Cecil Taylor American Pianist

Total Page：16

File Type：pdf, Size：1020Kb

Cecil Taylor American pianist (March 25 ,1929–April 5, 2018) Track listing 1. title: Glossalalia – part four (05:44) personnel: Cecil Taylor (piano) album title (format): For Olim (cd) label (country) (catalog number): Soul Note (Italy) (SN 1150 CD) release date: 1987 duration: 06:33 2. title: Double Holy House (06:33) personnel: Cecil Taylor (piano, voice, percussion) album title (format): Double Holy House (cd) label (country) (catalog number): Free Music Productions (Germany) (FMP CD 55) release date: 1993 recorded live: September 23, 1990 in Berlin 1 3. title: Steps (10:19) personnel: Cecil Taylor (piano), Jimmy Lyons (sax), Ken McIntyre (sax, oboe, bass clarinet), Henry Grimes (bass), Alan Silva (bass), Andrew Cyrille (drums), Eddie Gale Stevens Jr. (trumpet) album title (format): Unit Structures (lp) label (country) (catalog number): Blue Note (US) (BLP 4237) release date: 1966 4. title: Idut (14:42) personnel: Cecil Taylor (piano), Jimmy Lyons (sax), Sirone (bass), Ronald Shannon Jackson (drums), Raphe Malike (trumpet), Ramsey Ameen (violin) album title (format): Cecil Taylor Unit (lp) label (country) (catalog number): New World Records (US) (NW 201) release date: 1978 5. title: Womb Waters Scent of the Burning Armadillo Shell (13:07) ensemble: Cecil Taylor Segments II (Orchestra of Two Continents) personnel: Cecil Taylor (piano), Enrico Rava (trumpet), Tomasz Stánko (trumpet), Jimmy Lyons (alto sax), Frank Wright (tenor sax), John Tchicai (tenor sax, bass clarinet), Gunter Hampel (baritone sax, bass clarinet), Karen Borca (bassoon), William Parker (bass), Rashied Bakr (drums) album title (format): Winged Serpent (Sliding Quadrants) (lp) label (country) (catalog number): Soul Note (Italy) (SN 1089) release date: 1985 6. title: Epicritic (Pertaining To Cutaneous Sensitivity) Part 2 (10:48) ensemble: Cecil Taylor Feel Trio personnel: Cecil Taylor (piano), William Parker (bass), Tony Oxley (percussion) album title (format): Cecil Taylor Feel Trio (10xcd) label (country) (catalog number): Condanza Records (UK) (Condanza One) release date: 2002 recording date: 1990 Links: wikipedia: http://en.wikipedia.org/wiki/Cecil_Taylor Discogs.com website: http://www.discogs.com/artist/Cecil+Taylor All About Jazz website: http://musicians.allaboutjazz.com/musician.php?id=4823 2 .

Copy Link

Recommended publications

December 1992
VOLUME 16, NUMBER 12 MASTERS OF THE FEATURES FREE UNIVERSE NICKO Avant-garde drummers Ed Blackwell, Rashied Ali, Andrew JEFF PORCARO: McBRAIN Cyrille, and Milford Graves have secured a place in music history A SPECIAL TRIBUTE Iron Maiden's Nicko McBrain may by stretching the accepted role of When so respected and admired be cited as an early influence by drums and rhythm. Yet amongst a player as Jeff Porcaro passes metal drummers all over, but that the chaos, there's always been away prematurely, the doesn't mean he isn't as vital a play- great discipline and thought. music—and our lives—are never er as ever. In this exclusive interview, Learn how these free the same. In this tribute, friends find out how Nicko's drumming masters and admirers share their fond gears move, and what's tore down the walls. memories of Jeff, and up with Maiden's power- • by Bill Milkowski 32 remind us of his deep ful new album and tour. 28 contributions to our • by Teri Saccone art. 22 • by Robyn Flans THE PERCUSSIVE ARTS SOCIETY For thirty years the Percussive Arts Society has fostered credibility, exposure, and the exchange of ideas for percus- sionists of every stripe. In this special report, learn where the PAS has been, where it is, and where it's going. • by Rick Mattingly 36 MD TRIVIA CONTEST Win a Sonor Force 1000 drumkit—plus other great Sonor prizes! 68 COVER PHOTO BY MICHAEL BLOOM Education 58 ROCK 'N' JAZZ CLINIC Back To The Dregs BY ROD MORGENSTEIN Equipment Departments 66 BASICS 42 PRODUCT The Teacher Fallacy News BY FRANK MAY CLOSE-UP 4 EDITOR'S New Sabian Products OVERVIEW BY RICK VAN HORN, 8 UPDATE 68 CONCEPTS ADAM BUDOFSKY, AND RICK MATTINGLY Tommy Campbell, Footwork: 6 READERS' Joel Maitoza of 24-7 Spyz, A Balancing Act 45 Yamaha Snare Drums Gary Husband, and the BY ANDREW BY RICK MATTINGLY PLATFORM Moody Blues' Gordon KOLLMORGEN Marshall, plus News 47 Cappella 12 ASK A PRO 90 TEACHERS' Celebrity Sticks BY ADAM BUDOFSKY 146 INDUSTRY FORUM AND WILLIAM F.
