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Best album of 1988 according to WIRE's and GUARDIAN's critic polls and number five according to DOWN BEAT.
Jazz / Free Jazz, Avant-Garde Jazz, Jazz Instrument, Piano Jazz
Recorded: November 3, 1987, Bologna, Italy
Cecil Taylor - Piano
William Parker - bass, Carlos Ward - reeds, Leroy Jenkins - violin, Thurman Barker - drums and marimba.
Having suffered the passing of longtime musical partner Jimmy Lyons just a year prior, pianist Cecil Taylor enlisted alto saxophonist and flute player Carlos Ward as a replacement for a series of European dates in 1987. Filling out the group were percussionist Thurman Barker and violinist Leroy Jenkins (both veterans of Chicago's trailblazing AACM free jazz collective), as well as bassist William Parker. The new group members proved to be up to Taylor's capricious and galvanizing ways on this Bologna concert recording, not only providing sympathetic support for the pianist's expansive explorations, but also creating uniquely improvised statements of their own. They maintain a high standard throughout the 90-minute concert (the CD version has been edited down for time limitations), shifting from frenetic, full-ensemble runs to slow, primordial stretches of music-making. Barker particularly stands out, adding a multitude of textures and colors on marimba and a variety of other percussion instruments, while Jenkins also impresses with violin work that matches Taylor's own protean playing. For his part, Ward might not be up to the incisive work Lyons produced during his 20-year tenure with Taylor, but he turns in enough engaging statements to blend in nicely with the others. Although this is a great Taylor release, certainly essential for fans, Live in Bologna might not be the best disc for newcomers. Curious listeners should start with either of Taylor's mid-'60s Blue Note discs (Unit Structures and Conquistador), or check out later titles like 1986's live solo piano recording For Olim and his A&M trio date In Floresence. ~ Stephen Cook, 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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