With near-perfect serendipity this album is reissued as anybody from Ayler accompanist Henry Grimes, along with Marc Ribot and Chad Taylor, to the trio 1032K are playing the iconoclastic saxophonist's music. Along with Bells this is arguably his chef d'oeuvre and its pit-of-the-stomach power hasn't faded in the half century since its release. Put bluntly, it's still something of a shock of joy to hear Ayler's trio burst into life on ‘Ghosts’, creating a form of experimental music that nonetheless suggests praise songs that are deeply ancestral. Peacock and Murray are accompanists with personalities to match that of Ayler's and their elastic time and brawny sound are crucial to the success of the bold, progressive aesthetic. Indeed, the fact that Murray is credited as a percussionist rather than drummer is not insignificant. The shifting canvas of timbres that he creates enhances the ‘heaviness’ so integral to the leader's playing. Murray is practically a self-contained rhythm section around which the other trio members freely circulate. The net result is a small group with a big sound that made personal music that nonetheless had a grand universal vibration.