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© 2002-2018, Squidco LLC


Plimley, Paul / John Oswald / Marilyn Crispell / Cecil Taylor: Complicite (Les Disques Victo)


 

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product information:


UPC: 777405007421

Label: Les Disques Victo
Catalog ID: CD 074 / 75 / 76
Squidco Product Code: 735

Format: 3 CDs
Condition: New
Released: 2001
Country: Canada
Packaging: Jewel Tray Box
Recorded at 3 concerts recorded May 22 of 2000 during the 17th Festival International de Musique Actuelle de Victoriaville (QuŽbec, Canada) for Navire night radio programm.


Personnel:

Paul Plimley-piano

John Oswald-alto saxophone

Marilyn Crispell-piano

Cecil Taylor-piano, voice

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track listing:


1. Pulse Feel 6:50

2. Fanfare For The Rare Woman 1:12

3. Slithereens 2:03

4. Oscicaglia 3:06

5. Amalgamon 8:26

6. Throso 2:53

7. Bali Nigh 2:55

8. Bozcaada 5:53

9. Pegmatitic 4:55

10. Arco Optic 7:59

11. Bendango 3:02

12. Norma 4:09

13. Subtonic 5:05

14. Throsone 3:59
Related Categories of Interest:

Jazz
Piano & Keyboards
Victo
Taylor, Cecil
Improvised Music
Quartet Recordings
Before April-2006
Instant Rewards

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descriptions, reviews, &c.
Triple CD documenting a single, legendary night at the Victoriaville Festival. Solo sets from Cecil Taylor and Marilyn Crispell and a duet by Paul Plimey with John Oswald on saxophone. The initial run is almost sold out, and may not be repressed. Limited copies available.

Artist Biographies:

"Paul (Horace) Plimley (born 16 March 1953 in Vancouver, British Columbia) is a free jazz pianist and vibraphonist. He is one of the doyens of the Canadian jazz avant-garde, a co-founder of the New Orchestra Workshop Society and frequent collaborator with the bassist Lisle Ellis. He is well versed in classical music and in all styles of jazz; he was one of the first and most convincing interpreters of Ornette Coleman's music on the piano (an instrument usually seen as antithetical to Coleman's music).

Plimley studied classical piano under Kum-Sing Lee at the University of British Columbia (1971-3). In 1978-9 he studied with Karl Berger and Cecil Taylor at the Creative Music Studio in Woodstock, NY. In 1977 he founded the New Orchestra Workshop (NOW), and he has been active in many of the ensembles associated with NOW, including the NOW Orchestra.

His work with Lisle Ellis is extensive, and includes the duo CD Both Sides of the Same Mirror (Nine Winds, 1989); When Silence Pulls, with Andrew Cyrille (Music & Arts, 1990); Noir, with Bruce Freedman and Gregg Bendian (Victo, 1992); Density of the Lovestruck Demons with Donald Robinson (Music & Arts, 1994); and Safecrackers with Scott Amendola (Victo, 1999). Most notable, perhaps, are two recordings for Hat Art: the collection of Ornette Coleman interpretations, Kaleidoscopes (1992), and (under Joe McPhee's leadership), a revisiting of Max Roach's Freedom Now Suite called Sweet Freedom, Now What? (1994). In May 2000 he recorded a live act at the 17th International Festival of New Music in Victoriaville, Quebec with John Oswald, Marilyn Crispell and Cecil Taylor. The album was released at Victo Records.

The still Vancouver based musician is a regular at the annual Vancouver International Jazz Festival."

-Wikipedia (https://en.wikipedia.org/wiki/Paul_Plimley)
9/12/2018

Have a better biography or biography source? Please Contact Us so that we can update this biography.

"John Oswald (born May 30, 1953 in Kitchener, Ontario) is a Canadian composer, saxophonist, media artist and dancer. His best known project is Plunderphonics, the practice of making new music out of previously existing recordings (see sound collage and musical montage).

