Cecil Taylor - All The Notes (2006) | Full Documentary
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- Опубліковано 25 лис 2022
- #jazz #jazzmusic #pianist #kingsofdocs
Cecil Taylor is the grand master of free jazz piano. All the Notes captures in breezy fashion the unconventional stance of this media-shy modern musical genius, regarded one of the true giants of post-war music. Taylor is first seen musing over Santiago Calatrava's architecture; the pianist's famed eclectic interests extend from soloing, combo and small orchestra work to spoken word performance.
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Cecil has since i came from both the western "classical"traditions And the rhythm and blues tradition simultaneously. .my north star. This doc is truly awesomely close to revealing what will always remain mysterious... Musical expression in its most vital expansion
Documentary by Chris Felver. Give credit to the filmmakers, please. Art doesn't come out of nowhere. It's not "content" but somebody's work. I know since I helped assist in the early stages of editing this docu. Thanks.
Thank you for your contribution. Thanks Chris Felver!!
A musician's journey that has always intrigued and mystified me.
Club 55 was a bar 100' east of the Stonewall. A club that Cecil & myself spent many night's there.
Unfortunately, it closed pretty recently.
EU AMO DEMAIS!! Full of philosophy ❤💚💛
great
wonderful
Demais!!
Anyone notice how the piano keys have been so worn as to be scooped?
I would have loved to hear CT reconstruct Stardust
Cool to see Elliott Levin, Billy Bang(RIP), Marco Eneidi(RIP) et. al.
Regarding the music itself: just enjoy it, or don't and just STFU!!!!
Here's that bitter, unsuccessful piano player from Canada [ right, Martial?] again with another thought on Cecil: he and Ornette were REACTING to the white progressives of the late 40s, early 50s. This is why Ornette sounds like rubbish after a listen to Charlie Parker, who nobody could follow, hence Kenton, Brubeck trying something different, post-Bird, with success, which forced Ornette and Cecil, and possibly Coltrane also, into the Absurd as a kind of countering. Not that Ornette's or Cecil's or late Coltrane's music IS rubbish. The best that could be said for it, though, is that it was the last possible offshoot of the Louis Armstrong approach, thus inevitable
I definitely agree that Ornette Coleman, Cecil Taylor, and the early "free jazz" movement is pretty much natural, modern extensions of Louis Armstrongs approach, well said! I've never heard the idea that these approaches were born out of a reactionary movement against Progressive white jazz; I think you might be zooming in a little bit too far with that take. I'd say that it has more to do with the socioeconomic state of black people in America in general. Part of that absolutely being the white commodification of predominately black "jazz" music, but not its entirety.
It's true that Taylor and Braxton liked the Brubeck group, as did Charlie Parker. But my sense is that Cecil wanted to be seen as delivering the 'real' step beyond Bird and Diz. I think there was a real upsurge of pride involved here. I was thinking about the year 1959, with many instances of fully developed historically noted recordings, which led into the 60s, where things started to get weird and unorthodox. I also think there was a general opening-up of culture, beyond just that of the US black segment.
It was often voiced around that time that it was time to develop something whitey couldn't imitate. All of this factors in, and makes me wonder if musical greatness even mattered anymore, given the emerging awareness of white hegemony's highly negative dynamic, particularly in the US. @@tylerpob
What do you mean by 'musical greatness'?
(Thanks for continuing this conversation by the way, that Icecream_ghost fella was being a huge dick.)
Charlie Parker, Louis Armstrong. Uplifters of the spirit by way of extraordinary musical minds. As corporate culture eats itself by the tail, great art or music is shat on -it's like a requirement. Yes, I think things in society are that bad. Developments in music can be very educational as to fathoming the state of things in the world..
I have no problem with being put down here. It's easy to call these people on their nonsense. They then shut up, clearing the way for thoughtful or probing conversation about this important sonic art.@@tylerpob
His material and approach is static, and he learned to convey movement by foregrounding his personality. Taylor IDENTIFIED with being an artist much more than he was one. A very well done biopic, showing the man's persistence - which paid off, but not in terms of quality of idea.
Static how?
@@tylerpob No story told. I think CT was aware of this, also.
@@georgemcfetridge8310 I would argue that a boundless free improvisation allows a musician to explore elements of the human experience incapable of being incorporated into a story. Not adhering to a story allows for greater sonic variability(which I'd say is quite the opposite of being static).
@@tylerpob But Cecil didn't do boundless free improv. He functioned more as a composer, as the docu shows in its brief clips of CT's music notations. I don't believe that a music 'story' is a limitation. I see no sonic variability limitation in a 'narrative' music. The great thing about story is the sense of movement in space and time. And story can be very abstract, as can melody! It's OK that that wasn't Cecil's turf. He was a contributor in certain ways. One was his different use of the piano in the improvising group. Along with some 1950s visual artists, he removed the distinction between figure and ground, in his use of the piano.
Stasis, also part of human experience, was, in the Armstrong-derived music, first brought forward by CT - in his case with violence, which is his business. I gravitate to Cage and David Tudor [who Cecil hated] for that 'stillness' element. Just my taste.
"Taylor Identified with being an artist much more than he was one"
What an ignorant comment. Lol
THE KING OF CACOPHONY ... I do get headache. This is disintegrated chaos. Incoherently inessential ranting, not playin ..
Bore off somewhere else then
says the imbecile.