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     Cecil Taylor

Born: Mar 25, 1929 in New York, NY
Genre: Jazz
Styles: Free Jazz, Avant-Garde Jazz, Avant-Garde, Free Improvisation
Instruments: Piano, Leader

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 Guide)


Тейлор Сесил (р. 15 марта 1929, Нью-Йорк) - американский негритянский пианист, композитор, руководитель ансамбля; является одним из лидеров джазового авангардизма.
Уже в раннем возрасте получил основательное музыкальное образование. Увлекался свингом и бибопом. Профессионально выступал будучи еще школьником. Окончил музыкальный колледж в Нью-Йорке и в 1951 поступил в New England Conservatory (по классам фортепиано, композиции и теории музыки). В 1-й половине 50-х годов играл со многими свинговыми музыкантами, с 1956 - со своим квартетом (сопрано-саксофон - С. Лэйси, контрабас - Б. Нейдлингер, ударные - Д. Чарлз), с которым в том же году записал первую пластинку. Впоследствии состав ансамбля Тейлора неоднократно менялся. После 1958 Тейлор сделал ряд записей совместно с Дж. Колтрэйном, К. Дорхэмом, Т. Керсоном, Б. Бэрроном, А. Шеппом и другими известными музыкантами современного джаза. В 1965 основал комбо CECIL TAYLOR UNIT, в состав которого входили кроме него М. Мантлер (труба), С. Лайонс (альт-саксофон), Б. Нейдлингер (бас) и Э. Сирилл (ударные).
Тейлор принадлежит к числу наиболее смелых новаторов фри-джаза, экспериментирующих в сфере синтеза выразительных средств джазовой музыки с элементами атональности, модальной организации и новейшей европейской композиционной техники Некоторые особенно радикальные его опыты в этой области классифицируются музыкальными критиками, выступающими за сохранение джазовых традиций, как "антиджаз". Тем не менее, у Тейлора имеется целый ряд последователей среди молодых джаз-менов. Он оказал влияние на многих видных мастеров современного фортепианного джаза - М. Тайнера, X. Хэнкока, К. Джаррета, Дж. Завинула и других.

Ресурсы сети, связанные с исполнителем:
www.wnur.org/jazz/artists/taylor.cecil/ About, works
musicians.allaboutjazz.com/musician.php?id=4823 Biography & articles on 'All About Jazz'
www.shef.ac.uk/misc/rec/ps/efi/mtaylors.html Sessionography
en.wikipedia.org/wiki/Cecil_Taylor About from 'wikipedia'
ru.wikipedia.org/wiki/Тэйлор,_Сесил О исполнителе из 'википедии' [ru]
m.allaboutjazz.com/musician.php?id=4823 Biography & articles on 'All About Jazz' [mobile] [ru]
en.m.wikipedia.org/wiki/Cecil_Taylor About from 'wapedia.mobi' [mobile]
ru.m.wikipedia.org/wiki/Тэйлор,_Сесил О исполнителе из 'мобильной википедии' [mobile] [ru]
Хронологические таблицы (Hrono table)  
Поиск видео (Video Search) :  

CD коллекции, связанные с исполнителем:
  как основной исполнитель ...
 Cecil Taylor - 'Dark To Themselves' - 1976, Enja
 Cecil Taylor - 'For Olim' - 1993, Soul Note
 Cecil Taylor - 'It Is In The Brewing Luminous' - 1989, hatART
 Cecil Taylor - 'Jazz Advance' - 1955, Blue Note
 Cecil Taylor - 'Leaf Palm Hand' - 1988, FMP, Jazzwerkstatt
 Cecil Taylor - 'Remembrance' - 1988, FMP
 Cecil Taylor - 'Spots, Circles And Fantasy' - 1988, FMP
  как основной соисполнитель ...
 Gigi Gryce - 'At Newport' - 1957, Universal
  как соисполнитель ...
 John Coltrane - 'Trane's Blues' - 1999, Blue Note
 Barbara Hendricks - 'Tribute To Duke Ellington' - 1995, EMI Classics, Angel Records

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  Последние изменения в документе сделаны 14/10/2016 18:42:10

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