Cecil Taylor: Flashing Spirits

Jazz never did know how to deal with Cecil Taylor. Does it now?

Here is a session from Burning Ambulance from the Outside In Festival in Crawley Sussex recorded on 3rd September 1988. Cecil Taylor was fresh from his sojourn in Berlin where he created an important series of recordings and started working with Tony Oxley, a relationship that proved to be pivotal for both men.

The album is issued in conjunction with Leo Feigin who was responsible for introducing the Russian Ganelin Trio to Europe and the USA.

Tony Oxley had taken a circuitous route to become the percussionist for Cecil Taylor: playinging in an army band where he developed a love for modern classical music; working on the liners that traversed the Atlantic so that he could sample the jazz clubs in Manhattan; eventually becoming the house drummer at Ronnie Scott's.

One of the first recorded collaborations between Taylor and Oxley was the July 1988 duo album Leaf Palm Hand (FMP), recorded in Berlin. They played together until 2016, when Oxley appeared on Taylor's final public appearance.

Oxley loved working with Taylor and said that the only way of preparing to work with the pianist was to be unprepared. Oxley described his relationship with Taylor. "The joy...and believe me, that word is very, very important when I have to describe the experience of playing with Cecil. The joy is so much more immense if you prepare yourself to go where the music will take you, and not try and make the music go where you want it perhaps, or think it might go. With Taylorl you don't have to have any of those worries. There is always something happening. So, you can relax and have this experience of working. He has his language. I have my language. And we think, I hope...at least I think that the compatibility is quite special. That is one of the most important aspects to remember when you're either listening or thinking about his music. That's about the best way I can describe it."

Flashing Spirits comprises one extended improvisation and two short encores: After a restrained start, Taylor assumes a dominance. This is early in the partnership of the two men. Taylor is in ascendant, weaving dense patterns with Oxley providing a rumbling percussive soundscape. Taylor is soon weaving dense tone clusters, skittering and intricate rhythmic patterns. At first, Oxley is frugal with his array of percussion complements, using an array of cymbals, bells, and unconventional sound sources to create a subtle, rich texture, an increased sonic palette. Approximately two-thirds through the main piece, there is a change of mood and intensity that Oxley is sensitive enough to adapt to. On encores, the interplay between piano and percussion has a humorous edge. Their interplay is near-telepathic, with Oxley's reactive drumming anticipating Taylor's dynamic shifts, from frenetic outbursts to delicate, contemplative passages.

The relationship between Oxley and Taylor lasted for nearly twenty-eight years, making it one of the key partnerships of Taylor's musical life. This is an early example of how it started.

What gives this album particular interest is that it was early in the relationship between the two musicians. What sets this album apart is its ease and balance. Taylor and Oxley achieve remarkable synergy. Oxley would challenge Taylor more later in their relationship. There is little ebb and flow; Taylor is in a forceful driving mode. Taylor and Oxley shared a deep mutual respect and a striking musical compatibility. Taylor, known for his percussive, polyrhythmic attack on the piano, found in Oxley a kindred spirit—someone who could both anticipate and challenge his playing. Oxley's drumming, characterized by a unique array of cymbals, higher-pitched drums and any surface that could create intricate sounds. The main track flows between the critical harmonic collisions and the fleeting melodic moments, maintaining a controlled yet spontaneous energy. The recording quality is spacious, capturing the nuance of Taylor's playing and Oxley's intricate percussion.

While Taylor's intense complexity can be demanding, Oxley's subtle, texture-driven drumming provides an accessible entry point. This album is a testament to the profound connection between two masters pushing the boundaries of their craft.

Philip Freeman, in his 2024 book on Taylor, In The Brewing Luminous (Wolke Verlag), has advice for listeners: "To really appreciate any single piece of Cecil Taylor's music, is to listen to it over and over. Let it hit you like a flood the first time. Wash yourself in the waves of the notes. Then come back—a day later, perhaps. Play It again and this time listen as carefully as possible. Focus on his opening gambits, and trace their paths through what follows. . .If and when you get lost, listen a third time. A fourth. A fifth. At some point, it will unfold before you like a flower, and the beauty of his conception will be fully audible."

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