Cecil Taylor Music

This is one of several live concerts between Cecil and a drummer, recorded during his residence in Berlin for the "Total Music Meeting" in the summer of 1988. This pairing between Cecil and Tony Oxley, which occurred on the last day of his stay, always garners particular critical praise as a highpoint of the event, captured on FMP's excellently recorded 11-CD collection. It is deserving.

Tony Oxley has established himself as an intimate musical partner of Cecil, starting their relationship on this disc; then forming 'The Feel Trio' with William Parker (bass) in 1989 and recording "Celebrated Blazons," "Looking," and the monster 10-CD concert collection "Two T's for a Lovely T" (Condanza Records); and more recently touring heavily as a duo again over the past two years (2003-2004). Despite their frequent pairing, this is the only recording of them as a duo thus far on CD.

While Cecil is often described as a percussive player (playing "88 tuned drums"), Oxley's playing is impressionistic, largely devoid of syncopated rhthym, and rather melodic. As such, they achieve a sort of perfect harmony though there is of course hardly any melody to speak of. Oxley's drumming includes heavy use of wood blocks, what sounds like tiny little drums, and melodic tom-toms -- his playing is typically somewhat gentle (without a lot of crashing breakers on the cymbals unlike Gunther Sommer on "In East Berlin" who seems to compete for spotlight and volume) and consistently a-rhthymic (unlike Han Bennik on "Spots, Circles, and Fantasy").

On the tunes here, Stylobate 1 features a lot of Cecil's signature thundering chords, while Leaf Palm Hand goes into more rapid-fire playing that melds with Oxley's. It's during this title track that it almost seems as though the cymbals and drums are suspended around Cecil and are sprung to life by the reverberations of the Bosendorfer rather than Oxley himself, such is their interplay. Chimes is more a quiet final movement in Leaf Palm Hand than a distinct piece, followed by two actual encores -- Stylobate 2, a brief but energetic romp full of powerful playing from both Cecil and Oxley, and The Old Canal with Oxley taking a very minor role and Cecil playing very spare, melodic phrases to conclude the concert. The Old Canal is incidentally something of an oddity, in that an encore with the same title is played on the "In East Berlin" disc -- and Cecil rarely has recorded a tune (or at least a tune with the same name) more than once.

There's no poetry or vocalisms in this concert, and William Parker's bass seems conspicuously absent since I have listened to so much of The Feel Trio's work prior to hearing this recording (if you like this concert, check out "Celebrated Blazons" or even "Nailed" with Evan Parker). And so, this is Taylor and Oxley together, without accompaniment, that unlike some of the other Berlin duos is a study not of contrasts, but of harmony, inasmuch as that word is fitting for free jazz and the world of Cecil Taylor.

In July 1988, Cecil Taylor recorded ten (!) albums while performing live at a festival celebrating his music in Berlin. The discs, including the classics "Pleistozaen Mit Wasser" with Derek Bailey, "Spots, Circles And Fantasy" with Han Bennink, "Remembrance" with Louis Moholo, and this one, "Leaf Palm Hand" with Tony Oxley, are only available as imports on the FMP label. They may be a bit expensive, but for fans of avant-garde jazz and European improvised music, they are must purchases. "Leaf Palm Hand" is the best of five discs featuring Taylor playing in a duo with a drummer or percussionist. Tony Oxley has a particular affinity for and comprehension of Taylor's complex music. "Leaf Palm Hand" features four shorter tunes and the 45 minute extended title track, so you also get a lot of music for your money.

This is weird. On one hand, you have Cecil Taylor's inimitable piano approach, not yet fully developed but definitely on the way. On the other hand, you have a pretty conventional bop rhythm section - straight-ahead bop drumming, walking bass, and vibraphone. The rhythm section anchors Taylor, in both the good and bad senses of the word.

My sense? If you're already into Cecil Taylor, it's a worthwhile addition to your collection. But if you're new to Cecil Taylor, start with one of his later solo piano albums and get used to him first.

