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Jazz / Free Jazz, Avant-Garde Jazz, Jazz Instrument, Piano Jazz
Another great concert recorded within days of LIVE IN BOLOGNA, in November 1987
Cecil Taylor Piano, Poetry
Alan Mosley Mastering, Remastering
Carlos Ward Reeds
Leo Feigin Producer
Leroy Jenkins Violin
Lora Denis Artwork
Michael Bennion Design
Thurman Barker Voices, Marimba, Marimba (Electronics), Drums
William Parker Bass
Same line-up of Carlos Ward, Leroy Jenkins, William Parker and Thurman Barker.
"Enormously exhilirating experience". THE PENGIUNE GUIDE TO JAZZ ON CD, LP & CASSETTE by Richard Cook & Brian Morton.
One look at this recording and anyone familiar with the work of Cecil Taylor will know that it isn't for the faint of heart or spirit. An unbroken, hurricane of an album that extends for more than 71 minutes, Live in Vienna begins with a multi-voice poetry performance that descends into glossolalia and clucks, reminding the listener of the heyday of the Four Horsemen. Perhaps it isn't a coincidence that while the rest of the album remains firmly perched on the edge of the avant-garde, like the Four Horsemen it also seems to come from a previous time when the outrageous, experimental, and cerebral were more likely to be found together. Taylor's music draws heavily on the zeitgeist of post-beat poets like the Horsemen and Anne Waldman, who deconstruct their art into waves of music, while still retaining the spirit of the message they intend to convey. True also for Taylor, whose poetry is but a gentle introduction to the almost abusively percussive style of piano playing and furious cyclones of sound that follow.
However, Taylor's aggressiveness and speed belie the incredible intricacy and precision of his compositions. Indeed, listeners of this performance might find themselves wishing to parse it out into a hundred or more sections (though doing so would be impossible) because the myriad themes throughout the piece explode like bubbles on a pot of boiling water, lingering just long enough for you to know that they were there before disappearing forever into the air. Listening to this recording (and most certainly attending the performance that gave birth to it) might best be viewed as a ritual of endurance and cerebral submission. This is not meant as criticism, but the listener who fails to completely surrender to the music on Live in Vienna will most certainly be beaten bloody by the force of Cecil Taylor's work. ~ Stacia Proefrock, 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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