was forced to postpone his tour.

PSF: If I unrstand you rrectly, sounds like you've backed off om addrsg the dience directly as Charl Gayle, and stead you're brgg up the issu as Streets the Clown. Charl Gayle blew down wh hurrine force - the pun is too obv - out of Buffalo.

In the late Eighti Silkheart Rerds rerd three discs him featurg Gayle's ecstatic, holy holy tenor. For the enigmatic German FMP label he rerd the all-time classic Touch' on Trane wh micians as talented and passnate as he: bassist William Parker and dmmer Rashied Ali, a livg nnectn wh the Coltrane legacy that Gayle so dynamilly extends here.

But this disc beme somethg of an anomaly the Gayle disgraphy: most of the others were much more fur.

Ttaments has a rough lyricism that is ptivatg; the other two make adro e of doubled strgs om bassist Vattel Cherry and William Parker on some discs Gayle himself plays vla, bass claret, other oddments. Charl Gayle, who is eply relig, is a very passnate mician.

One uld ll him an extensn of Albert Ayler except that Gayle ually do not utilize folkish melodi as Ayler did and he has a distctive sound of his own.

As wh Ayler, though, Gayle pours a great al of feelg to each solo. This quartet CD is a b unual that Gayle (who is also heard on bass claret) plays piano on two songs, bassist William Parker mostly performs on cello (swchg to piano on three other piec) and two numbers feature Gayle on vla and dmmer Michael Wumberly swchg to vl; "Our Ss" actually has a vl-vla-cello-bass quartet!

Charl Gayle tak some heartfelt solos on piano and fiddl up a storm on vla, but is his very tense tenor solos that (as one would expect) leave the biggt imprsn. Gayle is a Maryland native who prevly served as an assistant solicor for Baltimore cy ernment before beg an assistant state attorney Baltimore County’s State’s Attorney Office. For nearly eight years, Gayle was an enforcement attorney for the Consumer Fancial Protectn Bure – workg to protect nsumers om unfair, ceptive and abive practic by unscpulo pani.