In my assessment the best example of Cecil Taylor's early material, "Looking Ahead!" finds Cecil Taylor in transition-- his rhythm section (bassist Buell Neidlinger and drummer Dennis Charles) has developed a more sympathetic ear to what he was trying to accomplish (at this point, something very different from where he'd end up) and vibraharpist Earl Griffith puts forth a fine counterpoint to Taylor's piano.

Musically, this is a unique record in Taylor's catalog, and it sits somewhere closer to the innovations of Ornette Coleman than to his later works-- the rhythm section is in an adventerous bop vein-- both occasionally leave behind their foundations for a more abstract approach, but largely maintenance of swing is essential. Taylor and Griffith are largely focused on intertwining lines-- Taylor in fact plays more single-note runs than I've heard anywhere else in his catalog to foil Griffith well. Earl Griffith is a bit of the ace in the hole for Taylor-- I have no idea where this guy went, but his playing shows an unusual sensitivity for his instrument and a fine understanding of Taylor's music. There is a space, an openness, an arythmic and polytonal approach that allows room for the musicians to work-- check Taylor's solo and the traded figures with Charles on "Excursions on a Wobbly Rail", the album's standout, to get a good feel for this. Taylor's future is laid out, but its definitely a growth rather than the full-on assault his later work would be. Also pointing closer to the future is "Of What", the densest song where, like in Taylor's later work, the quartet seems to operate as one instrument, interwining and voices rising and falling between each other.

The remainder of the pieces are a bit more open, with emphasis on intersecting single-note lines between Taylor and Griffith ("Luyah! The Glorious Step"), a lyrical ballad (composed by Griffith-- "African Violets") that shows a side of Taylor we rarely see and a piece that emphasizes space and openness in opposition to the usual Taylor density ("Wallering").

Taylor would reach greater heights as his idiom came together and his musicians were more sympathetic, but this record is a superb example of his finding his way. Recommended.

This is a great record, must be the finest available in the free form idiom. All four players are magnificent, not least the bassist Buell Neidlinger.

This is not really difficult music to listen to either. Just listen to the opening track; this is hard swinging improvised music of rare quality.

This is fascinating music. What an exciting pianist Taylor was (and still is)!

The sound quality is absolutely splendid. Highly recommended!

For those who think they know the ongoing saga of the
master pianist Cecil Taylor, the glories of LOOKING AHEAD
may pose quite an intriguing chapter to discover, and quite
the surprise. Among Taylor's earliest recordings, the late
1950s album finds the acclaimed freewheeler just as
formidable in "traditional" settings as he is stretching
them into the unknown. Rather than concern yourself
with which Taylor is better, put aside such foolishness,
and enjoy this brisk package of robust swing, abundantly
fueled by other things.

The quartet Taylor helms here includes bassist Buell
Neidlinger and drummer Dennis Charles, familiar to
anyone recalling the pianist's first recordings with
soprano saxophonist Steve Lacy. Here, however, the
quartet's fourth member is vibraphonist Earl Griffith,
whose wonderfully-staccato style is a perfect complement
to Taylor's already-whirling approach. While a listen
to this album make stir some to wonder how Cecil Taylor
and vibes wizard Walt Dickerson would sound together,
there is no denying the particular joy of Griffith's
highly personal sound.

Thus, LOOKING AHEAD is a superb showcase, standing alone
in the Taylor canon. Produced by acclaimed writer Nat
Hentoff (whose exceptional liner notes remind us that
critical analysis can be insightful and provocative in
responsible hands), the pianist's only album for
Contemporary Records more than makes the label live
up to its name!

The compositions are a delight, from the gospel shout
of "Luyah! The Glorious Step" to the serenade of
Griffith's "African Violets", from the head-nodding
"Of What" to the strolling finger-snap of "Wallering"
and the wistful travelogue of "Toil".
In particular, dig the album's grand finale, Taylor's
locomotive tribute to Billy Strayhorn and Duke Ellington.
Written on the changes of Strayhorn's epic "Take The A
Train", "Excursions On A Wobbly Rail" is bold, buoyant
and breathtakingly beautiful.

