🎵 AotW AOTW: Cecil Taylor - IN FLORESCENCE (SP-5286)

[Captain Bacardi]

Cecil Taylor
IN FLORESCENCE
A&M SP-5286

Released 1990

Format: Vinyl/CD/Cassette

Produced by John Snyder
Executive Producer: Steve Ralbovsky

Songs:

• 1. J. - 2:52
  2. Pethro Visiting The Abyss - 7:08
  3. Saita - 3:00
  4. For Steve McCall (Gregg Bendian) - 1:00
  5. In Florescence - 3:02
  6. Ell Moving Track - 5:15
  7. Sirenes 1/3 - :48
  8. Anast In Crisis Mouthful Of Fresh Cut Flowers (William Parker) - 3:37
  9. Leaf Taken Horn - 4:52
  10. Entity (Gregg Bendian) - 2:32
  11. Charles And Thee - 8:00
  12. Chal Chuiatlichue Goddess Of Green Flowing Waters - 11:29
  13. Morning Of Departure - 3:13
  14. Feng Shui (Cecil Taylor/Gregg Bendian/William Parker) - 4:35
  
  All songs written by Cecil Taylor except where indicated.

Musicians:
Cecil Taylor - Piano, Voice, Prepared Piano (12)
Gregg Bendian - Percussion, Voice (12)
William Parker - Bass, Voice & Percussion (12)

Recorded June 8, 1989 at RCA Recording Studios, New York City
Engineered by Joe Lopes, assisted by Jay Newland
Vocal introductions recorded Septamber 9, 1989 at RCA Recording Studios, New York City, engineered by Jay Newland.
Mixed September 22 and October 9, 1989 at RCA Recording Studios, engineered by Jay Newland, assisted by Joe Lopes.
Digitally mastered October 10 and 11, 1989 at RCA Recording Studios, engineered by Jay Newland.
Recorded to 24 Track analog and 2 track digital (solos). Mixed to Sony 1630, mastered to Sony 1630.

Art Direction: Chuck Beeson with Ph.D
Design: Ph.D
Photography: Carol Friedman
Liner Notes by Jim Macnie




Capt. Bacardi

 

[seashorepiano]

I should probably be glad I don't have this.

 

[LPJim]

Taylor's experimental piano gymnastics are an acquired taste. He's more governed by mathmatical intervals between keys than melody. Brief poetry readings occur at odd moments. Some of the percussion sounds like someone staggering down an alley tripping over garbage cans.
I bought a used copy to complete my 'Modern Masters' set and do not play it often.
This one's not intended for the light jazz or easy listening fan.
JB

 

[seashorepiano]

NP: Albert Ayler, New Grass

Just kidding.

 

[Dave]

Taylor's experimental piano gymnastics are an acquired taste. He's more governed by mathmatical intervals between keys than melody.

JB

Wow, that's the same thing you've said about this the last time it was AOTW...:

What's really intriguing is how Taylor manages to play all kinds of runs while studiously avoiding lapsing into any kind of recognizable melody. I figure he must be working from some kind of mathematical formula.

~ And ~​

Some of the percussion sounds like someone staggering down an alley tripping over garbage cans.

Yes, I remember you giving us that description from the last time, too:

Particularly avante gard in the extreme is the 12th track, "Chal Chuatlichue .." It's mostly percussion, and it reminds me of listening to someone trip over a rack of garbage cans while running down an alley.

--



Dave

 

[Captain Bacardi]

This is one of those albums where drugs are encouraged when listening to it. When it comes to jazz, I try to keep as open a mind as I can. But this one went way beyond my tolerance. I'm often reminded of some kid going up to a piano and just banging on the keys, or maybe a cat is walking across the keyboards. That's pretty much what this album is. The poems that Cecil Taylor reads makes more sense than anything he plays - and the poetry doesn't make sense. There are brief moments where he almost plays something coherent, such as snippets of "Sirenes 1/3", but those moments are fleeting at best. I found this on vinyl for about $2 and I think I was ripped off. But it's part of my Modern Masters Series collection. What other use there is confounds me. 1 star.



Capt. Bacardi

 

[Rudy]

The poems that Cecil Taylor reads makes more sense than anything he plays - and the poetry doesn't make sense.

Quote of the week!

Your description reminds me of a local (?) musician named Roy Brooks. His gig preceded another (that we wanted to see) at the Montreux Detroit Jazz Festival about 20 years ago. He played drums through a cheap guitar amp with echo and reverb cranked up. The band just starts playing a good groove, then he'd start waving his arms for everyone to stop playing so he could pick and poke at his drums for a few minutes. His whole set made as much sense as Taylor's poetry...

 

[LPJim]

Sorry about repeating so much. It's the nature of getting older.

I think Taylor's was the last in the 'Modern Masters' series to be available on vinyl. The next releases had program lengths exceeding 65 minutes, and record companies were phasing out vinyl in favor of the CD.

JB