Oswald coined the term "plunderphonics" to describe his craft in a paper called "Plunderphonics, or Audio Piracy as a Compositional Prerogative" which he presented at the Wired Society Electro-Acoustic Conference in Toronto in 1985. Inspired by William S. Burroughs' cut-up technique, Oswald had been devising plunderphonic-style compositions since the late 1960s. In an interview with Norman Igma following the release of the Plunderphonics EP in 1988, he described the concept as follows:

A plunderphone is a recognizable sonic quote, using the actual sound of something familiar which has already been recorded. Whistling a bar of "Density 21.5" is a traditional musical quote. Taking Madonna singing "Like a Virgin" and rerecording it backwards or slower is plunderphonics, as long as you can reasonably recognize the source. The plundering has to be blatant though. There's a lot of samplepocketing, parroting, plagiarism and tune thievery going on these days which is not what we're doing.

Plunderphonics is related to but distinct from sampling used in genres such as hip-hop.

His 1975 track "Power" married frenetic Led Zeppelin guitars to the impassioned exhortations of a Southern US evangelist years before hip hop discovered the potency of the same (and related) ingredients. Similarly, his 1990 track "Vane", which pitted two different versions of the song "You're So Vain" (the Carly Simon original and a cover by Faster Pussycat) against each other, was a blueprint for the contemporary pop subgenre, 'glitch pop' or 'mashup (music)'.

In 1980, Oswald founded the Mystery Tapes Laboratory, which created unnamed, unattributed works on cassette, described on the plunderphonics website as "little boxes of sonifericity specifically formulated for the curious listener. Available in your choice of aural flavors: subliminal, blasted, excerpted, repeatpeateatattttttedly, these cinemaphonically-concocted aggregates of très different but exquisitely manifest, unprecedentedly varied festerings of audio quality fine magnetic cassette tapes are the best of whatever you've been listening for". Oswald continues to be Director of Research at Mystery Tapes.

His greatest source of controversy was the 1988 release of the Plunderphonics EP, which he distributed to the press and to radio stations. It contained four plundered tracks: "Don't" by Elvis Presley which included piano accompaniment by Bob Wiseman, "Pocket" by Count Basie, a version of Dolly Parton singing "The Great Pretender" in which "she gets to sing a duet with himself(sic)", and "Spring", a version of Igor Stravinsky's The Rite of Spring. In 1989, Oswald released an expanded version of the Plunderphonics album containing twenty-five tracks, each using material from a different artist. In 1990, notice was given to Oswald by the Canadian Recording Industry Association on behalf of several of their clients (notably Michael Jackson, whose song "Bad" had been cut up, layered, and rearranged as "Dab") that all undistributed copies of Plunderphonics be destroyed under threat of legal action. An excerpt from a press release on the plunderphonics website is repeated below:

"I wasn't selling the disc in the stores, so I let listeners tape it off the radio for free," explains Oswald, who paid for the production and manufacture of the CD out of his own pocket. He receives no royalties or financial compensation for airplay. Brian Robertson, president of CRIA says, ``What this demonstrates is the vulnerability of the recording industry to new technology...All we see is just another example of theft."

Oswald received notice from CRIA's lawyers demanding that he cease distributing Plunderphonic as of Xmas eve '89. "They insisted I quit playing Santa Claus," Oswald observes.

In 1993 Oswald released Plexure. Arguably his most ambitious composition to date, it attempted to microsample the history of CD music up to that point (1982-1992) in a 20 minute collage of bewildering complexity. The ambition of this piece would later be recalled by the British bootlegger Osymyso, whose "Intro-Inspection" emulates the pop-junkie feel of Plexure.

From 1993-1996, Oswald worked on and released Grayfolded, a 2-Disc set commissioned by the Grateful Dead consisting of pieces created from over 100 performances of the song "Dark Star". Oswald initially created and released disc 1, "Transitive Axis", which contains a 59 minute 59 second work in 9 movements. Feeling that there was more territory to explore, Oswald worked on disc 2, Mirror Ashes, which is a composition in "6*" movements. Once both discs were complete they were packaged together with extensive liner notes and a "visual time map" of the sources used in the compositions. Grayfolded was selected the #1 international recording of the decade by the Toronto Sun.

