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| Chinampas |
| Cecil Taylor |
első megjelenés éve: 1987
59 perc |
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| (1996)
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CD |
| 4.391 Ft
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| 1. | [Untitled Track]
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| 2. | [Untitled Track]
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| 3. | [Untitled Track]
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| 4. | [Untitled Track]
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| 5. | [Untitled Track]
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| 6. | [Untitled Track]
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| 7. | [Untitled Track]
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| 8. | [Untitled Track]
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| 9. | [Untitled Track]
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Jazz / Free Jazz, Avant-Garde Jazz, Jazz Instrument, Piano Jazz
Recorded 1987
Cecil Taylor - poetry, voice, tympani, bells, percussion.
"This is a marvellous, uncategorisable record, difficult (because in no readily identifiable idiom) but held together even through some murky resolution by an absolute imaginative logic". WIRE.
Re-issue 2009: "This masterpiece has been unavailable for over 15 years. [...] Even now, 20 years after it has been recorded, the CD remains as utterly extraordinary work."
Chinampas is a true oddity in avant jazz pianist/poet/dancer Cecil Taylor's voluminous catalog. This is a spoken word record of Taylor reciting his poetry while accompanying himself on timpani, bells, and small percussion. To address what these poems are about is a meaningless endeavor. It would be the same as trying to explain what his piano playing is about. It's all language; it's all music. In fact, these poems, studio recorded beautifully in the fall of 1987, tell the story of Taylor's approach to making music, creating solid matter from thin air, and then -- like the true shaman that he is -- transforming it into sand and blowing it away to make room for something else. Taylor's language is not all private (though some of the sounds executed as words are clearly part of a highly individualized iconography); many of the words and syntactical structures he uses are recognizable as Western in shape and origin. But the manner in which he speaks his lines -- his stutters and slides through syntax - opens onto what poet Charles Olson called the "field of language," an entirely new history coming out of the lines that extends out as far as the poet's breath. And Taylor is making a new history in his poetics: one that comes from pre-Babylonian Egypt and extends into the centuries beyond this one, one that insists in communicating in a language that is only dotted with references to Western culture and its ideologies as a jumping-off point in both directions simultaneously. And to hear the moans, groans, giggles, squeaks, and peeps that come from a master of the trained voice is to hear these sounds -- interspersed as they are with words and phrases and percussive meanderings -- as part of the language we speak (even if we've never heard it before). This is an hourlong record that can not only keep the listener's attention, but can also bring the listener to restful sleep. It is at turns maddening and soothing, and ultimately instructive. In Chinampas (an Aztec word that means "floating garden"), it means that everything is fluid, everything is interconnected, and language -- if it extends itself far enough -- has the power to embrace it all. As an artist Mr. Taylor has gone where few have gone before him, let alone succeeded; this is what he is used to. But he may have surprised even himself in the sheer musicality of his mystical universal tome. ~ Thom Jurek, All Music Guide
Cecil Taylor
Active Decades: '50s, '60s, '70s, '80s, '90s and '00s
Born: Mar 25, 1929 in Long Island, NY
Genre: Jazz
Styles: Spoken Word, Modern Creative, Poetry, Free Jazz, Progressive Jazz, Avant-Garde Jazz, Free Improvisation, Jazz Instrument, Piano Jazz
Soon after he first emerged in the mid-'50s, pianist Cecil Taylor was the most advanced improviser in jazz; five decades later he is still the most radical. Although in his early days he used some standards as vehicles for improvisation, since the early '60s Taylor has stuck exclusively to originals. To simplify describing his style, one could say that Taylor's intense atonal percussive approach involves playing the piano as if it were a set of drums. He generally emphasizes dense clusters of sound played with remarkable technique and endurance, often during marathon performances. Suffice it to say that Cecil Taylor's music is not for everyone.
Taylor started piano lessons from the age of six, and attended the New York College of Music and the New England Conservatory. Taylor's early influences included Duke Ellington and Dave Brubeck, but from the start he sounded original. Early gigs included work with groups led by Johnny Hodges and Hot Lips Page, but, after forming his quartet in the mid-'50s (which originally included Steve Lacy on soprano, bassist Buell Neidlinger, and drummer Dennis Charles), Taylor was never a sideman again. The group played at the Five Spot Cafe in 1956 for six weeks and performed at the 1957 Newport Jazz Festival (which was recorded by Verve), but, despite occasional records, work was scarce. In 1960, Taylor recorded extensively for Candid under Neidlinger's name (by then the quartet featured Archie Shepp on tenor) and the following year he sometimes substituted in the play The Connection. By 1962, Taylor's quartet featured his longtime associate Jimmy Lyons on alto and drummer Sunny Murray. He spent six months in Europe (Albert Ayler worked with Taylor's group for a time although no recordings resulted) but upon his return to the U.S., Taylor did not work again for almost a year. Even with the rise of free jazz, his music was considered too advanced. In 1964, Taylor was one of the founders of the Jazz Composer's Guild and, in 1968, he was featured on a record by the Jazz Composer's Orchestra. In the mid-'60s, Taylor recorded two very advanced sets for Blue Note but it was generally a lean decade.
Things greatly improved starting in the 1970s. Taylor taught for a time at the University of Wisconsin in Madison, Antioch College, and Glassboro State College, he recorded more frequently with his Unit, and European tours became common. After being awarded a Guggenheim Fellowship in 1973, the pianist's financial difficulties were eased a bit; he even performed at the White House (during Jimmy Carter's administration) in 1979. A piano duet concert with Mary Lou Williams was a fiasco but a collaboration with drummer Max Roach was quite successful. Taylor started incorporating some of his eccentric poetry into his performances and, unlike most musicians, he has not mellowed with age. The death of Jimmy Lyons in 1986 was a major blow, but Cecil Taylor has remained quite active up until the present day, never compromising his musical vision. His forbidding music is still decades ahead of its time.
---Scott Yanow, All Music Guide |
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