Results tagged “Cecil Taylor” from 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.
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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.
Continue reading Cecil and Miles in NYC (and India).
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.
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Word is only 475 copies of the lp will be sold -- details on that at Triple Point Records.
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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.
Taylor's music at the piano, with the piano, was crystal clear. From a few measures of score he drew from a folder and propped within view but didn't further glance at, Taylor launched improvisations of impeccable and highly nuanced touch, complicated harmony and organic, balanced structures. His phrases often began as simple gestures or a few carefully selected notes, then stretched out with the evenness of breathing into full investigations and transformations of the nascent idea. And he has many, many ideas, demonstrating the infinite ways tones can be arranged, reflected, expressed to conjure beauty in spheres that transcend "mere" music to speak of movement, architecture, strength, delicacy, suppleness and nuance. As a listener I found myself (again!) suspended between awed appreciation of his art and floods of my own internal impresssions, including insights into my fleeting thought processes.
Continue reading Cecil Taylor at 80, part two: A brief review.
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 --
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"...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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I'm a Chicago-born and New York-based writer, editor, author, arts producer for National Public Radio -- for more than 30 years, a freelance arts journalist
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