[Show full text]
The Academy of Vocal Arts
April 7, 2005 Contact: Matthew Levy 215-893-0140 [email protected] Philadelphia Music Project 2005 Grant Recipients Academy of Vocal Arts, $60,000 to support concert versions of Le Portrait de Manon and La Navarraise, two important but rarely performed verismo operas by Jules Massanet. Vocalists will include James Valenti (tenor), Ailyn Perez (soprano), Jennifer G. Hsuing (mezzo-soprano), and Keith Miller (baritone). Performances will take place at the Kimmel Center for the Performing Arts in January 2006. Annenberg Center for the Performing Arts, $160,000 over two years to engage the American Composers Orchestra (ACO) in a residency that will bring ACO’s acclaimed Orchestra Underground programs to the Annenberg Center for a series of six new music concerts. Guest artists and organizations participating in the project include Todd Reynolds (violin), Ryuichi Sakamoto (laptop), Bill T. Jones, So Percussion, Pilobolus, and the Ridge Theater. The residency will include educational and outreach activities, as well as a program of works by Philadelphia- area composers. Choral Arts Society of Philadelphia, $30,000 to host Maestro Dale Warland, the former music director and founder of the Dale Warland Singers, as guest conductor for a program of works by Howard Hanson, Rudi Tas, Arvo Pärt, Benjamin Britten, James MacMillan, Frank Ferko, Alexandre Gretchaninoff, Vytautus Miškinis, and Henryk Górecki. A regional choral conducting workshop is also planned with Mr. Warland and CASP’s Artistic Director, Matthew Glandorf. Doylestown School of Music and the Arts, $12,140 in support of Stretched Strings, a series of four concerts exploring acoustic guitar practice within a variety of styles, including Travis Picking, Classical, Fingerstyle, and Blues.
[Show full text]
Temporal Disunity and Structural Unity in the Music of John Coltrane 1965-67
Listening in Double Time: Temporal Disunity and Structural Unity in the Music of John Coltrane 1965-67 Marc Howard Medwin A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music. Chapel Hill 2008 Approved by: David Garcia Allen Anderson Mark Katz Philip Vandermeer Stefan Litwin ©2008 Marc Howard Medwin ALL RIGHTS RESERVED ii ABSTRACT MARC MEDWIN: Listening in Double Time: Temporal Disunity and Structural Unity in the Music of John Coltrane 1965-67 (Under the direction of David F. Garcia). The music of John Coltrane’s last group—his 1965-67 quintet—has been misrepresented, ignored and reviled by critics, scholars and fans, primarily because it is a music built on a fundamental and very audible disunity that renders a new kind of structural unity. Many of those who study Coltrane’s music have thus far attempted to approach all elements in his last works comparatively, using harmonic and melodic models as is customary regarding more conventional jazz structures. This approach is incomplete and misleading, given the music’s conceptual underpinnings. The present study is meant to provide an analytical model with which listeners and scholars might come to terms with this music’s more radical elements. I use Coltrane’s own observations concerning his final music, Jonathan Kramer’s temporal perception theory, and Evan Parker’s perspectives on atomism and laminarity in mid 1960s British improvised music to analyze and contextualize the symbiotically related temporal disunity and resultant structural unity that typify Coltrane’s 1965-67 works.