In addition to his extensive work in "plunderphonics", Oswald is also involved with acoustic music, as a composer and improviser. His compositions for orchestra often do include electronic elements, such as Concerto for Wired Conductor and Orchestra (?), but has also composed for acoustic ensembles, such as Acupuncture (1991). Oswald improvises with the saxophone, and is a member of free improvisation group CCMC. Oswald is also actively involved in dance, as a composer for dance works, as a collaborator with choreographers, and as an active Contact Improviser.

Oswald founded the record label fony, which produced the retrospective box set 69 plunderphonics 96 (a.k.a. Plunderphonics 69/96) and reissued Grayfolded. The label also rereleased Plexure and released Aparanthesi, a work which uses the single note A in an experiment with timbre, dynamics, and layering, on CD in 2003.

Since 2000 Oswald has as active in exhibiting his visual art as in continuing his musical activities.

In 2004, Oswald was one of six artists to win the annual Governor General's Awards in Visual and Media Arts, as awarded by the Canada Council for the Arts, for lifetime achievement."

-Wikipedia (https://en.wikipedia.org/wiki/John_Oswald_(composer))
9/12/2018

Have a better biography or biography source? Please Contact Us so that we can update this biography.

"Marilyn Crispell is a graduate of the New England Conservatory of Music where she studied classical piano and composition, and has been a resident of Woodstock, New York since 1977 when she came to study and teach at the Creative Music Studio. She discovered jazz through the music of John Coltrane, Cecil Taylor and other contemporary jazz players and composers. For ten years she was a member of the Anthony Braxton Quartet and the Reggie Workman Ensemble and has been a member of the Barry Guy New Orchestra and guest with his London Jazz Composers Orchestra, as well as a member of the Henry Grimes Trio, Quartet Noir (with Urs Leimgruber, Fritz Hauser and Joelle Leandre), and Anders Jormin's Bortom Quintet. In 2005 she performed and recorded with the NOW Orchestra in Vancouver, Canada and in 2006 she was co-director of the Vancouver Creative Music Institute and a faculty member at the Banff Centre International Workshop in Jazz. In 2014 she led a three-week music residency at the Atlantic Center For the Arts, New Smyrna Beach, Florida, and in 2016 led a one-week residency at the Conservatory Manuel de Falla in Buenos Aires.

Besides working as a soloist and leader of her own groups, Crispell has performed and recorded extensively with well-known players on the American and international jazz scene. She's also performed and recorded music by contemporary composers Robert Cogan, Pozzi Escot, John Cage, Pauline Oliveros, Manfred Niehaus and Anthony Davis (including four performances of his opera "X" with the New York City Opera).

In addition to playing, she has taught improvisation workshops and given lecture/demonstrations at universities and art centers in the U.S., Europe, Canada, Australia and New Zealand, and has collaborated with videographers, filmmakers, dancers and poets.

Crispell has been the recipient of three New York Foundation for the Arts fellowship grants (1988-1989, 1994-1995 and 2006-2007), a Mary Flagler Cary Charitable Trust composition commission (1988-1989), and a Guggenheim Fellowship (2005-2006). In 1996 she was given an Outstanding Alumni Award by the New England Conservatory, and in 2004, was cited as being one of their 100 most outstanding alumni of the past 100 years."

-Marilyn Crispell Website (http://marilyncrispell.com/bio.htm)
9/12/2018

Have a better biography or biography source? Please Contact Us so that we can update this biography.

"Cecil Percival Taylor (March 25, 1929 Đ April 5, 2018) was an American pianist and poet. Classically trained, Taylor is generally acknowledged as having been 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. His piano technique has been likened to percussion, for example described as "eighty-eight tuned drums" (referring to the number of keys on a standard piano). He has also been described as "like Art Tatum with contemporary-classical leanings".

aylor was raised in the Corona, Queens neighborhood of New York City. As an only child to a middle-class family, Taylor's mother encouraged him to play music at an early age. He began playing piano at age six and went on to study at the New York College of Music and New England Conservatory. At the New England Conservatory, Taylor majored in composition and arranging. During his time there, he also became familiar with contemporary European art music. Bartok and Stockhausen notably influenced his music.

