Problem: Albert Ayler (; July 13, 1936 - November 25, 1970) was an American avant-garde jazz saxophonist, singer and composer. After early experience playing R&B and bebop, Ayler began recording music during the free jazz era of the 1960s. However, some critics argue that while Ayler's style is undeniably original and unorthodox, it does not adhere to the generally accepted critical understanding of free jazz. In fact, Ayler's style is difficult to categorize in any way, and it evoked incredibly strong and disparate reactions from critics and fans alike.

Ayler routinely showcased his highly untraditional personal saxophone style in very conventional musical contexts, including children's songs, march melodies, and gospel hymns. However, Ayler's wild energy and intense improvisations transformed them into something nearly unrecognizable. Ayler took a deconstructive approach to his music, which was characteristic of the free jazz era. Phil Hardy says that Ayler "dismantled" melody and harmony in order to more deeply explore "the physical properties" of his saxophone. Ayler wished to free himself and his bandmates to improvise, relate to one another, and relate to their instruments on a more raw, "primal" level.  The intensely spiritual aspect of Ayler's music was clearly aligned with the beliefs of jazz saxophonist John Coltrane, who was profoundly affected by the "otherworldly" sounds of Ayler's music. This effect is especially evident in Coltrane's albums Meditations and Stellar Regions. Coltrane served as a mentor throughout Ayler's life, providing financial and professional support. This intensity, the extremes to which Ayler took his tenor saxophone, is the most defining aspect of his sound. His style is characterized by timbre variations, including squeaks, honks, and improvisation in very high and very low registers. He possessed a deep blistering tone--achieved by using the stiff plastic Fibrecane no. 4 reeds on his tenor saxophone--and used a broad, pathos-filled vibrato.  Ayler experimented with microtonality in his improvisations, seeking to explore the sounds that fall between the notes in a traditional scale. This technique was best showcased when he played, as he often did, without a piano, backed only by bass and drums. Ayler also resisted the standard swing beat, and instead built momentum through the frenetic speed of his improvisatory lines, which he forcefully overblew from his saxophone. Jazz historian Ted Gioia describes Ayler as a "virtuoso of the coarse and anomalous," and claims that Ayler aimed to break away from the constraints of playing notes and instead to "enter into a new realm in which the saxophone created "sound"." Ayler undeniably succeeded in doing this; he produced sounds that were unlike any made by jazz saxophonists before him. However, while some found a powerful artistic voice, even musical genius, in these sounds, others found only noise.

What was Albert's style?

Answer with quotes: Ayler routinely showcased his highly untraditional personal saxophone style in very conventional musical contexts,

Question:
UFO are an English rock band that was formed in London in August 1969. They became a transitional group between early hard rock and heavy metal and the new wave of British heavy metal. The band's current lineup includes vocalist Phil Mogg, lead guitarist Vinnie Moore, bass guitarist Rob De Luca, keyboardist and rhythm guitarist Paul Raymond and drummer Andy Parker. They have gone through several line-up changes, leaving Mogg as the only constant member, and had two hiatuses (1983-1984 and again from 1989 to 1991).
After brief trial runs with Larry Wallis (February - October 1972) and Bernie Marsden (he toured with UFO in Europe and recorded a pair of demos, "Oh My" and "Sixteen") the band recruited Michael Schenker from Scorpions in June 1973. Schenker was only 18 at the time but was already a well-respected guitarist. On a new label, Chrysalis Records, the revamped UFO recorded a non-LP single in 1973, "Give Her The Gun" and "Sweet Little Thing" with producer Derek Lawrence. In 1974, under producer Leo Lyons (formerly of Ten Years After), UFO recorded Phenomenon, which highlighted the band's harder-edged guitar sound. Phenomenon contains many fan favorites such as "Doctor Doctor" (later a minor hit single as a live track) and "Rock Bottom" (which was extended live to provide a showcase for Schenker). By the time of the Phenomenon tour, ex-Skid Row guitarist Paul Chapman joined the group, but he left in January 1975 to form Lone Star.  Two later albums, Force It (July 1975) and No Heavy Petting (May 1976) (the last was recorded with a regular keyboardist, Danny Peyronel as well as harmony vocalist and also songwriter), and extensive touring brought UFO increased visibility with American audiences and increased their following in the UK. The song "Belladonna" from No Heavy Petting was very popular in the USSR after the cover version of Alexander Barykin.  In July 1976, the band recruited keyboardist and rhythm guitarist Paul Raymond from Savoy Brown to make 1977's Lights Out. This album was the pinnacle of UFO's studio career containing songs such as "Too Hot to Handle," "Lights Out," and the 7-minute opus "Love to Love." With Lights Out, the band received substantial critical acclaim. With their new-found success, the band went back into the studio to record Obsession in 1978. Later that year, the band went on tour in the USA and recorded a live album, Strangers In The Night, which was released in January 1979. Strangers was a critical and commercial success, reaching Number 8 in the UK Albums Chart in February 1979.
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What was being said about them?

Answer: