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Album Review

Cecil Taylor: Mixed to Unit Structures Revisited

Read "Mixed to Unit Structures Revisited" reviewed by Giuseppe Segala

by Giuseppe Segala

La pubblicazione di Mixed To Unit Structures, nella meritevole collana Revisited Series della Ezz-thetics, sotto-etichetta della svizzera Hat Hut, riunisce due date di registrazione importanti nella vicenda di Cecil Taylor, distribuite tra l'ottobre 1961 e il maggio 1966. La prima, composta dai tre brani “Pots," “Bulbs" e “Mixed," era stata pubblicata dall'etichetta Impulse! nel disco Into the Hot, a nome di Gil Evans. I successivi quattro pezzi costituivano il disco Unit Structures, siglato originariamente da Blue Note. ...

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Album Review

Cecil Taylor: Mixed To Unit Structures Revisited

Read "Mixed To Unit Structures Revisited" reviewed by Mark Corroto

by Mark Corroto

A listener could make it their life's work to absorb and appreciate the music the music of Cecil Taylor. One could possibly approach it as a scholar and musician through notation and transcription—not the recommended approach. Such a task would be similar to the process of systematizing a DNA sequence. Taylor's music, and pardon this analogy, might be best grasped as one might attend to the oxymoronic genre noise music. If you are still reading, allow an explanation. ...

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Album Review

Jimmy Lyons & Sunny Murray Trio: Jump Up

Read "Jump Up" reviewed by AAJ Italy Staff

by AAJ Italy Staff

Jump Up è un magnifico esempio di energia e di forza espressiva. Registrato il 30 agosto del 1980 al festival di Willisau, originariamente venne pubblicato su vinile nel 1981. Siamo lontani dalla stagione in cui la coppia Lyons - Murray suonava in trio con Cecil Taylor (e, assieme a Taylor, suonò anche con Albert Ayler, a Copenaghen nel novembre del '62). Ci troviamo, invece, alla vigilia di un decennio politicamente e sociologicamente orientato al riflusso e decisamente critico nella storia ...

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Album Review

Jimmy Lyons & Sunny Murray Trio: Jump Up

Read "Jump Up" reviewed by Glenn Astarita

by Glenn Astarita

Renowned Cecil Taylor trio alumni, alto saxophonist Jimmy Lyons and drummer Sunny Murray reunited in Switzerland and summoned young bass wunderkind John Lindberg for a tour de force captured live at Jazz Festival Willisau in August, 1980. Reissued and remastered, this release highlights the band's unbridled energy and resounding clarity, abetted by the crystalline audio. It sounds like it's fresh out of the box, featuring Lyons operating in tenth gear with his radical free-bop stylizations, paving the way for future ...

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Profile

The Emergence of Jimmy Lyons

Read "The Emergence of Jimmy Lyons" reviewed by Robert Levin

by Robert Levin

[Editor's Note: From Jazz & Pop Magazine, 1970] Since 1960, when he began working with Cecil Taylor, alto saxophonist Jimmy Lyons has been developing from a somewhat diffident musician into one of the more potent voices in the New Music. In recent recordings and appearances with Taylor, Jimmy has been playing with a glowing assertiveness and an often stunning beauty. This past spring, Jimmy's first record under his leadership, Other Afternoons on the French BYG ...

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Album Review

Jimmy Lyons: Jimmy Lyons Box Set

Read "Jimmy Lyons Box Set" reviewed by Rex  Butters

by Rex Butters

Add Jimmy Lyons' name to the list of under-appreciated jazz musicians. Despite several solo albums and side projects, his destiny irrevocably links him to Cecil Taylor. No other musician has a longer association with the revolutionary pianist, and no other musician seemed so intent on keeping Taylor honest jazzwise. While as fearless and inventive as anyone playing free jazz, the alto saxophonist always kept something of Charlie Parker in his playing no matter how far outside he went. That effervescent ...

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Album Review

Various Artists: Monterey Jazz Festival: Forty Legendary Years

Read "Monterey Jazz Festival: Forty Legendary Years" reviewed by Chris M. Slawecki

by Chris M. Slawecki

In my wilder, more unforgiving days, I might have merely typed up the personnel and set list and submitted only that in review of Monterey Jazz Festival: Forty Legendary Years, and argued to the powers-that-be that if the reader couldn’t comprehend its abundant magnificence of music from the unadorned facts, my descriptive and persuasive prowess would be of slight use.

I must have grown either more wise or more foolish since then.

Make no mistake: Monterey Jazz Festival: Forty Legendary ...

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