Cecil Taylor, Bill Dixon, & Tony Oxley
Donaueschinger Musiktage
Donaueschingen, Germany
October 16, 2004
FM Broadcast Recording
MP3 224kbps
Cover Art Included
01 Announcement 2:48
02 The Appendage of the Neuron (Cecil Taylor solo) 35:25
03 Announcement 1:50
04 Conjunction of the Homologues / Nebethet 19:27
Cecil Taylor - piano
Bill Dixon - trumpet
Tony Oxley - drums
Another BigO Archive show from The New JDP's Collection. I can't believe how many shows I downloaded from them over the years. I have started re-cataloguing my Bootleg Drives with certain collections in their own folders. I have all my boots cataloged by Genre, Artist, Year which is how I have my CDs and such cataloged. What I'm now doing is cataloging certain collections apart from the rest such as Mike Millard recordings, BigO postings, Tool Drive, Black Sabbath Family, Deep Purple Family and other bands that have larger collections than most. Anyway below is what BigO said about the post (I always copied their little blurbs). Hope you enjoy this one!
What BigO Said:
There are some jazz artistes with distinctive “voices”. Miles Davis was one of them. Cecil Taylor, on the other hand, defies being pigeonholed. His music has been described as “It’s fast and it’s furious. It’s very nearly incomprehensible…” To some, the pianist-composer is known for the “brilliance and audacious beauty of his music”. And the term “genius” is also seldom far behind.
Try listening to 1985’s Winged Serpent and you might find yourself crushed under the weight of the densely textured free jazz. Even on his solo piece here, one can easily imagine some internal battle raging on.
This was Taylor’s first time in Donaueschingen and the show included solos by Bill Dixon and Tony Oxley but unfortunately the radio station (SWR 2) did not air them. Perhaps these solos will surface one day.
This is what trumpeter Bill Dixon wrote about the gig in allaboutjazz:
In October, I went to Baden Baden, the Donaueschingen Event, at the invitation of Cecil Taylor… The format for the performances had… three solos that preceded a short break that then led into a tutti performance by the trio. Oxley always took the first solo orchestrated to permit him maximum leverage and continuity to reveal the focus of his musical interests and concerns.
I took the second solo which let me, knowing what had preceded my entrance and what was to follow it, work with maximum freedom [and]… paved the way for the next solo which was that of Taylor.
The short period of silence that followed permitted the dynamic of the totality of the trio to come to terms with all that had existed [musically] previously. A fitting way, in my opinion when one is able to understand and appreciate both the freedoms and responsibilities that are resolutely attached to this kind of performance that the uninformed prefer to label, erroneously as “free”.
MP3