[Show full text]
Vindicating Karma: Jazz and the Black Arts Movement
University of Massachusetts Amherst ScholarWorks@UMass Amherst Doctoral Dissertations 1896 - February 2014 1-1-2007 Vindicating karma: jazz and the Black Arts movement/ W. S. Tkweme University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/dissertations_1 Recommended Citation Tkweme, W. S., "Vindicating karma: jazz and the Black Arts movement/" (2007). Doctoral Dissertations 1896 - February 2014. 924. https://scholarworks.umass.edu/dissertations_1/924 This Open Access Dissertation is brought to you for free and open access by ScholarWorks@UMass Amherst. It has been accepted for inclusion in Doctoral Dissertations 1896 - February 2014 by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. University of Massachusetts Amherst Library Digitized by the Internet Archive in 2014 https://archive.org/details/vindicatingkarmaOOtkwe This is an authorized facsimile, made from the microfilm master copy of the original dissertation or master thesis published by UMI. The bibliographic information for this thesis is contained in UMTs Dissertation Abstracts database, the only central source for accessing almost every doctoral dissertation accepted in North America since 1861. Dissertation UMI Services From:Pro£vuest COMPANY 300 North Zeeb Road P.O. Box 1346 Ann Arbor, Michigan 48106-1346 USA 800.521.0600 734.761.4700 web www.il.proquest.com Printed in 2007 by digital xerographic process on acid-free paper V INDICATING KARMA: JAZZ AND THE BLACK ARTS MOVEMENT A Dissertation Presented by W.S. TKWEME Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2007 W.E.B.
[Show full text]
Jazz at Lincoln Center with Wynton Dave Liebman Explained from His Seat at Jazz at Marsalis Fêted Mccoy Tyner and Charles Mcpherson Kitano’S Bar (Apr
new york @ nigHt To provide healthcare and disaster relief for needy Jazz these days can be found most anywhere, from musicians, Wendy Oxenhorn and the Jazz Foundation hallowed concert hall to basement dive bar screaming o f of America must repeatedly replenish the non-profit’s fire-code violations. But perhaps the best place to hear FrEeDoM Sound coffers. The 17th annual “A Great Night in Harlem” creative musicians is in the company of other creations, benefit, held at the Apollo Theater on the anniversary like an art gallery or bookstore. There is an analogue of Martin Luther King’s 1968 assassination (Apr. 4th), between the notes and lines being generated by the could have been a somber occasion, but the mood was instruments and the colors and textures of a painting celebratory. Harry Belafonte (not present), Tony or sentences and themes of a novel. This synergy is Bennett and the late Hugh Masekela were honored for what drove local jazz journalist and all-around lifelong commitment to humanitarian causes, each an enthusiast Luigi Santosuosso to form a partnership agent for political change through music. Indeed, in with Rizzoli Books, one of the city’s most charming his remembrances of Belafonte and King, erstwhile purveyors of print. His series is in its ninth month and Civil Rights activist/ambassador Andrew Young fills a need for afternoon jazz appropriate for both quoted Paul Robeson: “Artists are the gatekeepers of aficionados and families striving to become so. On the truth.” The music, casual but passionate, scripted yet first gorgeous weekend of 2019, a large crowd came to freeform, reinforced the political spirit.
