[7][8]) Henry Grimes and Sunny Murray were unable to accompany the band on the tour, so Ayler asked bassist William Folwell and drummer Beaver Harris to join him.

[4] In a review for The Guardian, John Fordham wrote: "Ayler's blazing shows were following sets by Dave Brubeck, Stan Getz and other more orthodox jazz artists, but his finales roused the European crowds to ecstatic acclaim just the same.

Sometimes the music sounds like the work of a dishevelled Salvation Army band, sometimes like a series of strange, hooting operatic arias, in which jaunty themes Sonny Rollins might edge their way into the midst of big, rapturously lamenting harmonies.

The repertoire is much the same from both gigs..., and has an even more emotional quiver for the addition of fine Dutch violinist Michel Samson, meshing evocatively with the vibrato and clarion lead-lines of Ayler's trumpeter brother Donald.

It's a heavy duty yet harmonically enticing ballad, sprinkled by the saxophonist's authoritative spiritual presence overtop; a prayerful motif summoning Americana lore, where the resounding primary theme segues into a buoyant march-groove spiked with notions of triumph and turmoil.