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| 1. | O.P.
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| 2. | Cell Walk for Celeste
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| 3. | Cindy's Main Mood
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| 4. | Things Ain't What They Used to Be
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Jazz / Free Jazz, Avant-Garde Jazz, Jazz Instrument, Piano Jazz
Cecil Taylor Piano
Buell Neidlinger Bass
Archie Shepp Sax (Tenor)
Billy Higgins Drums, Tympani [Timpani]
Charles Davis Sax (Baritone)
Clark Terry Trumpet
Denis Charles Drums
Nat Hentoff Producer, Liner Notes
Nieves Pascua-Bates Design
Roswell Rudd Trombone
Steve Lacy Sax (Soprano)
This session produced for Candid has never before been released. In addition to it's clear historical importance, the music holds up on it's own and likely to lift you up as well.
This outing by Cecil Taylor and Buell Neidlinger spanned over two nights in January 1961, high up on West 57th Street and was made up of New York based musicians.
The session has two blues; 'O.P.' is Buell's tribute to Oscar Pettiford and 'Things Ain't What They Used To Be.' The song 'Cindy's Main Mood' was improvised at the session and was Buell's dedication to an American dancer, Cynthia Clark.
Sidemen for OP and Cindy's Main Mood were Archie Shepp on tenor sax, Billy Higgins on drums and timpani.
'Cell Walk For Celeste' finds Taylor, Shepp and Neidlinger with the uniquely expressive drummer Dennis Charles. Cecil in fact taught Dennis the drum part as he didn't read music at the time.
On 'Things Ain't What They Used To Be', Taylor and Neidlinger are joined by the musical forces of Archie Shepp (tenor sax), Billy Higgins (drums), Clark Terry (trumpet), Roswell Rudd (trombone), Steve Lacy (soprano sax) and Charles Davis (baritone sax).
The album was a whole, reveals considerable force of Buell Neidlinger as well as that of Cecil.
The contents of this rather brief CD, originally released under bassist Buell Neidlinger's name, have since been reissued in the Cecil Taylor/Buell Neidlinger Mosaic box set. Two selections feature a trio with pianist Taylor, bassist Neidlinger and drummer Billy Higgins and one performance adds the young tenor Archie Shepp (and has Dennis Charles in Higgins's place). This music is quite advanced for the period although more accessible to the average listener than Taylor's later recordings; at least one can hear (even in abstract form) his connection to the bebop tradition and to Duke Ellington. Speaking of the latter, the most intriguing selection is a version of "Things Ain't What They Used to Be" that not only has Taylor, Neidlinger, Higgins and Shepp but Steve Lacy on soprano, baritonist Charles Davis, trombonist Roswell Rudd and trumpeter Clark Terry, making for a very interesting mixture of styles. ~ Scott Yanow, 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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