[Show full text]
Printcatalog Realdeal 3 DO
DISCAHOLIC auction #3 2021 OLD SCHOOL: NO JOKE! This is the 3rd list of Discaholic Auctions. Free Jazz, improvised music, jazz, experimental music, sound poetry and much more. CREATIVE MUSIC the way we need it. The way we want it! Thank you all for making the previous auctions great! The network of discaholics, collectors and related is getting extended and we are happy about that and hoping for it to be spreading even more. Let´s share, let´s make the connections, let´s collect, let´s trim our (vinyl)gardens! This specific auction is named: OLD SCHOOL: NO JOKE! Rare vinyls and more. Carefully chosen vinyls, put together by Discaholic and Ayler- completist Mats Gustafsson in collaboration with fellow Discaholic and Sun Ra- completist Björn Thorstensson. After over 33 years of trading rare records with each other, we will be offering some of the rarest and most unusual records available. For this auction we have invited electronic and conceptual-music-wizard – and Ornette Coleman-completist – Christof Kurzmann to contribute with some great objects! Our auction-lists are inspired by the great auctioneer and jazz enthusiast Roberto Castelli and his amazing auction catalogues “Jazz and Improvised Music Auction List” from waaaaay back! And most definitely inspired by our discaholic friends Johan at Tiliqua-records and Brad at Vinylvault. The Discaholic network is expanding – outer space is no limit. http://www.tiliqua-records.com/ https://vinylvault.online/ We have also invited some musicians, presenters and collectors to contribute with some records and printed materials. Among others we have Joe Mcphee who has contributed with unique posters and records directly from his archive.
[Show full text]
Dave Burrell, Pianist Composer Arranger Recordings As Leader from 1966 to Present Compiled by Monika Larsson
Dave Burrell, Pianist Composer Arranger Recordings as Leader From 1966 to present Compiled by Monika Larsson. All Rights Reserved (2017) Please Note: Duplication of this document is not permitted without authorization. HIGH Dave Burrell, leader, piano Norris Jones, bass Bobby Kapp, drums, side 1 and 2: b Sunny Murray, drums, side 2: a Pharoah Sanders, tambourine, side . Recording dates: February 6, 1968 and September 6, 1968, New York City, New York. Produced By: Alan Douglas. Douglas, USA #SD798, 1968-LP Side 1:West Side Story (L. Bernstein) 19:35 Side 2: a. East Side Colors (D. Burrell) 15:15 b. Margy Pargy (D. Burrell 2:58 HIGH TWO Dave Burrell, leader, arranger, piano Norris Jones, bass Sunny Murray, drums, side 1 Bobby Kapp, drums side 2. Recording Dates: February 6 and September 9, 1968, New York City, New York. Produced By: Alan Douglas. Additional production: Michael Cuscuna. Trio Freedom, Japan #PA6077 1969-LP. Side: 1: East Side Colors (D. Burrell) 15:15 Side: 2: Theme Stream Medley (D.Burrell) 15:23 a.Dave Blue b.Bittersweet Reminiscence c.Bobby and Si d.Margie Pargie (A.M. Rag) e.Oozi Oozi f.Inside Ouch Re-issues: High Two - Freedom, Japan TKCB-70327 CD Lions Abroad - Black Lion, UK Vol. 2: Piano Trios. # BLCD 7621-2 2-1996CD HIGH WON HIGH TWO Dave Burrell, leader, arranger, piano Sirone (Norris Jones) bass Bobby Kapp, drums, side 1, 2 and 4 Sunny Murray, drums, side 3 Pharoah Sanders, tambourine, side 1, 2, 4. Recording dates: February 6, 1968 and September 6, 1968, New York City, New York.
[Show full text]
The Evolution of Ornette Coleman's Music And
DANCING IN HIS HEAD: THE EVOLUTION OF ORNETTE COLEMAN’S MUSIC AND COMPOSITIONAL PHILOSOPHY by Nathan A. Frink B.A. Nazareth College of Rochester, 2009 M.A. University of Pittsburgh, 2012 Submitted to the Graduate Faculty of The Kenneth P. Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2016 UNIVERSITY OF PITTSBURGH THE KENNETH P. DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Nathan A. Frink It was defended on November 16, 2015 and approved by Lawrence Glasco, PhD, Professor, History Adriana Helbig, PhD, Associate Professor, Music Matthew Rosenblum, PhD, Professor, Music Dissertation Advisor: Eric Moe, PhD, Professor, Music ii DANCING IN HIS HEAD: THE EVOLUTION OF ORNETTE COLEMAN’S MUSIC AND COMPOSITIONAL PHILOSOPHY Nathan A. Frink, PhD University of Pittsburgh, 2016 Copyright © by Nathan A. Frink 2016 iii DANCING IN HIS HEAD: THE EVOLUTION OF ORNETTE COLEMAN’S MUSIC AND COMPOSITIONAL PHILOSOPHY Nathan A. Frink, PhD University of Pittsburgh, 2016 Ornette Coleman (1930-2015) is frequently referred to as not only a great visionary in jazz music but as also the father of the jazz avant-garde movement. As such, his work has been a topic of discussion for nearly five decades among jazz theorists, musicians, scholars and aficionados. While this music was once controversial and divisive, it eventually found a wealth of supporters within the artistic community and has been incorporated into the jazz narrative and canon. Coleman’s musical practices found their greatest acceptance among the following generations of improvisers who embraced the message of “free jazz” as a natural evolution in style.
