Possibly not his best album, but one of his most important ones.Ĭecil Taylor European Orchestra - Alms/Tiergarten (Spree) (FMP, 1989) By freeing jazz from the of the chains of a beat, he developed a rhythmic concept that rather piled up shifting rhythms and released Lyons and Murray to pursue sophisticated and careful improvisations. He said that the great artists “had a structure, a technique, and the thing that made the technique and the structure move was their passion“. In retrospect Taylor said that he was “creating a language, a different American language“ and that he didn’t separate “between intellect and emotion“. It’s the moment when Murray consequently started neglecting the drummer's traditional role as timekeeper in favor of textural playing and sound exploring. Taylor’s forceful lines set the pace in all the pieces, which leaves the drums the freedom to fill and counteract the rhythms. For the first time the main characteristics of Taylor’s music, the clustered chord repetitions, the arpeggiated figures and melodic fragments, shine in an early beauty. Recorded at Copenhagen’s Cafe Montmartre in late 1962, the album presents the nucleus for his Unit and it shows him with Jimmy Lyons on alto sax, his constant musical partner until Lyons' untimely death in 1986, and Sunny Murray on drums. Live at the Cafe Montmartre is also known as Nefertiti, The Beautiful One Has Come, and it was the groundbreaker for all the music Taylor was to release in the future.
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