In 1955, Taylor moved from Boston to New York City. He formed a quartet with soprano saxophonist, Steve Lacy, the bassist Buell Neidlinger, and drummer Dennis Charles.

Taylor's first recording, Jazz Advance, featured Lacy and was released in 1956. It is described by Cook and Morton in the Penguin Guide to Jazz: "While there are still many nods to conventional post-bop form in this set, it already points to the freedoms in which the pianist would later immerse himself." Taylor's Quartet featuring Lacy also appeared at the 1957 Newport Jazz Festival which went on to be made into the album At Newport. He collaborated with saxophonist John Coltrane in 1958 (Stereo Drive, currently available as Coltrane Time).

1950s and 1960s

Throughout the 1950s and 1960s, Taylor's music grew more complex and moved away from existing jazz styles. Gigs were often hard to come by, and club owners found Taylor's approach to performance (long pieces) unhelpful in conducting business. His 1959 LP Looking Ahead!, showcased his innovation as a creator in comparison to the jazz mainstream. Unlike others at the time, Taylor utilized virtuosic techniques and made swift stylistic shifts from phrase to phrase. These qualities, among others, still remain notable distinctions of Taylor's music today.

Landmark recordings, like Unit Structures (1966), also appeared. With 'the Unit', musicians developed often volcanic new forms of conversational interplay. In the early 1960s, an uncredited Albert Ayler worked for a time with Taylor, jamming and appearing on at least one recording, Four, unreleased until 2004.

By 1961, Taylor was working regularly with alto saxophonist Jimmy Lyons, one of his most important and consistent collaborators. Taylor, Lyons and drummer Sunny Murray (and later Andrew Cyrille) formed the core personnel of The Unit, Taylor's primary group effort until Lyons's premature death in 1986. Lyons's playing, strongly influenced by jazz icon Charlie Parker, retained a strong blues sensibility and helped keep Taylor's increasingly avant garde music tethered to the jazz tradition.

Solo concerts

Taylor began to perform solo concerts in the second half of the sixties. The first known recorded solo performance (by Dutch radio) was 'Carmen With Rings' (59 min.) in De Doelen concert hall in Rotterdam on July 1, 1967. Two days before Taylor had played the same composition in the Amsterdam Concertgebouw. Many of the later concerts were released on album and include Indent (1973), side one of Spring of Two Blue-J's (1973), Silent Tongues (1974), Garden (1982), For Olim (1987), Erzulie Maketh Scent (1989) and The Tree of Life (1998). He began to garner critical, if not popular, acclaim, playing for Jimmy Carter on the White House Lawn, lecturing as an in-residence artist at universities, and eventually being awarded a Guggenheim Fellowship in 1973 and then a MacArthur Fellowship in 1991.

1990s and the Feel Trio

Following Lyons's death in 1986 Taylor formed the Feel Trio in the early 1990s with William Parker (bass) and Tony Oxley (drums); the group can be heard on Celebrated Blazons, Looking (Berlin Version) The Feel Trio and the 10-CD set 2 T's for a Lovely T. Compared to his prior small groups with Jimmy Lyons, the Feel Trio had a more abstract approach, tethered less to jazz tradition and more aligned with the ethos of European free improvisation. He also performed with larger ensembles and big-band projects. His extended residence in Berlin in 1988 was extensively documented by the German label FMP, resulting in a massive boxed set of performances in duet and trio with a who's who of European free improvisors, including Oxley, Derek Bailey, Evan Parker, Han Bennink, Tristan Honsinger, Louis Moholo, Paul Lovens, and others. Most of his latter day recordings have been put out on European labels, with the exception of Momentum Space (a meeting with Dewey Redman and Elvin Jones) on Verve/Gitanes. The classical label Bridge released his 1998 Library of Congress performance Algonquin, a duet with violinist Mat Maneri. Taylor continued to perform for capacity audiences around the world with live concerts, usually played on his favored instrument, a Bšsendorfer piano that features nine extra lower-register keys. A documentary entitled All the Notes, was released on DVD in 2006 by director Chris Felver. Taylor was also featured in an earlier documentary film Imagine the Sound (1981), in which he discusses and performs his music, poetry and dance.

