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Saxophonist Charles Gayle is a veteran creator of intense cathartic freeform jazz, paying homage to the likes of Albert Ayler and Eric Dolphy.  Gayle's own prolific prime came in the 90's, 20 years after that of his influences.  This CD released last year in 2012, titled "Look Up", is a previously unreleased recording of a live show from 1994 in Santa Monica, California.

According to the liner notes, this album captures what is called Gayle's "power playing period"; the musicians' mad wall of sound churns in a furious constant density, at violent volume.  The stormy force of the rhythmic ebb and flow is driven by rapid gusty fills from the drums and the frantic, alarmed bleats of the sax, the painful cries of the darkened alleys.  They are desperate to communicate the constant restlessness, to warn that the only hope is God.

Indeed, we get some insight into Gayle's thought process in "In The Name Of The Father", a quite pointed and direct spoken (or shouted, rather) piece succinctly explaining that religious fervor is the primary inspiration and creative source for both Gayle and influences such as Coltrane, and as such, without understanding of the Christian message, understanding this music is also impossible.  He proceeds to outline the basic Christian message of surrendering one's worries, faults and troubles to God in the face of uncertainty and chaos.  It's an aggressively stated message, but there is passion behind it, and this track didn't lose the album any admiration from me, a firm disbeliever in all religious doctrines.  It is not, however, as worthy of repeated listens as the rest of the album.

This is certainly a competently miced live recording, free of distortion and superior to many I've heard.  Unfortunately, however, the thunderous drums have an abundance of glittering treble in their numerous rolls and crashes, and often drown out the saxophone, which deserved closeness and sharpness.

Thus, the sound functions best in its most spacious soliloquys, when there is room for detail.  The deep bowed bass notes at the end of the 1st piece are the first such reprieve, another is the lengthy sax solo in "Homage to Albert Ayler".  During these moments the soulful blues notes and scales at the roots of Gayle's playing really start to come out.  One might imagine how many times he played alone to the empty streets during his days of homelessness.

"Look Up" is a beautiful catharsis highly recommended to listeners used to noisy and atonal free jazz.  The recording quality does leave something to be desired, but Gayle's emotion and intensity unmistakably translates, and I've felt inspired to track down his other output since hearing this album.  It's not for those easily frustrated by noise and lack of structure, but it's a very rewarding listen.