A 5 CD set reissuing New York avant-jazz pianist Cecil Taylor's albums "Winged Serpent"; "Historic Concerts"; "Olu Iwa"; "For Olim", all remastered and presented in a handsome box set.
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Label: Black Saint/Soul Note
Catalog ID: BXS 1007CD
Squidco Product Code: 15345
Format: 5 CDs
Packaging: 5 CD Box Set
Reissuing Winged Serpent; Historic Concerts; Olu Iwa; For Olim.
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CD 1: Winged Serpent (Sliding Quadrants)
Womb Waters Scent Of The Burning Armadillo Shell 25:08
Winged Serpent 13:54
CD 2: Historic Concerts
Duets - Part I 20:57
Duets - Part II 19:30
Duets - Part III 18:48
Duets - Part IV 19:43
CD 3:Olu Iwa
1 B Ee Ba Nganga Ban'a Eee! 48:21
CD 4: For Olim
Glossalalia - Part Four 5:44
Mirror And Water Gazing 4:01
Living - Dedicated To Julian Beck 6:59
For The Death 1:33
For The Rabbit 3:41
For The Water Dog 1:44
The Question 3:04
Related Categories of Interest:
NY Downtown & Jazz/Improv
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"Cecil Taylor is generally acknowledged as one of the pioneers of free jazz. His music is characterized by an extremely energetic, physical approach, producing complex improvised sounds, frequently involving tone clusters and intricate polyrhythms. This specially-priced set includes fi ve classic albums. Included are Winged Serpent, Olu Iwa, For Olim and the two sets of Historic Concerts." -Black Saint
"Soon after he first emerged in the mid-'50s, pianist Cecil Taylor was the most advanced improviser in jazz; five decades later he is still the most radical. Although in his early days he used some standards as vehicles for improvisation, since the early '60s Taylor has stuck exclusively to originals. To simplify describing his style, one could say that Taylor's intense atonal percussive approach involves playing the piano as if it were a set of drums. He generally emphasizes dense clusters of sound played with remarkable technique and endurance, often during marathon performances. Suffice it to say that Cecil Taylor's music is not for everyone.Taylor started piano lessons from the age of six, and attended the New York College of Music and the New England Conservatory. Taylor's early influences included Duke Ellington and Dave Brubeck, but from the start he sounded original. Early gigs included work with groups led by Johnny Hodges and Hot Lips Page, but, after forming his quartet in the mid-'50s (which originally included Steve Lacy on soprano, bassist Buell Neidlinger, and drummer Dennis Charles), Taylor was never a sideman again. The group played at the Five Spot Cafe in 1956 for six weeks and performed at the 1957 Newport Jazz Festival (which was recorded by Verve), but, despite occasional records, work was scarce. In 1960, Taylor recorded extensively for Candid under Neidlinger's name (by then the quartet featured Archie Shepp on tenor) and the following year he sometimes substituted in the play The Connection. By 1962, Taylor's quartet featured his longtime associate Jimmy Lyons on alto and drummer Sunny Murray. He spent six months in Europe (Albert Ayler worked with Taylor's group for a time although no recordings resulted) but upon his return to the U.S., Taylor did not work again for almost a year. Even with the rise of free jazz, his music was considered too advanced. In 1964, Taylor was one of the founders of the Jazz Composer's Guild and, in 1968, he was featured on a record by the Jazz Composer's Orchestra. In the mid-'60s, Taylor recorded two very advanced sets for Blue Note but it was generally a lean decade.Things greatly improved starting in the 1970s. Taylor taught for a time at the University of Wisconsin in Madison, Antioch College, and Glassboro State College, he recorded more frequently with his Unit, and European tours became common. After being awarded a Guggenheim Fellowship in 1973, the pianist's financial difficulties were eased a bit; he even performed at the White House (during Jimmy Carter's administration) in 1979. A piano duet concert with Mary Lou Williams was a fiasco but a collaboration with drummer Max Roach was quite successful. Taylor started incorporating some of his eccentric poetry into his performances and, unlike most musicians, he has not mellowed with age. The death of Jimmy Lyons in 1986 was a major blow, but Cecil Taylor has remained quite active up until the present day, never compromising his musical vision. His forbidding music is still decades ahead of its time."-Scott Yanow, All Music
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• Show Bio for John Tchicai
"John Martin Tchicai (April 28, 1936 - October 8, 2012) was a Danish free jazz saxophonist and composer.
