Not a happy post, but a useful one: here are the hundreds of musicians and music industry activists who died in 2018, as compiled by photographer-writer Ken Franckling for the Jazz Journalists Association. Ken scoured local newspapers, the Jazzinstitut Darmstadt newsletter, AllAboutJazz.com, Wikipedia, the New York Times, Legacy.com, Rolling Stone, Variety, JazzTimes.com, blogs, listserves, Facebook pages and European publications. Links to their fuller biographies or obituaries are provided where possible.
Cecil Taylor, dead at 89, as celebrated when he’d turned 80
The brilliant, challenging, perplexing and incomparable pianist/improviser/composer Cecil Taylor died April 5, 2018, at age 89. Here’s what I wrote of him to celebrate his 80th birthday:
Cecil Taylor, unique and predominant, 80 years old 3 27 09
Cecil Taylor is the world’s predominant pianist by virtue of his technique, concept and imagination, and one of 20th-21st Century music’s magisterial modernists. A figure through whose challenges I investigate the avant garde in Miles Ornette Cecil — Jazz Beyond Jazz, he turned 80 on March 25 (or maybe on the 15th), and tonight, Saturday, March 28, “Cecil Taylor Speaks Volumes” — and presumably performs solo —  at Merkin Concert Hall.
Taylor belongs to no school but his own yet has influenced and generated a legion of followers on piano and every other instrument, too. He identifies with the jazz tradition, many of whose most ardent adherents have regarded him since his 1950s debut insultingly, incredulously, quizzically, disdainfully, reluctantly, regretfully or not at all. But he does not limit himself, or his defininition of the jazz tradition: he draws from all music’s history and partakes of the whole world’s culture.
He has earned significant critical acclaim —
“…Cecil Taylor wants you to feel what he feels, to move at his speed, to look where he looks, always inward. His music asks more than other music, but it gives more than it asks.” – Whitney Balliett
— and an international coterie of serious listeners, yet he has been ignored, feared or rejected by most people. Many pianists with more conventional approaches to their instrument, composition, improvisation and interpretation enjoy greater acceptance and financial reward.
Jazz, at least, has tried to come to terms with Taylor, whereas America’s contemporary classical music world, to which he has has just as much claim of status, has shown not a bit of interest. Taylor embraces atonality but bends it to grandly romantic purposes; he is a master of polyrhythms, counter-rhythms, implicit and suspended time, which he deploys in lengthy, complicated yet spontaneous structures; he is a bold theorist and seldom acquiescent, though frequently collaborative. There is simply no other musician like him, although he has a few peers — with most of whom he’s concertized and recorded.
It seems inadequate to merely wish Cecil Taylor “happy birthday.” How should we celebrate? Here, from Ron Mann’s 1981 documentary Imagine the Sound, is a fine clip of the Maestro.
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Last glance 2010: great performances and best beyond jazz
There’s not much time left, so here are three of my best memories of live music over this crazy year, and a couple handfuls of favorite recordings that promise to be listenable for quite a while forward —
Italy here I come
The Siena Jazz Workshop has me present my book Miles Ornette Cecil – Jazz Beyond Jazz (buy it for your Kindle!) Sunday, July 25 at 10 am (yes, in Siena, Italy). Can you suggest unmissable music in Tuscany (or Vetirbo through July 31?
Saxes & percussion, Boulez & Symphony
Last weekend the World Saxophone Quartet and percussion ensemble M’Boom blasted 21st century conventions at Birdland — this weekend Pierre Boulez conducts the Chicago Symphony Orchestra through Bartok’s two piano & percussion concerto and Stravinsky’s “The Firebird” at Carnegie Hall. Listening opportunities in New York City cover a vast range. Duh, right?
best review ever of Miles Ornette Cecil — Jazz Beyond Jazz
I’m humbled by writer-poet-performance artist Kirpal Gordon‘s appreciation of and insight into my book on the avant garde through the models of Miles Davis, Ornette Coleman and Cecil Taylor, in the just-posted NOLA issue of Big Bridge magazine. He’s captured my intent and says I accomplished what I meant to. See if you agree.Â
Cecil and Miles in NYC (and India)
Taylor, the pianist beyond genre (age: 80) and still-groundbreaking music of Davis, the trumpeter/conceptualist (dead 18 years) are at major Manhattan venues this week, continuing to provoke and gratify. Cecil Taylor performs at the Blue Note tonight (Thursday, May 28) while “Miles From India,” mixing veterans of Davis’ electric bands with South Asian improvisers, has a four-night stand at Iridium. And last Monday, Davis’ prophetic On The Corner was revisited at Merkin Concert Hall.
Cecil Taylor’s most recent recording, free mp3
Pianist Cecil Taylor, live at the Village Vanguard from July 2008 with drummer Tony Oxley, was recorded for a 2-lp vinyl album titled Ailanthus/Alitssima, and one cut of it is being offered as an MP3 for a limited time, free, by the website Destination-out.com.Â
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Cecil Taylor at 80, part two: A brief review
Pianist Cecil Taylor — who yesterday I might have described as “preeminent” rather than “predominant” — read his erudite, sound-sensitive poetry in the first half of his sold-out 80th birthday concert at Merkin Hall, then performed solo sonatas for approximately 50 minutes. An infant in the audience occasionally cooing along with Taylor’s precise diction made it difficult to catch every word (much less all the meaning) of his texts, filled as they were with the recondite references to biology, mathematics, Egyptian and Mayan civilization, yet some striking images and insightful thoughts emerged.
Cecil Taylor, unique and predominant, 80 years old
Cecil Taylor is the world’s predominant pianist by virtue of his technique, concept and imagination, and one of 20th-21st Century music’s magisterial modernists. A figure through whose challenges I investigate the avant garde in Miles Ornette Cecil — Jazz Beyond Jazz, he turned 80 on March 25 (or maybe on the 15th), and tonight, Saturday, March 28, “Cecil Taylor Speaks Volumes” — and presumably performs solo —  at Merkin Concert Hall.
Taylor belongs to no school but his own yet has influenced and generated a legion of followers on piano and every other instrument, too. He identifies with the jazz tradition, many of whose most ardent adherents have regarded him since his 1950s debut insultingly, incredulously, quizzically, disdainfully, reluctantly, regretfully or not at all. But he does not limit himself, or his defininition of the jazz tradition: he draws from all music’s history and partakes of the whole world’s culture.Â
“…Cecil Taylor wants you to feel what he feels, to move at his speed, to look where he looks, always inward. His music asks more than other music, but it gives more than it asks.” – Whitney Balliett
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Jazz, secure, shrugs off “joke” threat
“We’re doing everything we can to eliminate jazz from American culture,” a promoter for Live Nation Artists, the world’s dominant pop music production and marketing firm “joked” to Florida councilmen considering a proposed upcoming music festival. Jazz responds with a can’t-be-bothered shrug.Â