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"Cell Walk for Celeste," a jagged yet intricately orchestrated Taylor composition, features Archie Shepp on tenor sax, while Dennis Charles replaces Higgins on drums. "Cindy's Main Mood" is a Taylor/Neidlinger/Higgins trio improvisation. The disc finishes with an Ellington tune, "Things Ain't What They Used to Be," performed by an octet featuring Steve Lacy, Roswell Rudd, and Clark Terry, among others. NEW YORK CITY R&B is an excellent starting point for those unfamiliar with Taylor's music. The set showcases Taylor's talent for reworking standards while representing the more challenging directions he would take later in the '60s.
Originally released under bassist Buell Neidlinger's name in 1961, this 4 song album contains two tracks featuring a trio with pianist Taylor, bassist Neidlinger and drummer Billy Higgins. One track adds the young tenor Archie Shepp (and has Dennis Charl
This 1961 recording features a variety of ensembles based around Cecil Taylor and bassist Buell Neidlinger. Drummer Billy Higgins joins Taylor and Neidlinger on "O.P.," a tribute to Oscar Pettiford that is driven by an insistent bassline and Taylor's inimitable working of what is essentially a blues form.
Personnel includes: Cecil Taylor (piano); Buell Neidlinger (acoustic bass); Dennis Charles, Billy Higgins (drums).
Buell Neidlinger New York City R&B Songs | 1. | O.P. |
| 2. | Cell Walk for Celeste |
| 3. | Cindy's Main Mood |
| 4. | Things Ain't What They Used to Be |
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New York City R&B Review
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Cecil Taylor was among the principal figures that knocked the jazz world on its collective ear in the late 1950s and early '60s. Along with the creative efforts of John Coltrane, Ornette Coleman, and Albert Ayler, Talyor tested, shocked, and finally revolutionized the jazz world with his spiky, percussive, unfettered approach to the piano and improvisation. With his sound informed by pre-bop eras of jazz (Monk, Ellington, even Dave Brubeck) as well as contemporary classical music, Taylor blazed new directions that influenced jazz--and beyond--for decades to come.
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Sonic Boom was not released until 1979 and then remained in print only for a brief time before eventually being reissued years later. In addition to the great trumpeter Lee Morgan and a fine rhythm section (pianist Cedar Walton, bassist Ron Carter, and drummer Billy Higgins), the well-rounded set is a bit special for it allows the often R&B-associated tenor David "Fathead" Newman an opportunity to stretch out in a more challenging setting than usual. Highlights include the funky "Fathead," the complex "Sneaky Pete," Morgan's lyricism on "I'll Never Be the Same," and the infectious rhythms on "Mumbo Jumbo." This is an undeservedly obscure session. ~ Scott Yanow
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Born and raised in the Appalachian Mountains of Scott County, Virginia, Jake started playing guitar at age 19. He moved on to the banjo, fiddle, and mandolin. Influenced by the rock and roll of Led Zeppelin, the Rolling Stones, and Tom Petty and the banjo style of his ...
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