Taylor Murray

This double-LP is the only recording that exists of Cecil Taylor and his group (other than two songs on the bootleg Ingo label) during 1962-1965. Taylor's then-new altoist Jimmy Lyons (who occasionally hints at Charlie Parker) and the first truly "free" drummer Sunny Murray join the avant-garde pianist in some stunning trio performances recorded live at the Cafe Montmartre in Copenhagen. With the exception of an interesting version of "What's New" (which finds Lyons showing off his roots), the music is comprised entirely of Taylor originals and is atonal and full of power.

First visit archive offers previously unreleased recordings of historic and musical importance. When, in this music, he succeeds in fusing the emotional (translated into its lyrical and dramatic qualities) pas- sage of ritual with the complex architecture of his ensemble’s infrastructural procedures, we have a bridge into Cecil Taylor’s creative spirit, and far beyond. (Art Lange)

Cecil Taylor - The Complete Candid Recordings of Cecil Taylor and Buell Neidlinger (1989) {4CD Set, Mosaic MD4-127 rec 1960-1961}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 1.19 Gb | MP3 @320 -> 575 Mb
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© 1960-61, 1989 Candid / Mosaic Records | MD4-127
Jazz / Avant-Garde Jazz / Modern Creative / Piano / Bass

A bewildering collection of music, varying from the often quite difficult Taylor to bop fare with a twist. There is a twinge of masochism mounting this on the turntable but for me Taylor is a litmus test. Some people, whose judgement is impeccable in most things, tell me they are enraptured by Taylor, others class him somewhere between root canal treatment and filing tax returns. Punishment for some, but not as challenging as some later Taylor for others. Each time I play him, which I do from time to time, I am checking whether I have turned the corner, a zen moment, and finally “got” Cecil Taylor . So far he continues to elude me, but I keep trying.

This Time Life Singers & Songwriters collection highlights several classic singles released between 1974 and 1975. Among the 24 tracks are the original versions of "Don't Let the Sun Go Down on Me" by Elton John, "Miracles" by Jefferson Starship, and "Sunshine on My Shoulders" by John Denver, in addition to strong tracks by Carly Simon, Harry Chapin, James Taylor, and Jim Croce. This enjoyable sampler will please any die-hard soft rock fan.

Chip Taylor will probably always be known as the songwriter who wrote "Wild Thing" and "Angel of the Morning." Born John Wesley Voight (actor Jon Voight is his older brother), Taylor began playing country music while still in high school in Yonkers, New York. After finishing high school, he briefly took up his father's occupation, becoming a professional golfer.

The two-year interval covered in this volume of Time-Life Music's Singers & Songwriters series was one of consolidation for the many singer/songwriters who had emerged in the early '70s. Carole King followed up Tapestry, the album that established her as a performer after years as a songwriter, with Music, which spawned the hit "Sweet Seasons." James Taylor was on his second follow-up to his commercial breakthrough Sweet Baby James with One Man Dog, which produced "Don't Let Me Be Lonely Tonight." His new wife Carly Simon released her third album, No Secrets, which gave Simon her biggest hit yet with "You're So Vain." John Denver, too, hit new sales peaks with Rocky Mountain High and its title single. And Cat Stevens had followed the success of Tea for the Tillerman with Teaser and the Firecat and its second single "Morning Has Broken." Meanwhile, several new singer/songwriters were crowding the field, among them Don McLean with the epic allegory "American Pie," America with its Neil Young sound-alike "A Horse With No Name," and Seals & Crofts with the lilting "Summer Breeze".

Odean Pope - Plant Life (2008) {Porter Records PRCD 4017}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 274 Mb | MP3 @320 -> 122 Mb | Artwork | 5% repair rar
© 2008 Porter Records | PRCD 4017
Jazz / Post Bop / Avant-Garde Jazz / Saxophone

Odean Pope was with the Max Roach quartet for over 20 years. Though influenced by hard bop and John Coltrane, he has diverged more from Coltrane's powerful legacy than many edgy tenor players. He is one of the most immediately identifiable voices on his instrument because of a rounded, aggressive tone made even harsher (or is it stronger and purer) by limited use of vibrato and dynamics. Especially in this piano-less trio context, the sound will hypnotize or annoy. Either way, it's hard to ignore.