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Sorry but your review could not be submitted, please verify the form and try again. Make a wish list for gifts, suggest standard repertoire, let students know which books to buy, boast about pieces you've mastered: Music Lists are as unique as the musician! Easily share your music lists with friends, students, and the world. This is a gorgeous Advent anthem that has an amazing cello part included. The music is not that hard to put together and it is a welcome addition to any Advent service.
During this time of the season, it is nice to have anthems that sound like they were challenging A perfect piece for the Advent season.
A lengthy main portion seemingly leaving no stone unturned is both beautiful and exhausting on it own. But then, as though Taylor realized there were things left unsaid, he launches into a stunning minute postlude, breathtaking in its touch and level of emotion. In an embarrassment of riches, he adds three brief and exquisite addenda, achieving a delicacy and depth unmatched by any of his peers in the music.
The Willisau Concert shows a grandmaster as yet unfazed by age, much less current fashion, and stands as one of Cecil Taylor's finest recordings. Very highly recommended. The minute improvisations that follows finds him in an energetic mood, weaving thorny phrases into a piece that is more higly charged than many of his recent solo recitals. A second, shorter piece is dominated by relatively languid movements that beg choreography, although midway through Taylor begins to thicken his attack with swirling clusters and dramatic flourishes.
Three encore miniatures alternate between furiously hammered runs and sustained chords. James Hale, Downbeat, February What, after all these years, is there left to say about a new Cecil Taylor session? That it's excellent? That at 73, after a recording career stretching back to , the pianist still has the execution, stamina and font of ideas of someone half his age -- if that isn't being ageist?
As an aside it will be interesting -- but most likely disappointing -- to audit the wares of some of today's more vaulted young lions when they reach their forties or fifties, let alone their seventies.
Probably the clearest understanding of what went on that day comes from the booklet note writer. Also, after pummeling the "tuned drums" for a little more than 50 minutes in the first section, then pouring his all into a 13 minute plus encore, the audience forces Taylor to play three additional encores, which he limits to slightly more than one minute each. Obviously it's the longest piece that's most distinctive; combing as it does the mixture of violence and delicacy that characterizes Taylor's work.
The point about his creation, which has always offended jazz dilettantes such as filmmaker Ken Burns -- and dare one say the Marsalis brothers -- is that he brooks no compromise. Listening to Taylor, the audience must agree to enter into his sound world.
Listeners must lose themselves in his singular perception and consecrate the sort of attention to it that many people feel is only appropriate for a thorough examination of their stock portfolio. These folks want entertainment value and simple, jocular melodies and don't want to accept mere improvised music that way. Why, of course, seriousness must be reserved for Beethoven, Brahms, Stravinsky or other designated official art is a subject for sociological examination, not a musical one.
Even for a so-called jazz musician, Taylor's often measureless tales are difficult, with their closest parallel the late music of John Coltrane, who incidentally once recorded with the pianist. Again, people with little knowledge of his work, imagine that his conception is more forbidding than it is. Audiences now know what to expect and sometimes at a concert, a non-believer will be converted right on the spot. Like Coltrane, Derek Bailey, Lester Young or other instrumental prototypes, Taylor's style is instantaneously recognizable as soon as he plays a few notes.
Most of his sounds slide from medium to accelerated tempo, with repeated patterns, distinctive splashes of arpeggios and knife sharp torque part of the equation. Patterns include particular shadings of notes, reoccurring treble soundings, low, low left-handed asides and vigorous, full forearm smashed note clusters.
Trying to fully analyze his style, though, is like enumeration the paint samples in a Jackson Pollock creation: self-defeating. Instead most allow themselves to be swept along like the undertow in an ocean. With his endless energy and constant flow of ideas, what is produced is exclusively Cecil Taylor music.
That's why over the years in jazz there have been many little Teddy Wilsons and little Oscar Petersons and little Bud Powells and little Bill Evans, but never a pretender to the Taylor throne. Like Duke Ellington, another early influence, the pianist is beyond category. Those who put younger keyboard explorers like Marilyn Crispell or Matthew Shipp into a supposed Taylor school have obviously never listened carefully to any of the pianists.
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Namespaces Article Talk. Views Read Edit View history. Help Learn to edit Community portal Recent changes Upload file. Download as PDF Printable version. SweetSexySavageDark Horse is the fifth studio album by English rock musician George Harrison, released on Apple Records in December as the follow-up to Living in the Material lirichildbagcalot.smutuatiminincolthuadyrocirrrighces.cogh keenly anticipated on release, Dark Horse is associated with the controversial North American tour that Harrison staged with Indian classical musician Ravi Shankar in November and December that year.