2000s

At Moers Festival 2008

Taylor recorded sparingly in the 2000s, but continued to perform with his own ensembles (the Cecil Taylor Ensemble and the Cecil Taylor Big Band) as well as with other musicians such as Joe Locke, Max Roach, and the poet Amiri Baraka. In 2004, the Cecil Taylor Big Band at the Iridium 2005 was nominated a best performance of 2004 by All About Jazz, and the same in 2009 for the Cecil Taylor Trio at the Highline Ballroom in 2009. The trio consisted of Taylor, Albey Balgochian, and Jackson Krall. At time of Taylor's death in 2018A an autobiography, further concerts, and other projects were in the works. In 2010, Triple Point Records released a deluxe limited edition double LP titled Ailanthus/Altissima: Bilateral Dimensions of Two Root Songs, a set of duos with long-time collaborator Tony Oxley that was recorded live at the Village Vanguard in New York City.

In 2013, he was awarded the Kyoto Prize for Music. In 2014, his career and 85th birthday were honored at the Painted Bride Art Center in Philadelphia with the tribute concert event "Celebrating Cecil". In 2016 he received a retrospective at the Whitney Museum of American Art entitled Open Plan: Cecil Taylor.

Taylor, along with dancer Min Tanaka was the subject of Amiel Courtin-Wilson's 2016 documentary film "The Silent Eye".

Ballet and dance

In addition to piano, Taylor was always interested in ballet and dance. His mother, who died while he was still young, was a dancer and also played the piano and violin. Taylor once said: "I try to imitate on the piano the leaps in space a dancer makes." He collaborated with dancer Dianne McIntyre in the late 70s and early 80s. In 1979 he also composed and played the music for a twelve-minute ballet "Tetra Stomp: Eatin' Rain in Space", featuring Mikhail Baryshnikov and Heather Watts.

Poetry

Taylor was a poet, citing Robert Duncan, Charles Olson and Amiri Baraka as major influences. He often integrated his poems into his musical performances, and they frequently appear in the liner notes of his albums. The CD Chinampas, released by Leo Records in 1987, is a recording of Taylor reciting several of his poems, accompanying himself on percussion.

Influence and musical style

According to Steven Block, free jazz originated with the performances of Cecil Taylor at the Five Spot Cafe in 1957 and Ornette Coleman in 1959. In 1964, Taylor co-founded the Jazz Composers Guild to enhance the working possibilities of avant-garde jazz musicians.

Taylor's style and methods have been described as 'constructivist'. Despite Scott Yanow's warning regarding Taylor's "forbidding music":

Suffice it to say that Cecil Taylor's music is not for everyone

he goes on to praise Taylor's "remarkable technique and endurance," and his "advanced", "radical", "original", and uncompromising "musical vision."

This vision is one of Taylor's greatest influences upon others:

Playing with Taylor I began to be liberated from thinking about chords. I'd been imitating John Coltrane unsuccessfully and because of that I was really chord conscious.

Ń Archie Shepp, quoted in LeRoi Jones, album liner notes for Four for Trane (Impulse A-71, 1964).

Personal life

In 1982, jazz critic Stanley Crouch outed Taylor as being gay, prompting an angry response. However, Taylor never denied it. In 1991, Taylor told a New York Times reporter "[s]omeone once asked me if I was gay. I said, 'Do you think a three-letter word defines the complexity of my humanity?' I avoid the trap of easy definition."

Taylor moved to Fort Greene, Brooklyn in 1983.

Death

Taylor died on April 5. 2018 at tbe age of 89."

-Wikipedia (https://en.wikipedia.org/wiki/Cecil_Taylor)
9/12/2018

Have a better biography or biography source? Please Contact Us so that we can update this biography.

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