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Cecil Plays the Jimmy Carter Blues, or: Getting Sexed Up to Unit Structures
13 Aug2006
TAHT
Cecil Taylor
Winged Serpent (Sliding Quadrants)
Soul Note : 1985
CT, piano; Jimmy Lyons, alto sax; Frank Wright, tenor sax; John Tchicai, tenor sax; Tomasz Stanko, trumpet; Enrico Rava, trumpet; Karen Borca, bassoon; Gunter Hampel, bass clarinet, bari sax; William Parker, bass; Rashied Bakr, drums; Andre Martinez, drums.
Welcome to the outer curve, the dividing line. Otherwise known as Cecil Taylor, avant garde musical expressionist par excellence.
It’s not terribly surprising that most people jump ship when they come within earshot of his music. That many traditional jazz fans can’t seem to hear Taylor’s lyrical affinities with Bud Powell, Errol Garner, and Horace Silver, and only register the chaotic tumult. And that some fellow musicians seem to have trouble parsing his work. Cue the Branford Marsalis claim in Ken Burns’s craptacular Jazz documentary that Cecil’s approach is just “bullshit.” (Transcript here for the curious.)
BUT WAIT: Despite Cecil’s rightful reputation as the most radical jazz musician on the planet, that doesn’t mean his music is inaccessible. You just have to adjust how you access it. Often there’s so much going on at once in Taylor’s music that you feel like you can’t get it all. Or more to the point: You don’t get it at all. We’ve both felt that way. There’s a tendency to listen with your ear clenched tighter than your asshole. So relax. Take a deep breath. Don’t try to understand it too quickly, don’t try to remember the opening theme, don’t try to anticipate the end – just ride the waves of notes, the energy, the quick surges and dips, the odd voicings and sly melodies that poke out of the mix. Get lost in the sound. Surrender.
My first encounter with Cecil’s music came while dj-ing the jazz program at my college radio station. I’d come to jazz in general because of Satch Plays Fats, and, in particular, “All That Meat and No Potatoes,” heard one night on that self-same station. Cue my discovery, while in the booth not so long after, of Conquistador. It’s on Blue Note, which I like; and he looks like one cool mofo on the front, another plus. A few mintues into the seemingly infinite title track and I knew I’d made a colossal mistake. I didn’t touch Taylor again for years until I saw him perform at the Village Vanguard. This time, it clicked instantly. Partly it was seeing the man’s amazing technique, his sheer ferocity and the joy he took in playing. But it was also being in a space where I could listen unhampered by expectations, simply sit and absorb. In no time, I was completely transported.
Gary Giddins has written about Cecil’s music more eloquently than anyone. (His chapter on Cecil in Visions of Jazz is highly recommended.) In a recent interview, he talks about how he finally “got” the infamously difficult Unit Structures album:
At the time, while I was going to school at Grinnell College in Iowa, I had a girlfriend in Kansas City, and I would often hitchhike there and bring a bunch of albums with me. One night we were making love, and there were a pile of records on her changer, including those of Bill Evans and Bobby Hackett, who she loved. We were just blissing out in bed when I became vaguely conscious of this really terrific music in the background, yet I had no idea who it was. I was trying to concentrate on her and also remember what records I had brought, and then it hit me that it was the Cecil Taylor record. It was like hearing it for the first time, because I wasn’t approaching it with, I don’t know, the alpha part of my brain. I was just letting it bleed into me, and I really got involved with the textures and the way he voiced the saxophones. We were both practically jumping up and down on the bed, shouting, “This is great! This is incredible! We get it!!”
Another notable convert: President Jimmy Carter. No, we’re not making this up. In the late seventies, Cecil played at the White House as part of a jazz program. Carter was so moved by Taylor’s solo recital that he ran after him and gave him a spontaneous hug. He practically shook Cecil’s shoulders and asked: “Does Horowitz know about you?” Roll over Vladimir, and tell Branford the news.
Now if Jimmy is down, surely you are ready to give Cecil a try.
“Taht” is the lead track from Cecil’s Winged Serpent, one of his very best large ensemble releases, featuring an illustrious 11-piece group dubbed the “Orchestra of Two Continents.” A compact nine minutes, “Taht” sits somewhere between Coltrane’s Ascension and Ellington’s symphonies, a work of frenetic energy and surprising nuance. Giddins again: “To say that Taylor is in his element, threading his way through the reeds, two brasses, two drummers, and bass, romping polyrhythmically in and around every collective outburst and sigh, is to say nothing of the measured care with which he organizes his unit structures.”
Although it’s the most demanding music we’ve posted so far, “Taht” handsomely repays the effort it takes to absorb. Listen to the opening horn riff and notice how it gets recast throughout the tune; dig how Cecil’s piano pyrotechnics detonate everything around him; note at the 7-minute mark how the players seem to take a collective deep breath and bring the piece to a gently lyrical close. And revel in the gleeful sense of play and abandon in the middle sections.