Singing its streamlined way across all boundaries, the
merry romp and ride points ever so cunningly to broader
vistas, just beyond the next bend...

Funny thing, this...

I mean, you EXPECT the unexpected for Cecil, but the expected unexpectedly? Hardly. For the uninitiated, begin HERE, track 1, right off the bat it's Ellington as a mental patient, swinging to an unswung beat as the band takes different kinds of dope, each swinging erratically but damn if it all MAKES SENSE!

Excursions on a Wobbly Rail indeed...you see, Cecil wasn't trying to re-invent jazz, he was trying to ADVANCE it (see first album title, see this album title). So you don't drop what you've learned, you lean on it... you keep the soul but change the mind, hell it was time! Post-bop that most stopped, making Cecil flee to the drudgery of dishwashing not long after this. But HERE is what he heard, and you can still hear it, swaying like willow tree its branches all together, but all separate to a different drum. Don't get it? Then get it, as in pick it up. Jazz still ain't caught up yet...

This is weird. On one hand, you have Cecil Taylor's inimitable piano approach, not yet fully developed but definitely on the way. On the other hand, you have a pretty conventional bop rhythm section - straight-ahead bop drumming, walking bass, and vibraphone. The rhythm section anchors Taylor, in both the good and bad senses of the word.

My sense? If you're already into Cecil Taylor, it's a worthwhile addition to your collection. But if you're new to Cecil Taylor, start with one of his later solo piano albums and get used to him first.

In my assessment the best example of Cecil Taylor's early material, "Looking Ahead!" finds Cecil Taylor in transition-- his rhythm section (bassist Buell Neidlinger and drummer Dennis Charles) has developed a more sympathetic ear to what he was trying to accomplish (at this point, something very different from where he'd end up) and vibraharpist Earl Griffith puts forth a fine counterpoint to Taylor's piano.

Musically, this is a unique record in Taylor's catalog, and it sits somewhere closer to the innovations of Ornette Coleman than to his later works-- the rhythm section is in an adventerous bop vein-- both occasionally leave behind their foundations for a more abstract approach, but largely maintenance of swing is essential. Taylor and Griffith are largely focused on intertwining lines-- Taylor in fact plays more single-note runs than I've heard anywhere else in his catalog to foil Griffith well. Earl Griffith is a bit of the ace in the hole for Taylor-- I have no idea where this guy went, but his playing shows an unusual sensitivity for his instrument and a fine understanding of Taylor's music. There is a space, an openness, an arythmic and polytonal approach that allows room for the musicians to work-- check Taylor's solo and the traded figures with Charles on "Excursions on a Wobbly Rail", the album's standout, to get a good feel for this. Taylor's future is laid out, but its definitely a growth rather than the full-on assault his later work would be. Also pointing closer to the future is "Of What", the densest song where, like in Taylor's later work, the quartet seems to operate as one instrument, interwining and voices rising and falling between each other.

The remainder of the pieces are a bit more open, with emphasis on intersecting single-note lines between Taylor and Griffith ("Luyah! The Glorious Step"), a lyrical ballad (composed by Griffith-- "African Violets") that shows a side of Taylor we rarely see and a piece that emphasizes space and openness in opposition to the usual Taylor density ("Wallering").

Taylor would reach greater heights as his idiom came together and his musicians were more sympathetic, but this record is a superb example of his finding his way. Recommended.

This is a great record, must be the finest available in the free form idiom. All four players are magnificent, not least the bassist Buell Neidlinger.

This is not really difficult music to listen to either. Just listen to the opening track; this is hard swinging improvised music of rare quality.

This is fascinating music. What an exciting pianist Taylor was (and still is)!

The sound quality is absolutely splendid. Highly recommended!

For those who think they know the ongoing saga of the
master pianist Cecil Taylor, the glories of LOOKING AHEAD
may pose quite an intriguing chapter to discover, and quite
the surprise. Among Taylor's earliest recordings, the late
1950s album finds the acclaimed freewheeler just as
formidable in "traditional" settings as he is stretching
them into the unknown. Rather than concern yourself
with which Taylor is better, put aside such foolishness,
and enjoy this brisk package of robust swing, abundantly
fueled by other things.