After moving to New York City in 1963, Tchicai joined Archie Shepp's New York Contemporary Five and the New York Art Quartet. He played on John Coltrane's Ascension, and Albert Ayler's New York Eye and Ear Control, both influential free jazz recordings.
Tchicai was born in Copenhagen, Denmark, to a Danish mother and a Congolese father. The family moved to Aarhus, where he studied violin in his youth, and in his mid-teens began playing clarinet and alto saxophone, focusing on the latter. By the late 1950s he was travelling around northern Europe, playing with many musicians.
Following his work in New York, Tchicai returned to Denmark in 1966, and shortly thereafter focused most of his time on music education. He formed the small orchestra Cadentia Nova Danica with Danish and other European musicians; this group collaborated with Musica Elettronica Viva and performed in multi-media events. Tchicai was a founding member of Amsterdam's Instant Composers Pool in 1968, and in 1969 took part in the recording of John Lennon and Yoko Ono's Unfinished Music No.2: Life with the Lions.
On August 30, 1975, Tchicai's appearance at the Willisau Jazz Festival was recorded and released later that year as Willi The Pig. On this record, he plays with Swiss pianist Irène Schweizer. Tchicai returned to a regular gigging and recording schedule in the late 1970s. In the early 1980s he switched to the tenor saxophone as his primary instrument. In 1990 he was awarded a lifetime grant from the Danish Ministry of Culture.
Tchicai and his wife relocated to Davis, California, in 1991, where he led several ensembles. He was awarded a National Endowment for the Arts fellowship in 1997. He was a member of Henry Kaiser and Wadada Leo Smith's "Yo Miles" band, a loose aggregation of musicians exploring Miles Davis's electric period.
Since 2001 he had been living near Perpignan in southern France. On June 11, 2012, he suffered a brain hemorrhage in an airport in Barcelona, Spain. He was recovering and had canceled all appearances when he died in a Perpignan hospital on October 8, 2012, aged 76."-Wikipedia (https://en.wikipedia.org/wiki/John_Tchicai)
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• Show Bio for William Parker
"William Parker is a bassist, improviser, composer, writer, and educator from New York City, heralded by The Village Voice as, "the most consistently brilliant free jazz bassist of all time."
In addition to recording over 150 albums, he has published six books and taught and mentored hundreds of young musicians and artists.
Parker's current bands include the Little Huey Creative Music Orchestra, In Order to Survive, Raining on the Moon, Stan's Hat Flapping in the Wind, and the Cosmic Mountain Quartet with Hamid Drake, Kidd Jordan, and Cooper-Moore. Throughout his career he has performed with Cecil Taylor, Don Cherry, Milford Graves, and David S. Ware, among others."-William Parker Website (http://www.williamparker.net/)
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• Show Bio for Andre Martinez
"André Martinez has been the director of the Henry Gregg Gallery in Brooklyn since 2003.
André Martinez was also born to play drums. His passion for music is uncompromising, and his understanding and freedom of expression through percussion extraordinary."-Earth People (http://earthpeople.tv/members/andre.htm)
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• Show Bio for Peter Brotzmann
"Born Remscheid, Germany on 6 March 1941; soprano, alto, tenor, baritone and bass saxophones, a-clarinet, e-flat clarinet; bass clarinet, tarogato.
Peter Brötzmann's early interest was in painting and he attended the art academy in Wuppertal. Being very dissatisfied with the gallery/exhibition situation in art he found greater satisfaction playing with semi-professional musicians, though continued to paint (as well as retaining a level of control over his own records, particularly in record sleeve/CD booklet design). In late 2005 he had a major retrospective exhibition jointly with Han Bennink - two separate buildings separated by an inter-connecting glass corridor - in Brötzmann's home town of Remscheid.
Self-taught on clarinets, he soon moved to saxophones and began playing swing/bebop, before meeting Peter Kowald. During 1962/63 Brötzmann, Kowald and various drummers played regularly - Mingus, Ornette Coleman, etc. - while experiencing freedoms from a different perspective via Stockhausen, Nam June Paik, David Tudor and John Cage. In the mid 1960s, he played with American musicians such as Don Cherry and Steve Lacy and, following a sojourn in Paris with Don Cherry, returned to Germany for his unorthodox approach to be accepted by local musicians like Alex von Schlippenbach and Manfred Schoof.