& & & & & & &
Recommended viewing: All the Notes, a Cecil documentary now available on DVD [buy at DMG, where you might also find a copy of the album above] – the performances are wonderful, the scenes of him rehearsing various bands are priceless, but the movie is most valuable for getting a sense of Cecil as a person and performer. He comes across as approachable, affable, occasionally profound and sometimes bitchy (“I’ll give them something to ‘boo’ about.”). Also absolutely committed to his music and not a little queeny. The movie is like 80 minutes of hanging out with the great man.
- In: Cecil Taylor
19 Responses to Cecil Plays the Jimmy Carter Blues, or: Getting Sexed Up to Unit Structures
Ethan Iverson
August 14th, 2006 at 8:25 pm
Thanks for this incredible website! Speaking of Cecil T., I could really use some digital downloads from Jimmy Lyons’ “Other Afternoons,” which I don’t think has been reissued on CD yet.
godoggo
August 14th, 2006 at 11:33 pm
Great. I’d been curious about that album (wasn’t that just about Lyons’ last recording?), and I must say that track was about the best Cecil I’ve heard.
I don’t know if it’s the most accessible introduction, though. My choice, from what I’ve heard would be the Into The Hot/Mixed stuff, and his side from the Jazz Composers’ Orchestra album.
One small quibble: I checked the link, and Branford was just saying that Cecil’s comment was bullshit, it seems to me. He may well feel the same way about his music, but he doesn’t exactly say so there.
Anyway, I don’t think you have to “study” anything to appreciate Cecil’s music. All you have to do is let yourself to be open to it. I think that in essence it’s really closer to the blues than to contemporary classical music despite some sensorial similarities to the latter. And seeing him live helps.
ledrew
August 15th, 2006 at 12:43 am
No, maybe not the most user-friendly intro. But given our self-imposed restriction to out-of-print stuff, and (re Cecil) our broad recommendation to just jump into the deep end and start paddling, it’s as good an entry place as any (we hope). Btw, more Cecil is coming midweek, and the next post might go down easier.
Also, quibble noted. We’re not above a little vague muck-raking. And agree that “study” is not necessary; but familiarity surely breeds an easier time of it. That goes for Cecil Taylor as well as just about everyone else we’ve highlighted.
madge the duck
August 15th, 2006 at 2:30 pm
So happy to find out that my favorite president Jimmy Carter had the heart to be bowled over by Cecil! I love you Jimmy! I knew you had it in you!
This track actually strikes me as more on the accessible end. But then, I also enjoy listening to musicians playing solo dry ice with hot metal.
cjc
August 15th, 2006 at 5:09 pm
Ethan – Thanks for the kind words. Actually, we’ve been on the trail of “Other Afternoons” for a while now. Hopefully we’ll have a copy soon and be able to share some tracks from it.
Actually, if anyone out there has a digitized copy that they’re willing to share, contact us at destination.out [at] gmail [dot] com
Stephen V Funk
August 15th, 2006 at 8:55 pm
Cecil… yeah. I only really “got” him when I heard some of the solo stuff. “Garden I + II”. “For Olim”. “Looking (Berlin version)”. Blew my brains completely out.
There is also an extended sequence at the end of the Leo Records “Great Concerts of Cecil Taylor: CT Unit Live in Bologna” CD that never fails to inspire awe, horror, and amazement.
You just need to find your own “holy fuck” moment and you’re a convert for life… Meanwhile, I am hoping against hope that I someday have a chance to see him perform live.
I remember watching the seemingly endless Ken Burns “Jazz” documentary as first shown on PBS when the notorious Branford “bullshit” comment reared its ugly head. All I remember is: the way the show was edited it sure looked like he was dissing the music, not just Cecil’s comment.
And thanks for the tip on the “All The Notes” DVD. Whipped my credit card right out and ordered it from DMG. Can’t wait to get it…
Anyway. Long live Cecil!
godoggo
August 16th, 2006 at 12:45 am
I would also note that when Branford was director of the Tonight Show band he saw to it that people like Jamaladeen Tacuma appeared as guest artists. He’s a prickly, complicated guy, and I’d be careful about giving too much weight to an offhand remark.
cjc
August 16th, 2006 at 8:10 pm
Godoggo – We don’t mean to seem like we’re dogging Branford too hard. As Stephen V Funk points out, his comment was edited to seem more inflammatory than it was, although you gotta wonder why he’d talk shit about someone like Cecil in front of Ken Burns, knowing this was going to be the biggest piece on jazz in aeons. The worse part was that his comment was about the only coverage Cecil got in that damn doc. Brandford’s snipe wouldn’t have stood out so much if you had a host of other talking heads discussing and praising CT’s music.