The quartet Taylor helms here includes bassist Buell
Neidlinger and drummer Dennis Charles, familiar to
anyone recalling the pianist's first recordings with
soprano saxophonist Steve Lacy. Here, however, the
quartet's fourth member is vibraphonist Earl Griffith,
whose wonderfully-staccato style is a perfect complement
to Taylor's already-whirling approach. While a listen
to this album make stir some to wonder how Cecil Taylor
and vibes wizard Walt Dickerson would sound together,
there is no denying the particular joy of Griffith's
highly personal sound.

Thus, LOOKING AHEAD is a superb showcase, standing alone
in the Taylor canon. Produced by acclaimed writer Nat
Hentoff (whose exceptional liner notes remind us that
critical analysis can be insightful and provocative in
responsible hands), the pianist's only album for
Contemporary Records more than makes the label live
up to its name!

The compositions are a delight, from the gospel shout
of "Luyah! The Glorious Step" to the serenade of
Griffith's "African Violets", from the head-nodding
"Of What" to the strolling finger-snap of "Wallering"
and the wistful travelogue of "Toil".
In particular, dig the album's grand finale, Taylor's
locomotive tribute to Billy Strayhorn and Duke Ellington.
Written on the changes of Strayhorn's epic "Take The A
Train", "Excursions On A Wobbly Rail" is bold, buoyant
and breathtakingly beautiful.

Singing its streamlined way across all boundaries, the
merry romp and ride points ever so cunningly to broader
vistas, just beyond the next bend...

Funny thing, this...

I mean, you EXPECT the unexpected for Cecil, but the expected unexpectedly? Hardly. For the uninitiated, begin HERE, track 1, right off the bat it's Ellington as a mental patient, swinging to an unswung beat as the band takes different kinds of dope, each swinging erratically but damn if it all MAKES SENSE!

Excursions on a Wobbly Rail indeed...you see, Cecil wasn't trying to re-invent jazz, he was trying to ADVANCE it (see first album title, see this album title). So you don't drop what you've learned, you lean on it... you keep the soul but change the mind, hell it was time! Post-bop that most stopped, making Cecil flee to the drudgery of dishwashing not long after this. But HERE is what he heard, and you can still hear it, swaying like willow tree its branches all together, but all separate to a different drum. Don't get it? Then get it, as in pick it up. Jazz still ain't caught up yet...

"Looking" is an excellent solo concert recorded during CT's return to Berlin for the Total Music Meeting in 1989, a year after his heavily documented and celebrated residence there for the Improvised Music festival in 1988. On this return trip, three separate concerts were captured, each with the title "Looking (Berlin Version)." This solo date was the first, followed by takes by the "Feel Trio" (CT, William Parker, Tony Oxley) and then "Corona" (Feel Trio + Harald Kimmig and Muneer Abdul Fataah on violin and cello).

The solo concert here is an absolutely typical CT effort, meaning that it's an amazing, sustained effort of nearly 70 minutes of punctuated attacks and musical decontructions following what is now an established motif. First, a lengthy main piece that spans tracks 1-2, but is really a continuous work. In it, CT's building up musical themes, then tearing them down, with a mostly continuous medium tempo, occasional extended forays into rapid-fire excursion, sections where he's pounding the poor ivories flat, and growling underneath it all (but no chanting or poetry this time around). Five different short encore pieces are then offered, restating the explorations covered earlier, this time in miniature.

A fine recording captured at the peak of CT's powers, and as good a place to start as any, but where to fit it in the rest of the CT discography? Among CT's now more than a dozen recorded solo dates, I'd rank it below Garden, Silent Tongues, Reinforced Concert (on the In East Berlin 2CD set), Erzulie Maketh Scent, or Willisau. Mostly just because those other concerts were either important milestones in CT's developing art, or offered some refreshingly new approach to the now firmly established Taylor formula. So, while "Looking" is awesome relative to the rest of the universe, it is just a bit more typical than other dates by the master.