Cecil Taylor Music

Let me first say, that many people dig this stuff...avant-garde/free jazz stuff, and honestly, I've listened to a lot of it probably more than my ears can stand, but I have to say I just can't dig it. I've tried on so many occasions to like it, but this stuff is noise pollution to me. It's like running into someone on the street you don't like, after a few times, you make nice and chat with them, but after awhile, you start figuring out ways to avoid them everytime you see them. That's what Cecil Taylor's "music" is like. If you can dig this, then more power to you, but I have to have some substance in the music I listen to for me to dig it. Taylor's "music" is like book with a storyline that goes nowhere.

This recording is totally devoid of melody, harmony, and rhythm, which are the three elements that make music the beautiful thing it is.

Apparently, Blue Note has finally re-released this album again (it has been available on cd before but was several years ago). The band is similar to the one on "Unit Structures" in that it features Cyrille, Silva, Grimes and Lyons. Added to this group is the incredible trumpeter Bill Dixon who really adds to the magic of this album. His style is introverted, moody and RELATIVELY laid-back. This was a great contrast with the rest of the group and it was a stroke of genius to include him on the album.

There's only two songs on the album; the title track and "With (Exit). Both those songs are less dense and complicated than the compositions on "Unit Structures" which makes this a great first-buy for new-comers to cecils later (post-62) works. The first song, "Conquistador" starts with a theme which is followed by a typically intense (but logical) Lyons solo. If you listen to Cecils piano in the background you can hear that there are easily recognizable tonal centers which isn't always the case with his music. After Lyons comes a beautiful, laid-back section where Dixon plays a lyrical trumpet solo. This leads into the "real" theme which is far more melodic in the conventional sense than Taylor usually is. Cecil then plays a long, incredible piano-solo backed by "african"-sounding percussion. The song ends with a bass-piano section and a recapitulation of the first theme. Incredible stuff.
The other song, "With (exit)" is my favourite Cecil Taylor composition. It starts off with another catchy and beautiful theme that goes through a syncopated section and a more intense one. The solos are basically explorations of the various moods of the theme. First a beautiful piano-basses section, then a trumpet solo over syncopated rhytms followed by a long, intense alto solo. Then follows one of the best piano solos I've ever heard where Cecil goes from ethereal, laid-back passages to screaming intensity and back to the theme again. The whole number doesn't sound disjointed at all; it flows seamlessly from section to section.
This is one of the best "avant-garde" jazz albums ever made and a perfect way to start your Cecil Taylor collection!!!

Cecil Taylor's "Conquistador," out-of-print for nearly ten years and often impossible to find used, makes an improbable return to the Blue Note catalog in the RVG series. Cecil Taylor has been making unique contributions to jazz for more than 50 years, but the pianist actually only made two albums for Blue Note -- "Unit Structures" and "Conquistador." (Others have been issued on CD by Blue Note, but those sessions, like "Love for Sale" and "Jazz Advance," were originally recorded for other labels.) While many will say his most creative, fertile period began in the mid-70s, I have always enjoyed his two mid-60s Blue Note dates the best. I know many critics have deemed these transition years for Taylor, but I find his participation in the jazz avant-garde's most popular period to be quite vital. This October 6, 1966 session and its two tracks "Conquistador" and "With (Exit)," (an alternate take of the latter song is also included) certainly holds it own compared to albums of that year by fellow innovators John Coltrane, Albert Ayler and Archie Shepp, not to mention his Blue Note colleagues. Indeed, the climate at Blue Note in Alfred Lion's last years was very open-minded and favored the experimental, and Taylor must have relished this freedom. His group of Bill Dixon on trumpet, Jimmy Lyons on alto sax, Henry Grimes and Alan Silva on bass, and Andrew Cyrille on drums is the perfect vehicle to put forth Taylor's eccentric, multi-layered free jazz vision. Those who like Blue Note classics like "Out to Lunch," Point of Departure," "The All-Seeing Eye" or "Dialogue" will be right at home with "Conquistador."