For whatever it’s worth, I actually like much of Brandford’s music – I’ve seen him put on some terrific shows and his recent albums have had their high spots. And as you rightfully mention, he got some very worthwhile musicians gigs during his Leno tenure. He’s by far my favorite Marsalis.
godoggo
August 16th, 2006 at 9:54 pm
Well, my previous comment might also apply to myself, except the Tonight Show part.
rod
August 17th, 2006 at 5:51 am
great post on my favourite pianist (after Monk…). I first heard Taylor on a crackly radio set way back in the sixties and just thought: ‘Wow!’ Hit me straight away- may well have been ‘Unit Structures’ or ‘Conquistador’ as the date would be about right. Finally got the chance to see him live at the London Jazz Festival in 1994 – which was amusing as he was booed by a couple of yahoos for keeping the audience waiting! Still controversial…Reminded me of that quote (apocryphal or not, it sums up his steely determination) – ‘If they boo I’ll give them something to REALLY boo about.’ He came on and played wonderfully, althought the later trio with Bill Dixon and Tony Oxley was a little disjointed. But you realised that you were in the presence of greatness (hey – I’m a fan!). Although it has to be said that Anthony Braxton on the same bill stole the show – a unique experience for a UK resident to catch both on the same night (and Bill Dixon whose solo set was fascinating although many didn’t like it).
lee maskiell
August 19th, 2006 at 10:22 am
you have a great blog. thank you! i have seen cecil in many performances. astonishing. branford is just a middle of the road jazz wannabe. nothing more. have seen hundreds of jazz shows in the eighties in n.y. obscure names but dammit we would see the same 50 faces at the most obscure places, over and over. gary giddens would ALWAYS HAVE INSULTS THROWN HIS WAY: ”WHY ARE YOU HERE?”. for good reason. he ignored most of the good stuff happening as far as print goes, and he & that pedestrian k.burns didnt mention django or anita o’day [except as a druggie!] in that abysmal film. well i am glad there’s an appreciative audience here to share the following with the greatest of affection [ school time ]: 1. Alexander von schlippenbach [ the german cecil ] i recommend ”pakistani pomade” as a leap off, also try his Globe unity orch. WOW! 2: get some evan parker solo sax . 3: keith tippet [sic]. 4: gianni gebbia 5: orchestra instabile 6: dave burrell 7: muhal richard abrahms. only trying to help y’all open minded folks. Germany and Italy have always kept up in jazz from way back. its just that u.s. critics get/got payoffs from u.s. companies.. oh and thats right jazz is exclusively from american blacks. thats a good one. i bet Django and Derek Bailey’s ghosts are laughin it up at that! everyone please read ”Banjo” by claude mckay. 1919, a great book about how in sea ports everywhere forever, musicians from every where have always improv’d and blended their styles in every port . the REAL birth of ”jazz” was waaaaaaaayyyyyy waaaaayyyyyy back. a wild dancing beat, self expression…….. sailors from all over were doing it in every port for hundreds[thousands?] of years. thanks to Cecil and Duke & braxton, et alia, for giving props to euro influences. one more thing: the piano roll recordings of George gershwin from the teens will suprise you! i hope this was helpful. all the best to all of you! -Lee
lee m
August 19th, 2006 at 10:56 am
also: the euro free jazz page is ok, but missing tons of crucial info and a bit uninformed in what they include, esp. in terms of time lines, but a decent start i guess. the downtown music gallery website seems to be the most accurate and complete website on the subject of real jazz. good to make friends with the owner as he taped ALL the good stuff from the 70s onward happening in n.y. mmm hmm . if you ever want to hear something you dont have, go to wfmu.org and type it into their search engine with the word ”playlist”. find it, click it, hear it. easy & wonderful. it’s hard to stump them. for all kinds of music, and i do mean ALL! i stumped them once: Meg Welles: 2 albums in the early sixties. ”celtic third stream” they can be had @ a pretty low price cuz no one knows ……. yet. oops now i’ve done it! Go to see Charles Gayle while he’s still around! i was the one who convinced him he needed to play many instruments instead of just sax. he is also the most psychic man alive. he can hear your thoughts and spit them back out at you before your brain can catch up and complete them. he blew my mind, and warmed my heart forever in our talks and wanderings of manhattan. a true spiritual master. far above any guru. i also must address these ”accessable” comments: does anyone get it what american Blacks have been through in the u.s.? if they go beyond scooby dooby dance beats, too many look at it as ”inaccessable”. wake up and smell the police dogs , fire hoses, burning crosses, lynchings , bombings………. . american blacks have only been voting for 41 years. are we catching on? nothing wrong with scooby dooby but , have a little understanding please when it comes to true artistic expression based on real feelings and experiences. Van Gogh is respected ,after all, and what the hell did he have to suffer through? incidentally Irving Stone, the van gogh biographer and his wife Stephanie were always in the front row at All the crucial jazz shows in n.y. in the 70s / 80S/ 90S. Stephanie is/WAS? UNBELIEVABLY CAPABLE on the PIANO, but almost never performed, and i dont think she ever recorded. thanks again!!!