[Show full text]
French Stewardship of Jazz: the Case of France Musique and France Culture
ABSTRACT Title: FRENCH STEWARDSHIP OF JAZZ: THE CASE OF FRANCE MUSIQUE AND FRANCE CULTURE Roscoe Seldon Suddarth, Master of Arts, 2008 Directed By: Richard G. King, Associate Professor, Musicology, School of Music The French treat jazz as “high art,” as their state radio stations France Musique and France Culture demonstrate. Jazz came to France in World War I with the US army, and became fashionable in the 1920s—treated as exotic African- American folklore. However, when France developed its own jazz players, notably Django Reinhardt and Stéphane Grappelli, jazz became accepted as a universal art. Two well-born Frenchmen, Hugues Panassié and Charles Delaunay, embraced jazz and propagated it through the Hot Club de France. After World War II, several highly educated commentators insured that jazz was taken seriously. French radio jazz gradually acquired the support of the French government. This thesis describes the major jazz programs of France Musique and France Culture, particularly the daily programs of Alain Gerber and Arnaud Merlin, and demonstrates how these programs display connoisseurship, erudition, thoroughness, critical insight, and dedication. France takes its “stewardship” of jazz seriously. FRENCH STEWARDSHIP OF JAZZ: THE CASE OF FRANCE MUSIQUE AND FRANCE CULTURE By Roscoe Seldon Suddarth Thesis submitted to the Faculty of the Graduate School of the University of Maryland, College Park, in partial fulfillment of the requirements for the degree of Master of Arts 2008 Advisory Committee: Associate Professor Richard King, Musicology Division, Chair Professor Robert Gibson, Director of the School of Music Professor Christopher Vadala, Director, Jazz Studies Program © Copyright by Roscoe Seldon Suddarth 2008 Foreword This thesis is the result of many years of listening to the jazz broadcasts of France Musique, the French national classical music station, and, to a lesser extent, France Culture, the national station for literary, historical, and artistic programs.
[Show full text]
Vision Festival 21 Brochure
THE CREATIVE OPTION TOGETHER WE CONTINUE TO MAKE VISIONS REAL Our goal is to keep alive, in hearts and minds, the idealism, integrity and sense of responsibility that has inspired generations. We support the Present by remembering & respecting the Past & Prepare a Future where Improvisation and Freedom have a place. THIS IS ONLY POSSIBLE WITH YOUR HELP Charlotte Ka, ‘Dance a Celebration of Life’ Arts for Art presents Free Jazz as a sacred art-form, based in the Ideals of Freedom, Artist Info Page 24 Marcy Rosenblat, ‘Reveal’ Justice and Excellence. The art expresses our sense of hope and belief in the possibility of freedom, A Freedom to be our most unique self. So we push ourselves to do more, to redefine our self, our art and our communities. The music was built by self-determination. Where the artist defines, presents their work, not waiting for permission. Hope, Freedom, Self-determination are powerful ideas in any time, and particularly in this time. VISUAL ART AT VISION 21 AT ART VISUAL What we do or don’t do – does matter. We make a difference in our world and in our Lives by supporting what feeds our Souls. Bill Mazza, If the Vision Festival and the Work of Arts for Art feeds Souls then you should support it. ‘Vision 20, Day 5, Set 3, Wadada Leo Smith/Aruan Ortiz Duo’’ Our Humanity and Creativity needs a community of supporters who share our ideals. Jonas Hidalgo ENSURE ARTS FOR ART’S FUTURE ■ BE A MEMBER / DONATE TO ARTS FOR ART ■ BECOME ACTIVE IN THE AFA COMMUNITY Visit: www.artsforart.org/support or stop by the Arts for Art table at the Vision Festival.