1. Conquistador 17:54
2. With (Exit) 19:20
3. With (Exit) 17:24

Cecil Taylor, piano
Bill Dixon, trumpet
Jimmy Lyons, alto sax
Henry Grimes, bass
Alan Silva, bass
Andrew Cyrille, drums

If I didn't know better, I'd think this music was from the same session as Unit Structures, but it isn't. It's got roughly the same group (there's a different trumpet player and only one sax). For me, the real joy of this record (and any of Cecil's other recordings from this period) is the rhythm section. Andrew Cyrille is to me one of the truly great and innovative drummers of that time. The bass duo of Henry Grimes and Alan Silva is incredible as well. Grimes strums and rumbles in the background while Silva shades and colors the music with his unbelievably high-pitched bowed tones, formally called "arco bass." And of course, Cecil Taylor, one of the greatest musicians ever. And I don't mean among the other two-thousand "greatest musicians ever;" I mean that he is probably one of the top 10 greatest musicians who ever lived. Other musicians have even said that he was greater than Stravinsky. So you really can't go wrong with a set like this if you are a fan of avant-garde jazz, or even if you just appreciate creative & innovative music. Bill Dixon and Jimmy Lyons play wonderful melodies and solos throughout the record (Dixon's solo on the alt. take of "With (Exit)" is particularly interesting). Although it's not easy listening for people who haven't been exposed to free music before, this is a must-have for Cecil Taylor fans and avant-garde jazz fans in general.

The original album consisted of two side-length tracks (the first two on the CD). An alternate take of "With (Exit)" has been added for our listening pleasure. Although it is a wonderful song, it doesn't differ too much from the master take. This album has been out of print for a very long time; it was only just reissued by Blue Note in 2004. Recorded in 1966, Conquistador came from one of the two only sessions that Taylor had with Blue Note (the other one, only a few months earlier, produced Unit Structures). An earlier Taylor album, Jazz Advance, has been reissued by Blue Note, but it was originally recorded for an independent label. At any rate, it's an absolute joy to have the other half of his Blue Note sessions.

Both Conquistador and Unit Structures include the basic nucleus of Taylor's working group: Jimmy Lyons, Andrew Cyrille, Henry Grimes, and Alan Silva. (The live album Student Studies, recorded in late 1966, featured Lyons, Cyrille, and just Silva on bass.) This was pretty much Taylor's main band for a very large portion of his career. Lyons joined in 1960 and stayed until his death in the 1980s. Cyrille joined in 1964 and stayed until the mid-70s. I believe Grimes joined in 1961, but I'm not sure when he left. I'm pretty sure that Silva just worked with Taylor in the 1960s. Anyhow, many Taylor fans, including this one, believe that this was his best group.

The title track begins with a few characteristic atonal piano flourishes, followed by a brief statement from the horns. Listen to what Grimes is doing here; at first it seems that he's just playing random notes, but it soon becomes apparent that he's playing an out-of-time repeated pattern. I swear, if I had a free-jazz group, this is the man I would want on bass. He had such a cool touch. This short section gives way to a Jimmy Lyons solo, in which he explores atonality without abandoning the scale he's apparently hearing in his head. Cyrille is playing freely, but he still hints at the time; it's a kind of loping, uneven pulse. And of course Cecil is just thrashing underneath it all. This fades into a slow, drawn out section for Dixon to come in and play a short but beatifully lyrical solo. I love the contrast of the two horns' solo sections. After Dixon finishes up, the rhythm section briefly develops a new groove, with Silva bowing high notes on top of it. The horns state a different theme, which is more tonal and organized. Cyrille suggests a latin feel here. The next 5 or 6 minutes belongs to Cecil, who does an incredible solo here. Keep in mind that he means to hit all the notes he does; it may sound like he's just randomly hitting the piano, but he is really thinking about what he's playing. A Taylor solo is sort of like an odd dream-you have no clue what's going to come next. Silva slithers in and out with more arco bass. During all of this, Grimes sounds like an earthquake. Cecil wraps up his solo and fades down a bit and Silva solos for a bit on bowed bass. Cecil comes back in before the horns restate the second theme. Then the entire group drops out except for Grimes and Silva, who play a great duet. Silva puts down his bow and plays pizzicato, exploring the same idea that Lyons finished his solo with. Notice how different the two basses sound; something tells me that Silva was playing a smaller bass. His notes just sound higher-pitched than Grimes, even though they're playing in the same register. The rest of the group comes back in, the horns restate the first theme, and the tune ends.

"With (Exit)" is fairly similar in structure to the title track, but it is certainly a unique tune nevertheless. It opens with a wash of bowed bass and piano, slow and legato. Cyrille adds bits of color here and there. The horns state what may be the coolest (and creepiest) Taylor theme; it brings to mind a nursery rhyme of some sort. I could picture an into like this being in a thriller movie. If you like the beginning of this tune, you might want to check out "Student Studies" (mentioned above). After the theme, the rhythm section just kind of trips out for a few minutes. Lots of interplay between Cecil and Silva. Dixon eventually comes in and plays a really far out solo. He seems to be responding to Cyrille, whose quick, fluttering brushes make for some great tension. Dixon's short, atonal outbursts build and build, and you think that he is just going to go crazy, but then he steps out and the momentum changes. Cyrille kicks it up a notch and Lyons comes in, again with Cecil thrashing and cursing underneath. Next comes Cecil himself. Do I really need to describe what happens here? A Cecil Taylor solo is experienced, not talked about. After Cecil is finished blowing our minds, the theme is stated again and the group takes it out.

