Sunny Murray’s first album as a leader from 1966. Fresh from playing with Cecil Taylor and Albert Ayler, Murray’s drumming here continues that work and expands upon it.
A great release, long songs giving everyone space to interact. The contributions of Lancaster, Graham, and Silva are particularly notable. Bonus for a song named “Giblet”. The only downside, and the funny thing about digital music, is that you never know how much care the various providers will take with ripping the music. This album pretty horribly ripped, with very low levels, apparently directly from a rather scratchy vinyl album. You can actually hear the needle drop on side two. I believe ESP Disk’ has since remastered and expanded this release, so look for that edition, if you can find it.
Nefertiti, the Beautiful One Has Come by Cecil Taylor, Jimmy Lyons, and Sunny Murray.
One of the key recordings of Cecil Taylor’s career, and one of the key documents of “Free Jazz”, the concerts recorded at Cafe Montmartre in Copenhagen, Denmark in November of 1962 are the first recorded expressions of the true vision Taylor would pursue (and continues to pursue). Astonishing and beautiful. To have been in the audience!
The World of Cecil Taylor by Cecil Taylor, Buell Neidlinger, Sunny Murray, Denis Charles, and Archie Shepp.
Since I listened to alternate takes from the sessions for this album yesterday, I thought I should revisit the album proper today.
First, whomever picked the takes to use on the album was right. While the tracks on “Air” have their charms, these stand head and shoulders above. From Murray’s drum call to action to Cecil’s soft intro to track 2, these are invigorating, dramatic, and astounding.
Air by Cecil Taylor, Buell Neidlinger, Sunny Murray, Archie Shepp, and Denis Charles.
Recorded in 1960, this album is additional material from the sessions for, “The World of Cecil Taylor”. The first two tracks, a trio with Taylor, Neidlinger, and Murray, are finger tapping, steering wheel pounding, goodness. A 23 year old Archie Shepp joins on track 3, and at first seems a bit lost, deploying idiomatic Jazz and Blues expressions. As he settles in, and begins to find his place in the maelstrom, things get interesting. By Take 24 of “Air” he’s really getting it.