Cecil Taylor Unit: Fragments
Spread over two CDs, this music is released in its entirety for the first time, hence the sub-title to Fragments is “The Complete 1969 Salle Pleyel Concerts”. For the occasion, which was part of the Paris Jazz Festival, the group consisted of two musicians destined to become an integral part of the Taylor ethos plus saxophonist Sam Rivers, whose short tenure in the line-up showed him equally at home in the adventurous atmosphere. Jimmy Lyons played in the pianist’s group from the mid-60s until he died in 1986: Andrew Cyrille joined at roughly the same juncture and became a fixture for the next 15 years.
The classically trained Taylor first came to notice in the 50s, when his music had a degree of recognisable structure, although his line-ups tended to be populated by those who would go on, as he did, to become part of the free jazz milieu in the following decade. By the late 60s he had become a divisive figure at the forefront of a movement committed to taking jazz into areas that seemed logical to some but anathema to many others.
Given Taylor’s liking for rehearsal time, we don’t have any idea what pre-planning may have taken place for this particular date, and on such a relentless, all-guns-blazing occasion such as this it is impossible to guess. With no fragments of obvious melody, despite Lyons’ odd attempt to suggest as much, this is very much a tempestuous experience for the aural senses, not to say an approach that makes demands on the musicians’ stamina.
Some of the time, the horns sit out, allowing pianist and drummer to show an empathy built over a period of time. This is definitely a two-way exchange – and very impressive, given the breakneck pace of proceedings. Although this is group music, the alto of Lyons frequently breaks out in a squealing and pleading mode, threatening to take over the stage. In addition, his utterances in tandem with Rivers on tenor are impressively bold. The latter, when unveiling his flute, somehow also makes it relevant to the swirling maelstrom.
The constant factor is Taylor himself – whether delivering those tumbling cascades of notes, hammering out bold left-hand underpinnings or simply skating over the breadth of the keyboard in very individual fashion. There may have even been a suggestion of call and response in there, however no motifs or clusters stay around long enough to make a sensible judgement.
The music overall is described as Fragments Of A Dedication To Duke Ellington, leaving us to wonder whether the great man may have approved or otherwise.
Discography
CD1: Evening Set Version; Afternoon Set Version: Part One (70.10)
CD2: Afternoon Set Version: Part 2 (71.45)
Taylor (p); Sam Rivers (ts, ss, f); Jimmy Lyons (as); Andrew Cyrille (d). Salle Pleyel, Paris, 3 November 1969.
Elemental Music 5990455
Jake Mason Trio: The Modern Ark
Inevitably perhaps, the ghost of Jimmy Smith hangs over all those organists who chose to take up the instrument after his trail blazing approach had written the language which holds good for many until the present day. With one or two exceptions (Larry Young being the outstanding example) most performers, on what some still regard as the “electric monster”, happily tread a similar path to JS.
On a set of originals, this Australian group slip nicely into the organ-trio niche that has become so familiar over a number of decades, creating a listenable programme which adds nothing new to the genre. Perhaps the two tracks with vocalists – The Modern Ark (Kurt Elling) with its apocalyptic tone and Stop Searching For Love (Kate Ceberano) add a little welcome variety.
Suffice to say every effort is made to create a diverting experience, offering a familiar blend of ballads, funky rhythms and bluesy options, almost de rigueur for this configuration. The biggest problem lies in the predictability of it all, despite the skills of the musicians.
Discography
The Last Piece; The Modern Ark; Boogaloo Popcorn; Green Pick; Sharks In the Paddock; Virgin River; Stop Searching For Love; Danny’s Blues; Beyond Kavik; Here’s Your Change (45.52)
Mason (org); Danny Fischer (d); James Sherlock (g). Melbourne, Australia. 2025.
Soul Messin’ Records SMRCD-0225
Terry Callier: At The Earl Of Old Town
A native Chicagoan, singer Terry Callier had a slightly chequered time in the music business, actually opting out in the early 1980s to take up a post at the University of Chicago. He returned, in part, to his first love at the back end of the decade, performing when possible in parallel with his day job. In 1990, Eddie Piller of Acid Jazz records fame rereleased Callier’s 1983 recording of the song I Don’t Want To See Myself (Without You) which became popular in the clubs, leading to live appearances in the UK.
Callier’s difficult to pigeonhole as a performer, the biographies variously describing him as a soul, jazz or folk singer. His fledgling excursions into music suggested he sat most comfortably within the folk genre, and despite the varied roster of songs, this term best describes the music we are confronted with on this previously unreleased live material from 1967.
Accompanying himself on acoustic guitar he delivers in a powerful, authoritative voice. His main problem is having to battle against a background of chattering patrons who might have represented a high percentage of the audience. In the quieter moments, the cacophony becomes quite intrusive, which must have been a daunting proposition for the then 22-year old Callier. The repertoire, including Hoyt Axton’s Willie Jean, Willie Dixon’s Seventh Son, Leadbelly’s Gallows Pole and My Girl Sloopy (the original title for Hang On Sloopy) demonstrates the singer’s eclectic search for suitable songs.
When he died in 2012 at the age of 67, Callier remained an obscure figure for many involved in the music industry, despite releasing 15 albums under his own name and contributing to others fronted by major artists.
Discography
Intro; Work Song; Willie Jean; The Seventh Son; Last Thing On My Mind; St. Mark’s Blues; Deep Elem Blues; 900 Miles; Birdses; Gallows Pole; My Girl Sloopy (56.10)
Callier (v, g). Chicago, 1967.
Time Traveler Recordings TT-L004
