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| Tzotzil / Mummers / Tzotzil [ ÉLŐ ] |
| Cecil Taylor |
első megjelenés éve: 1987
56 perc |
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| (2001)
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CD |
| 4.391 Ft
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| 1. | Tzotzil / Mummers / Tzotzil
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Jazz / Free Jazz, Avant-Garde Jazz, Jazz Instrument, Piano Jazz
Recorded: 13 November, 1987, New Morning, Paris
Cecil Taylor Piano, Poetry
Alan Mosley Engineer
Carlos Ward Reeds
Leo Feigin Producer
Leroy Jenkins Violin
Thurman Barker Drums, Marimba
William Parker Bass (Upright)
This recording is the second set of the last Cecil Taylor's concert during his 1987 European tour with Carlos Ward, Thurman Barker, Leroy Jenkins, William Parker. The CD starts and finishes with Cecil Taylor narrating his poetry which was recorded 3 days later in London.
A must for every serious Cecil Taylor's fan.
This is perhaps one of the oddest recordings that Cecil Taylor did for Leo. It begins, simply enough, with him reading his oblique, nearly totally incomprehensible poetry -- which doesn't make it bad -- then his band enters and he takes it out with some of the rhythm section accompanying him as he reads some more. Simple enough right? All except for the fact that the music was recorded three days before any of the vocals were, and in a different country. The poetry was recorded England and the music three days earlier in Paris. Ok, weirdness aside (and it is weird hearing Taylor's voice multi-tracked), the band is stellar: Leroy Jenkins on violin, William Parker on bass, Thurman Barker on marimba and drums, Carlos Ward on reed, and, of course, Taylor on piano. The musical aspect of this work begins not with Taylor (seems the spoken intro was his first solo), but with Leroy Jenkins playing what resembles a repetitive theme underscored by Parker's two octave down bassing. Taylor and Barker (who is on marimba at this point) alternate chords and rhythms. Carrying on a series of runs and counterpoint soling as Jenkins moves off the theme into the outer reaches of his violin's sound world. Ward doesn't enter the fray until almost 15 minutes have passed. And when he does, it's with all manner of the reed family. Beginning in a support capacity, he doesn't get the chance to let it burn in the fray for almost 10 more minutes. And now, at halfway through this glorious cacophony, this ensemble knows where to go. Taylor is leading the charge and all of these players know how to follow him, down an improvisatory highway that leads straight into a darkness beyond language. And perhaps, as he re-enters with his poetry at the very end of the work, that's what it's about anyway, going beyond language, ever beyond the place where it occurs to the place where it is conceived in spoken word and in music, which is but an extension of the human voice. ~ 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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