Commenting after my Cecil Taylor postings, correspondent “Jake” reports
Alex Ross “publicly champions
Cecil Taylor . .. lists the rather obscure FMP big band record
“Alms/Tiergarten (Spree)” as among his favorite pop/jazz recordings and wrote an
appreciation of the maestro (paired with Sonic Youth) in The New Yorker way
back in ’98 . I wish
more classical critics and fans would deal with avant-garde jazz and
vice-versa. These musics have much in common and it seems a bit arbitrary to
choose one absolutely over the other. Howard, I’d be curious to know how much
you seek out modern classical and what you make of it.
Well, it’s like this . . .
I have in my possession but haven’t yet read Ross’s The Rest Is Noise, and I do intend to; I’m interested to hear he’s a fan of Cecil Taylor’s and believe that makes sense from what I’ve read of his in The New Yorker. As for myself, I don’t make great claims of expertise in music of “classical” lineage, but I’ve had some interest and exposure, and continue to be open to it. I bet my background has been similar to that of many jazz listeners and maybe contemporary classical listeners, too — to test the case:
liations with artists across genres in Chicago, producing an electronics soundtrack for a multi-dancer evening way back circa 1975). Even before I moved to NYC I attended and wrote up the first New Music America festival held at the Kitchen on Broome Street; in the ’80s I reviewed new music for Down Beat, included it in columns I wrote for Jazz Life (Tokyo) and The Wire (UK), kept attending and eventually advised on the New Music America festivals, also was on panels for Meet the Composer and Arts International. Not least as a senior editor of Ear magazine, I met and worked with new music instigators such as Charles Amirkhanian, Joseph Celli, Tania Leon, Paul Dresher, David Weinstein and Jim Staley of Roulette, producers at New World and CRI Records, critics including current fellow Art Journal bloggers Kyle Gann and Greg Sandow.