Re: Re: [JPL] JOHN TAYLOR...“Angel of the Presence” ...(CamJazz/Sunnyside)...NYT

Ron Gill ron_gill at verizon.net
Mon Nov 6 20:32:01 EST 2006


=====================
From: Jim Wilke <jwilke123 at comcast.net>
Date: 2006/11/06 Mon PM 06:14:19 CST
To: Jazz Programmers Mailing List <jazzproglist at jazzweek.com>
Subject: Re: [JPL] JOHN TAYLOR...“Angel of the Presence” ...(CamJazz/Sunnyside)...NYTimes 11/6/06

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I was first introduced to John Taylor on the recording,
Time Being, on ECM, by leader, drummer, Peter Erskine.
If this no doubt measures up to that recording, it will go alongside Time Being, as the only recording I keep by my bedside. 
Ron Gill
Jazz Gallery
WGBH 89.7 FM
Boston, MA

This is a beautiful and very moving album... highly recommended!   One  
of the few I couldn't turn off once I started listening.

Jim Wilke
Jazz After Hours, PRI
www.jazzafterhours.org


On Monday, November 6, 2006, at 04:01  PM, r durfee wrote:

> JOHN TAYLOR
> “Angel of the Presence”
> (CamJazz/Sunnyside)
>
> The sprightly touch and sonorous harmonies favored by
> the British pianist John Taylor will strike many jazz
> listeners as deeply evocative of Bill Evans. This is
> neither an accident nor a shortcoming, judging by
> “Angel of the Presence,” a confident and quietly
> potent album featuring Mr. Taylor in a trio with the
> Swedish bassist Palle Danielsson and the British
> drummer Martin France.
>
> It is only the third conventional trio recording of
> Mr. Taylor’s career. (The last one, in 2003, featured
> the bassist Marc Johnson, a member of Mr. Evans’s
> final trio; before that you have to go back to 1972.)
> What delivers it safely from the realm of emulation is
> a non-standard repertory — four songs by Mr. Taylor,
> and two apiece by his longtime associates Kenny
> Wheeler and Steve Swallow — and a general tone that
> could be described, inadequately though not
> disparagingly, as vaguely European.
>
> Each member of the trio exerts equal pull, though the
> attention naturally turns to Mr. Taylor’s articulate
> pianism. At various points in Mr. Swallow’s “Up Too
> Late,” Mr. Taylor improvises with hard tenacity,
> tossing off silvery runs and two-handed arabesques. On
> “Afterthought,” one of three originals set in waltz
> time, he nudges his cohorts toward some open-ended
> modalities; the results land far from the turf of Mr.
> Evans, or anyone else. NATE CHINEN
>
> http://www.nytimes.com/2006/11/06/arts/music/ 
> 06choi.html?pagewanted=2&_r=1&ref=music
>
>

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