JOv2
Well-Known Member
Well, not that it matters to anyone by me, but I rather like Cecil's music -- although I only know his '50s/'60 LPs (and have nearly 10 recordings from this era). Getting only a "mid-flight" clip of any performance is rarely representative of a the work at hand; and there are plenty of similar dissonant or atonal sections in the works of Mingus, Monk, and certainly Miles that may seem similarly cacophonous -- though it depends on one's threshold, of course. Being rooted in jazz music first, and classical music second, atonality intrigues me (as do "non-musical" sounds in general). Most times when I get a call to arrange or "score" a pop arrangement, nearly everytime I'm having to defend little dissonant elements here and there (that I like) that the producer doesn't feel is appropriate or the songwriter is "unsure of...". Like Charles Mingus, Archie Shepp, Alber Ayler, Don Cherry, Ornette Coleman, and Eric Dolphy (to name only a few), the attraction to pushing the ear regarding melody, harmony, and counterpoint is a life-long fascination. However, I'll be the first to admit, though, much of the appreciation is mostly from other artists. Believe it or not, I have an extended recorded work by Taylor + an outtake of the same piece...it would drop most jaws to learn that both were quite similar...That it to say, although at times (to some) it may sound like an 8-year-old throwing a temper tantrum at a music store, it's actually arranged to significant degree. Now, while that does not necessarily make it "good" music, it should, nevertheless, be recognized that much thought and attention went into the music. This is what Bill Evans and others pick up on...
Here's what Bill Evans said about a Cecil Taylor piece from 1964 Blindfold session:
Here's a list of a few famous double bassists in the '60s that were/are associated with progreessive/experimental improv-based music. I'm sure you'll recognize nearly all of them...
Eddie Gomez: Initially in the October (’64) Revolution (Paul Bley)
Charlie Haden: In Ornette's first quartet ['59--'61]
Dr. David Izinson: Recorded with both Ornette and Archie Shepp. Left music to become a psychologist
Scott La Faro: He may vary well have been the finest improvisational artist to play the instrument during the period, ‘59-61. In addition to the Bill Evans trio recordings, look for other sessions under the leadership of Booker Little, Ornette, and Mingus. He died at age 28, JUL61
Ron McClure: With Charles Lloyd's fascinating late '67-69 ensemble
Dr. Buell Neidlinger: Extremely gifted artist who recorded much with Cecil; mooligthed as Principal bassist in the Houston symphony [late '50s/early ‘60s]
Gary Peacock: Played with Albert Ayler, Sonny Simmons, and Paul Bley during the October Revolution
Dr. Barre Phillips: In Archie Shepp's amazing quartet at Newport '65
Alan Silva: Experimental artist of merit. Performed with Albert Ayler and several ESP dates
Alan Stinson: Died very young. Listen to him on Bobby Hutcherson's truly beautiful Oblique (’67)
Steve Swallow: Fine writer, too – essential to Gary Burton’s ground-breaking pop-jazz fusion quartet (’66-69]. Check him out on early Paul Bley and Trio recordings, too.
Here's what Bill Evans said about a Cecil Taylor piece from 1964 Blindfold session:
I really got with that -- it was interesting. I like it. In fact, I liked it a lot. I think that what they were going for they realized very well, and i would give it five starts except that I feel that with that wonderful beginning they could have realized a lot more with change of texture and dynamic exploration. For what it is, it's realized almost perfectly, but it just didn't explore enough areas of expression...all dramatic effect is achieve by change: by setting up one thing and then bringing in some sort of contrast. It's probably Cecil Taylor.
Here's a list of a few famous double bassists in the '60s that were/are associated with progreessive/experimental improv-based music. I'm sure you'll recognize nearly all of them...
Eddie Gomez: Initially in the October (’64) Revolution (Paul Bley)
Charlie Haden: In Ornette's first quartet ['59--'61]
Dr. David Izinson: Recorded with both Ornette and Archie Shepp. Left music to become a psychologist
Scott La Faro: He may vary well have been the finest improvisational artist to play the instrument during the period, ‘59-61. In addition to the Bill Evans trio recordings, look for other sessions under the leadership of Booker Little, Ornette, and Mingus. He died at age 28, JUL61
Ron McClure: With Charles Lloyd's fascinating late '67-69 ensemble
Dr. Buell Neidlinger: Extremely gifted artist who recorded much with Cecil; mooligthed as Principal bassist in the Houston symphony [late '50s/early ‘60s]
Gary Peacock: Played with Albert Ayler, Sonny Simmons, and Paul Bley during the October Revolution
Dr. Barre Phillips: In Archie Shepp's amazing quartet at Newport '65
Alan Silva: Experimental artist of merit. Performed with Albert Ayler and several ESP dates
Alan Stinson: Died very young. Listen to him on Bobby Hutcherson's truly beautiful Oblique (’67)
Steve Swallow: Fine writer, too – essential to Gary Burton’s ground-breaking pop-jazz fusion quartet (’66-69]. Check him out on early Paul Bley and Trio recordings, too.