cjc
August 23rd, 2006 at 1:11 pm
Hey Lee – thanks for the comments and appreciate the suggestions. We’ll definitely be offering some of those folks you mentioned in the coming weeks and months. Muhal and Evan Parker solo probably soonest. We’re currently trying to get our hands on some OOP Schlippenbach and Globe Unity stuff. We’ve heard “Pearls” is the find. You agree? And you’re right – “Pakistani Pomade” is a real mind shredder! And thanks for the nudge on Keith Tippett and Giannia Gebbia. Any ones from them in particular that you favor?
Thanks again – any and all suggestions always welcome.
peter breslin
August 27th, 2006 at 12:53 pm
Hey- Great blog! I’ve got a radio show on KSFR in Santa Fe, NM (streaming at http://www.ksfr.org) Thursdays from 1-3 mountain time. I’m in the strange position of having to tune my head to the two broadest categories in all of music, let alone jazz: “inside” versus “outside.” Word from program honchos is that my first three shows were too “out.” We settled for the time being on an 80/20 formula, which given other local programming in “jazz” (KSFR has 24 hours of programming a week) is a great compromise.
Anyway one of my proudest moments was this past Thursday with a hard crossfade from the first 7 minutes of Cecil Taylor/Louis Moholo “Remembrance” (FMP, part of that massive 1988 document) directly to Duke et al doing Diminuendo in Blue from 1966′s Festival de Juan les Pins.
The more I listen with these adopted ears of “inside” versus “outside,” categories that stopped meaning a single fucking thing to me when I was 13 (32 years ago), the more two things become clearer to me. One is that I’m drawn to artists who were (almost) always burning with possibility…you can hear it in the most “inside” of all “insiders.” The second thing is– it’s all a bullshit distinction created by…well who exactly? Mystery.
Cecil Taylor in 100 years: an absolute legend and recognized genius of all music, not just jazz. Branford Marsalis in 100 years: Branford who?
Regarding Mr. Taylor: He gave a trio show in Albuquerque last April with I forget who on bass and Jackson Krall drums, just great as always. I’ve seen him 7 or 8 times live (including his frikkin incredible big band at Lush Life back in 1982 or 1983…Lester Bowie sat in one night…I’m still speechless 24 years later)…and Chris Jonas and I (CJ is on the recent release Almeda, recorded 1995 I think) hung out with CT at his hotel afterwards. Taylor told endless stories while Felver filmed. The hotel room was filled with notepads and journals in which Mr. Taylor’s loopy handwriting flowed like his cascades of piano. It was a magical 5 hours for me…Taylor has been a hero since I heard Indent when I was in middle school.
I studied with Andrew Cyrille for a while back in the late 80s and he had me working on Basie, Gillespie, Miles (Dear Old Stockholm) and Duke charts. It’s sad this “inside” versus “outside” nonsense. By the way, my show is called “Inside Out.”
anyway thanks so much for this blog, sorry I rambled on so long…
Peter
shredders
October 14th, 2006 at 3:45 am
He blew my mind, and warmed my heart forever in our talks and wanderings of manhattan. a true spiritual master.far above any guru.
Perry T
September 11th, 2007 at 2:04 pm
AWESOME site, I bookmarked immediately. =) Love the Cecil commentary – only illustrates that as much as I think I know of his work, there’s SO. DAMN. MUCH. of it left to encounter…
I did have the good fortune to see him live at Tully a couple years ago – huge huge huge.
Branford was definitely dissing Cecil’s music & the entire aesthetic world behind it. Eff him. Hard.
Now. Speaking of encountering more Cecil, I went to DMG & found several things to order that either weren’t available elsewhere or were more expensive elsewhere. But what’s up with this “put your full name & credit card #, etc. in the email subject field” thing??… **Can anyone vouch that they’ve done DMG’s ordering process & not had their CC info stolen?!!?** Sorry, just an instinctual red-light … I want to order this stuff right now but would feel better hearing from someone that it’s legit. Mad thanks…
~Perry
Peter C
January 3rd, 2009 at 2:17 pm
For a donload of Cecil’s album
Fly! Fly! Fly! Fly! Fly! released in 1980 on MPS.
This one has never been put on CD.
It is the most accessible solo Cecil record.
Longest song is 10 minutes.
I have everything by Cecil and am astonished that this album is never been reprinted.
It is a year before Garden and while Garden is a masterpiece this one is right on par and more accessible.
Download here
http://www.mediafire.com/?yx3fn2djv4w
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