[Show full text]
Unit Structures: the Art of Cecil Taylor
H-Announce Unit Structures: The Art of Cecil Taylor Announcement published by Lindsey Eckenroth on Tuesday, March 12, 2019 Type: Call for Papers Date: May 3, 2019 Subject Fields: American History / Studies, Black History / Studies, Cultural History / Studies, Humanities, Music and Music History *CFP* Unit Structures: The Art of Cecil Taylor Deadline: Friday, May 3, 2019 Conference dates: October 24 through 26, 2019 Conference website: https://unitstructures.commons.gc.cuny.edu Conference venue: The Graduate Center and the Hitchcock Institute for the Study of American Music at Brooklyn College, City University of New York The late Cecil Taylor was a giant in the arts, a unique figure not only within jazz, but one of the most genuinely protean artists of our times. This conference aims to build upon Cecil Taylor scholarship in jazz and American music studies, and also to expand it into a broader range of disciplines in order to reflect more accurately the scope of Taylor's own praxis. We explicitly seek to recognize scholarship in an expanded context, one that welcomes creative responses to Taylor's work. Proposal Categories: • Spoken papers of 20 minutes followed by 10 minutes of questions. • Composition/improvisation in discourse with Cecil Taylor's 1966 essay "Sound Structure of Subculture Becoming Major Breath/Naked Fire Gesture" (liner notes to the album Unit Structures). Please note that we expect composers to perform their own works. The submission should include a clear description that can function as detailed program notes. Also include a biography and links to audio demonstrating past works. • Participation in the large ensemble workshop led by Karen Borca.
[Show full text]
Cecil Taylor 3 Phasis Mp3, Flac, Wma
Cecil Taylor 3 Phasis mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: 3 Phasis Country: US Released: 1979 Style: Free Jazz, Avantgarde, Free Improvisation MP3 version RAR size: 1205 mb FLAC version RAR size: 1983 mb WMA version RAR size: 1218 mb Rating: 4.9 Votes: 556 Other Formats: AHX MMF AC3 DXD MP4 XM MP2 Tracklist A Side One 28:22 B Side Two 28:50 Companies, etc. Phonographic Copyright (p) – Recorded Anthology Of American Music, Inc. Copyright (c) – Recorded Anthology Of American Music, Inc. Recorded At – Columbia Recording Studios Mastered At – Sterling Sound Credits Alto Saxophone – Jimmy Lyons Artwork [Cover Art] – Paul Jenkins Bass – Sirone Design [Cover] – Michael Sonino Drums – Ronald Shannon Jackson Engineer [Assistant Recording] – Ken Robertson Engineer [Recording, Editing, And Mixing] – Don Puluse Mastered By – Ted Jensen Photography By – Marc Brasz Piano – Cecil Taylor Producer – Sam Parkins Trumpet – Raphé Malik* Violin – Ramsey Ameen Notes Recorded in April 1978 at Columbia Recording Studios, 30th Street, New York, NY. Other versions Category Artist Title (Format) Label Category Country Year New World 80303-2, NW Cecil 3 Phasis (CD, 80303-2, NW Records, New US 1996 303-2 Taylor Album, RE) 303-2 World Records Cecil 3 Phasis (CD, New World NW 303-2 NW 303-2 US Unknown Taylor Album, RE) Records Related Music albums to 3 Phasis by Cecil Taylor Jazz Cecil Taylor - Innovations Jazz Cecil Taylor - Great Paris Concert «2» Rock dt's - Widow Of An All-American Jazz Cecil Taylor Unit - Akisakila - Cecil Taylor Unit In Japan Jazz Cecil Taylor / Buell Neidlinger - New York City R&B Jazz Cecil Taylor - Conquistador! Jazz Cecil Taylor - The World Of Cecil Taylor Jazz Cecil Taylor - Buell Neidlinger - New York City R&B Jazz Cecil Taylor Trio And Quintet - Love For Sale Jazz Cecil Taylor / Charles Tolliver / Grachan Moncur / Archie Shepp - The New Breed.
[Show full text]