The trio of Peter Brötzmann, Peter Kowald and Sven-Ake Johansson began playing in 1965/66 and it was a combination of this and the Schoof/Schlippenbach Quintet that gave rise to the first Globe Unity Orchestra. Following the self-production of his first two LPs, For Adolphe Sax and Machine gun for his private label, BRÖ, a recording for Manfred Eicher's 'Jazz by Post' (JAPO) [Nipples], and a number of concert recordings with different sized groups, Brötzmann worked with Jost Gebers and started the FMP label. He also began to work more regularly with Dutch musicians, forming a trio briefly with Willem Breuker and Han Bennink before the long-lasting group with Han Bennink and Fred Van Hove. As a trio, and augmented with other musicians who could stand the pace (e.g. Albert Mangelsdorff on, for example, The Berlin concert), this lasted until the mid-1970s though Brötzmann and Bennink continued to play and record as a duo, and in other combinations, after this time. A group with Harry Miller and Louis Moholo continued the trio format though was cut short by Miller's early death.
The thirty-plus years of playing and recording free jazz and improvised music have produced, even on just recorded evidence, a list of associates and one-off combinations that include just about all the major figures in this genre: Derek Bailey (including performances with Company (e.g. Incus 51), Cecil Taylor, Fred Hopkins, Rashied Ali, Evan Parker, Keiji Haino, Misha Mengelberg, Anthony Braxton, Marilyn Crispell, Andrew Cyrille, Phil Minton, Alfred 23 Harth, Tony Oxley. Always characterised as an energy player - and the power-rock setting of Last Exit with Ronald Shannon Jackson, Sonny Sharock and Bill Laswell, or his duo performances with his son, Casper, did little to disperse this conviction - his sound is one of the most distinctive, life-affirming and joyous in all music. But the variety of Brötzmann's playing and projects is less recognised: his range of solo performances; his medium-to-large groups and, in spite of much ad hoc work, a stability brought about from a corpus of like- minded musicians: the group Ruf der Heimat; pianist Borah Bergman; percussionist Hamid Drake; and Die like a dog, his continuing tribute to Albert Ayler, with Drake, William Parker and Toshinori Kondo. Peter Brötzmann continues a heavy touring schedule which, since 1996 has seen annual visits to Japan and semi-annual visits to the thriving Chicago scene where he has played in various combinations from solo through duo (including one, in 1997, with Mats Gustafsson) to large groups such as the Chicago Octet/Tentet, described below. He has also released a number of CDs on the Chicago-based Okka Disk label, including the excellent trio with Hamid Drake and the Moroccan Mahmoud Gania, at times sounding like some distant muezzin calling the faithful to become lost in the rhythm and power of the music.
The "Chicago Tentet" was first organized by Brötzmann with the assistance of writer/presenter John Corbett in January 1997 as an idea for a one-time octet performance that included Hamid Drake and Michael Zerang (drums), Kent Kessler (bass) and Fred Lomberg-Holm (cello), Ken Vandermark and Mars Williams (reeds), and Jeb Bishop (trombone). The first meeting was extremely strong and warranted making the group an ongoing concern and in September of that same year the band was expanded to include Mats Gustafsson (reeds) and Joe McPhee (brass) as permanent members (with guest appearances by William Parker (bass), Toshinori Kondo (trumpet/electronics), and Roy Campbell (trumpet) during its tenure) - all in all a veritable who's who of the contemporary improvising scene's cutting edge. Though the Tentet is clearly led by Brötzmann and guided by his aesthetics, he has been committed to utilizing the compositions of other members in the ensemble since the beginning. This has allowed the band to explore an large range of structural and improvising tactics: from the conductions of Mats Gustafsson and Fred Lonberg-Holm, to the vamp pieces of Michael Zerang and Hamid Drake, to compositions using conventional notation by Ken Vandermark and Mars Williams, to Brötzmann's graphic scores - the group employs almost every contemporary approach to composing for an improvising unit. This diversity in compositional style, plus the variety in individualistic approaches to improvisation, allows the Tentet to play extremely multifaceted music. As the band moves from piece to piece, it explores intensities that range from spare introspection to all out walls of sound, and rhythms that are open or free from a steady pulse to those of a heavy hitting groove. It is clear that the difficult economics of running a large band hasn't prevented the group from continuing to work together since its first meeting. Through their effort they've been able to develop an ensemble sound and depth of communication hard to find in a band of any size or style currently playing on the contemporary music scene."-EFI (European Free Improvisation Pages) (http://www.efi.group.shef.ac.uk/mbrotzm.html)
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