The alternate take of "With (Exit)" is basically the same as the master structure-wise, except I think that Dixon does a better solo on the alternate.

Conquistador could definitely be considered one of Cecil's best albums. He did a lot of work, and much of it differs from what the average person is used to. Conquistador could be an ear-shattering but revelatory and enlightening experience if the listener is not aware of what is to come. However, if you dig Cecil and you haven't heard this, then you're in for a trip.

I've got alot of Cecil's stuff, but I have to agree that Conquistador may very well be Cecil's masterpiece. It really is better than Unit Structures, and had you told me that before I heard it I wouldnt have believed you. Also thanks to Rudy Van Gelder, it sounds much better too. Dont hesitate to get this one, it's excellent.

Owning almost all of Cecil Taylors recorded output, it is difficult to pinpoint one high point. This is it though. A continous performance lasting just over one hour with J. Lyons, Raphe Malik, Marc Edwards and the incredible David S. Ware. Strong soloing and ensemble passages throughout it sometimes becomes a challenge to find where solo's and individual thoughts cease and ensemble notated work begins. Being a 1976 performance this also serves as a prelude to the wonderful recordings that David s. Ware would go on to record as a leader with his own bands. Highly recommended and challenging music that bears repeated listening and investigation.

This is a very strong date from the Cecil Taylor Unit, circa 1976, a time when Cecil's music had already fully blossomed into what it is today -- dense, unbridled, frenetic, passionate, and complex. For those not accustomed to avant-garde (kind of a misnomer now since Cecil's been recording since the 50's) or free jazz, it's safe to say his music can be "difficult" and it's certainly not for everyone, with accessibility inversely proportional to the number of sidemen in his band. Even a die hard fan like myself (particularly in my older, more mellow age) is partial to his solo, duo, and trio work.

And yet, while this might not be the place to start, this is nevertheless an outstanding live concert featuring the Unit as quintet, with Raphe Malik on trumpet, Jimmy Lyons on alto sax, David S. Ware on tenor, and Marc Edwards on drums. It's classic Cecil -- a single tune ("Stream and Chorus of Seed") of more than an hour of non-stop, breakneck piano playing, with the horn players taking turns as soloists. Raphe Malik dominates the first quarter blasting and trilling away on trumpet; David Ware takes over at the 20 minute mark with squallering and upper register explorations easily on par with latter day Coltrane, Pharoah Sanders, Albert Ayler, or David Gilmore; Jimmy Lyons' trademark alto sound emerges at minute 35 (Cecil treasured Lyons, who played alongside for more than two decades); and then by minute 46 the horns yield (out of sheer exhaustion?) to Cecil and the rhythm section to round out the final 15 minutes of the concert. Malik and Ware are incendiary, while Edwards sticks to fairly conventional accompaniment underneath it all. Since the horns rarely play atop one another (except at the start and very end), the music is not as dense and cluttered as on other dates, such as Unit Structures or Winged Serpent (Sliding Quadrants), other noteworthy sessions where things are about as freewheeling as free jazz can be. Most of the music here is therefore really trio music (piano, drums, horn), in the tradition of the classic Live at Monmartre date from 1962 (Nefertiti, the Beautiful One Has Come), but now fully matured (and with much better recording quality).

Definitely among Cecil's very best group outings.

If you are already 'advanced' in Taylors music or simply want to confront yourself with something rather overwhelming (or disturbing, if you are not into such 'Free' Jazz) try 'Dark to themselves'. Especially sax- & trombone-enthusiasts should not miss it, for it contains brilliant solos of R. Malik, D.S. Ware and (of course!) Jimmy Lyons. This music burns and screams in a way, which is most obviously not made for a cocktail party. But to an open ear it might turn out to be a revelation.

Doesn't it seem like every artist mentioned on Ken Burns Jazz was related back to Louis Armstrong or Charlie Parker? Dark unto themselves is an absolutley staggering work of art by the master of the avant-garde movement. One track-62 minutes in length. I always say for people just discovering Cecil Taylor, borrow his records from a friend before purchase, because his music can be quite difficult to grasp at first. After that though, buy all the Cecil you can get your greasy mitts on! He's an absolutely brilliant musician and should get more credit where it is due.