Another Great Jazz Adventurer Gone, Farewell Mr. Taylor...

A true jazz pioneer, a free improviser, an atonal composer and a pitchless keyboard banger passed away during the week leaving many discussions behind. The jazz world lost Cecil Taylor at the age of 89.

He was maybe one of the most discussed and argued over jazz pianists of all time.

Cecil TAYLOR:

Born in Queens, New York in 1929 he was encouraged to play music by his mother at an early age. He began to take piano lessons when he was six, studied percussion with his uncle who was a performing professional artist. He is probably one of the first jazz musicians who had undergone a formal music training in jazz, composition and arranging at the New England Conservatory. During these years he was very much involved in classical music, especially with the works of Bartok and Stockhausen which we can definitely see the influences in his later career.

Cecil Taylor is known as one of the main musicians to create the free jazz scene along with Ornette Coleman and Albert Ayler. We can even argue that he is the leading figure of the modern jazz. His playing was so different that he did not play with a swing feel at all and his primary focus was to try to create jazz textures rather than jazz phrases. His percussive technique on the piano is quite unique to him. His compositions are complex and surrounded by a vast level of energy. His approach to jazz music is significantly different than other artists and even other styles. When we listen to him  we can find many similarities to 20th century classical music like the works of Ives and Stockhausen (you can listen to the Max Roach & Cecil Taylor's Historic Concerts album for this).
His unmelodic improvisation style, his fast stylistic changes and virtuosic technique is like no other jazz player. Here is a good proof for those traits.

"Excursion on a Wobbly Rail" by the Cecil Taylor Quartet

Now let's take a  look at his main discography. He recorded his first album "Jazz Advance" in 1956 followed by the "At Newport" album in 1957. The third one "Looking Ahead!" that came out in 1959 was probably the beginning for Cecil Taylor to show his true genius. 

Most of the jazz critics agree upon (it is rare for critics to agree upon something when it comes to Cecil Taylor) that his two masterpieces are "Unit Structures" and "Conquistador!", both from the Blue Note label in 1966. 

"Enter Evening"

A difficult and dissonant album, much further from its era. As you can imagine, just like all music ahead of its time, this album was not commercially successful for Taylor. However it is today well appreciated.

The second greatest work of Cecil Taylor is the "Conquistador!" album. It was more successful musically than the "Unit Structures". 

Both these albums are recorded without a single notation that Taylor had given up in the early 60s right after Charles Mingus.

"Conquistador"

At the same time, Taylor was also a poet. He often integrated his poems into his musical performances, and they frequently appear in the liner notes of his albums. The CD Chinampas, released in 1987, is a recording of Taylor reciting several of his poems, accompanying himself on percussion.

He will always be remembered as a musician constantly pushing his own and his audience's limits in many unexpected ways.

Rest in Peace, Mr. Taylor!