ESP-Disk’ is proud to announce the launch of a highly anticipated line of limited edition vinyl LPs geared toward the collector and connoisseur. ESP-Disk’s Limited Series offers collectors hand-assembled recreations of ESP-Disk’ in 100-copy limited-edition, ultra-premium packages featuring clear 180-gram LPs,  newly penned liner notes, photo recreations, and more. We could think of no more appropriate album with which to kick off the series than Albert Ayler’s 1964 classic Spiritual Unity.

ESP’s first music release, Spiritual Unity holds a special place in jazz history and in the hearts of free-jazz fans as the album that made both Ayler and ESP-Disk' famous. Recorded on July 10, 1964, Spiritual Unity presented a new improvisation paradigm: looser structure, less regard for standard pitch, and no obligation to present a regular beat. Ayler’s sound was unprecedented, much rawer than any other jazz of the time. Sometimes it was expressed in squalls of untempered sound, sometimes in outbursts of poignant spontaneous melody. Meanwhile, under and around the leader’s unfettered self-expressions, bassist Gary Peacock and drummer Sunny Murray reinvented the roles of their instruments.

The packaging for this new edition is designed by Eli Keszler and Ashley Paul, whose work on Keszler’s own releases has already been impressing collectors. The records are pressed on 180-gram clear vinyl providing stunning sound. The famous cover design is now cream-colored with a rich dark brown background. There are three inserts: color screen print recreations, on heavy stock, of session photos of each player. Newly penned notes by author Jason Weiss provide insight and interpretation of ESP-Disk’s most celebrated release as well as a preview of his forthcoming book Always in Trouble: An Oral History of ESP-Disk’, the Most Outrageous Record Label in America.

Excerpt from newly penned liner notes by writer Jason Weiss (printed on Speckletone French Paper)

Something Beyond: Albert Ayler and cante jondo

Imbued with the spirit of something beyond, some force wavering in the
interstices, Albert Ayler brought forth his own deep song from a
well-trod ground.  If the saxophone has often been compared to the
voice, seldom did it reach such a universal bent in its
expressiveness. More than steeped in the blues and the church,
Ayler’s sound on the tenor saxophone also came from other climes,
other ways of hearing the world and responding in turn...

ESP's first recording session was on July 10, 1964, in the tiny Variety Arts Recording Studio, just off Times Square. Just before 1 PM, SUNNY MURRAY arrived, a large, genial walrus, moving and speaking with an easy agility that belied his appearance. GARY PEACOCK was next, tall, thin, ascetic looking, and soft spoken, with an introspective and kindly demeanor. ALBERT AYLER was last, small, wary and laconic. The walls of the reception area were covered with Latin album jackets. The engineer quickly set up the mikes and began the session. B sat outside in the reception area with Annette Peacock, Gary's wife. As the music was heard through the open outer door of the control room, felt a sense of jubilation. At one point, the engineer fled the control room for a few minutes, but returned in time to change the tape for the next selection. When the session was over, B learned that it had been recorded in monaural, although he remembered requesting a stereo recording. Happily, the engineer Joe had properly miked and mixed the session, and the recording stands today as a classic of the genre. After the session, the participants sat in a coffee shop next door, while they were paid and signed recording agreements. A few days later, B saw them off on their flight to Europe from Idlewild International Airport for a European tour. DON CHERRY was with them.

Lp (white on black)
Lp/CD (black on white)
Lp (red on white)
Lp (brown silkscreened on orange, pre-release edition numbering 200 copies, signed by the artist)
CD Via reissue
Limited Series (Only 100 Copies Pressed)
	Photos provided by www.totalshutdown.com