Jazz / Rock & Roll, Rockabilly
David Taylor - Arranger, Producer, Trombone (Bass)
Andy Laster Sax (Baritone), Clarinet
Arthur Moorhead Executive Producer
Dave Schiff Liner Notes
Emily Mitchell - Harp
Fred Sherry Cello
Gary Schneider Synthesizer, Conductor
Gordon Gottlieb Bongos, Percussion
Herb Robertson Trombone (Valve), Trumpet
Jay Branford Sax (Alto), Sax (Baritone)
Joe Ferla Engineer, Mixing
Jon Kass Violin
Jon Rosenberg Remixing
Lindsey Horner Tape, Double Bass
Louise Schulman Viola
Mark Helias Bass
Marty Ehrlich Sax (Tenor), Sax (Soprano)
Michael Abene Arranger
Paul Smoker - Flugelhorn, Trumpet
Paul Zinman Digital Editing, Producer, Mastering
Phil Haynes - Drums, Percussion
Rolf Schulte Violin
Rolf Shulte
Steve Byram Design
Ted Rosenthal Piano, Harpsichord
Warren Linn Art Direction
Wayne Horvitz Producer
Past Tells is virtuoso bass trombonist David Taylor's daring attempt to draw together his disparate musical interests. An in-demand sessionman with a sound as robust as the darkest chocolate, Taylor has graced classical chamber music groups, avant garde jazz sessions, and the Duke Ellington Orchestra during the last days of the maestro's reign. Taylor touches all these bases in this sprawling date. Opening with a sentimental evocation of Bach it includes a salty burlesque tribute to Lenny Bruce by David Schiff and touches of free jazz. References to American iconoclast composer Charles Ives serve as an emulsifier, but prove not binding enough to keep the stylistic layers from separating. While Taylor's "Past Tells" manages to create an effective mosaic using colleagues from the downtown scene of the period, David Noon's "Tailor Made" proves too scattered with taped segments of a Woodrow Wilson speech on Indian affairs and a recording of Irish tenor John McCormack singing "It's a Long Way to Tipperary" overwhelming the "live" music. (This would undoubtedly be more effective performed on stage when the theatrical presence of the musicians would counter-balance the samples. ) Schiff's piece has Taylor declaiming bits of Lenny Bruce's monologue "To is a preposition." With it's swooning lounge act saxophones the piece provides an eerie echo of the 1950s and gives the leader a chance to flex his acting chops. Despite the success of individual parts and Taylor's efforts to link the individual numbers intellectually, the session as a whole never coalesces. ~ David Dupont, All Music Guide |
