Monday, June 11, 2018

Wolfgang Dauner's Et Cetera - 1972 - Knirsch

Wolfgang Dauner's Et Cetera
1972 
Knirsch




01. The Really Great Escape (4:13)
02. Sun (6:39)
03. Yan (13:01)
04. Tuning Spread (11:09)
05. Yin (9:51)

- Wolfgang Dauner / Keyboards and electronics
- Günter Lenz / Bass
- Jon Hiseman / Drums
- Fred Braceful / Drums
- Larry Coryell / Guitars



 The leader and composer of all but one track is Wolfgang Dauner a pioneer when it comes to Jazz / Fusion and experimental music in Europe. He is a keyboard player but adds electronics on this album as well. The one song he didn't compose was written by the very talented American guitarist Larry Coryell who adds his unique playing to this album. We also get bass player Gunter Lenz who's played with Volker Kriegel and many others, as well as COLOSSEUM drummer Jon Hiseman who guests on here. Fred Braceful the drummer is an American who came to Germany in the fifties with the army. He stayed and played in Jazz bands originally but tired of that and joined ET CETERA. He actually left this band when they started drifting into Jazz territory and joined EXMAGMA who played a more adventerous and avant syle. If there's anything more impressive than the lineup here it's the music itself. Listed under Krautrock but it could have easily gone under Jazz / Fusion. This is a blending of styles really but Krautrock and Jazz / Fusion standout the most. I love the fuzzed out keyboards and bass but it makes it hard to know what i'm hearing at times much like on a lot of Canterbury music.

"The Really Great Escape" is Coryell's composition. This really gets my blood flowing. We get this nasty distorted keyboard sound throughout as the drums pound away. The guitar and vocals come in around a minute. How good is this ! Amazing sound 2 1/2 minutes in. Nothing like headbanging to some fuzzed out keyboards. Incredible track ! "Sun" is a Jazz / Fusion track with piano and a pastoral setting to start. Other sounds join in at a minute as it slowly builds.The guitar 2 minutes in reminds me of Santana.There is so much going on here. Great tune.

"Yan" is the almost 13 minute experimental piece. No melody to start just this freaky electronic soundscape with sounds coming and going. We get piano melodies 2 minutes in. Percussion then takes over around 4 minutes then these strange sounds come and go in the background. This gets louder before 8 minutes as the percussion continues. Drugged out vocals before 10 minutes followed by a silent calm after 10 1/2 minutes. Piano and an eerie vibe follow. A very Krauty tune. "Tuning Spread" is an 11 minute Jazz / Fusion track. It kicks in quickly with fuzz, drums, piano and more. Great sound ! Love the drumming after 2 minutes. I like the guitar too that joins in. Piano comes to the fore 5 minutes in. More fuzz 7 1/2 minutes in. The guitar is back before 10 1/2 minutes and check out the drum work. "Yin" opens with percussion, keyboards and atmosphere.The guitar joins in and we get distortion as well. So good. Intense is the word here. Some nice bass after 7 1/2 minutes.

This album is a must for fans of Jazzy and experimental Krautrock.

The Graham Bond Organization - 1965 - There's A Bond Between Us

The Graham Bond Organization 
1965
There's A Bond Between Us





01 Who's Afraid Of Virginia Woolf?
02 Hear Me Calling Your Name
03 The Night Time Is The Right Time
04 Walkin' In The Park
05 Last Night
06 Baby Can It Be True
07 What'd I Say
08 Dick's Instrumental
09 Don't Let Go
10 Keep A Drivin'
11 Have You Ever Loved A Woman?
12 Camels And Elephants

Bass, Vocals – Jack Bruce
Drums – Ginger Baker (tracks: 1 to 16), Jon Hiseman (tracks: 17, 18)
Organ [Hammond Organ], Alto Saxophone, Mellotron, Lead Vocals – Graham Bond
Tenor Saxophone – Dick Heckstall-Smith





The Graham Bond Organization's second and final album came out in 1965, not long after their debut. Featuring the same lineup of Graham Bond (vocals/organ/mellotron/sax), Dick Heckstall-Smith (sax), Jack Bruce (bass/harmonica/vocals) and Ginger Baker (drums), it continued to explore their distinctive dark, jazzy R&B sound. The songs featured two Ray Charles numbers ("The Night Time Is The Right Time" and "What'd I Say") and the Freddie King blues classic "Have You Ever Loved A Woman?". It also notably featured some originals from all band members, including Heckstall-Smith's "Dick's Intrumental", Bruce's "Hear Me Calling Your Name" (which he sang lead on) and Baker's "Camels And Elephants". Also interesting was Bond's use of the mellotron - he was perhaps the first rock musician to make use of this new keyboard instrument.
However despite having two great albums under their belt, the Organization's days were numbered. By the time of the second album's release, Jack Bruce had been fired. Baker was the next to go in 1966. Bruce served short stints in John Mayall's Bluesbreakers and Manfred Mann before reuniting with Baker to form Cream with Eric Clapton. Bond found a new drummer in Jon Hiseman, and as a trio the group went on for a little longer, releasing one single before breaking up in early 1967. Hiseman and Heckstall-Smith then went to join the Bluesbreakers themselves for one album, before forming their own group, Colosseum.
Graham Bond himself moved to America. By this time he was suffering from mental disorders and was using drugs heavily. He was also becoming increasing interested in the occult.



Various Artists - 1973 - Mike Taylor Remembered

Various Artists 
1973 
Mike Taylor Remembered



01. Half Blue
02. Pendulum
03. I See You
04. Son of Red Blues / Brown Thursday
05. Song of Love
06. Folk Dance No. 2
07. Summer Sounds, Summer Sights
08. Land of Rhyme in Time
09. Timewind Jumping Off the Sun
10. Black and White Raga


Tony Fisher, Greg Bowen, Henry Lowther, Ian Carr - trumpets, flugelhorn
Chris Pyne, David Horler - trombones
Ray Premru - trombone
Barbara Thompson - flute, alto flute, saxophone
Ray Warleigh - flute, saxophone
Stan Sulzmann - flute, saxophone
Bob Efford - oboe, tenor sax, bassoon
Dave Gelly - clarinet, saxophone
Bunny Gould - clarinet, bassoon
Peter Lemer - piano, , synthesizer
Alan Branscombe - vibraphone
Chris Laurence, Ron Mathewson - bass
Jon Hiseman - drums, percussion
Neil Ardley - the director
Norma Winstone - the vocals




Michael Ronald Taylor (1 June 1938, Ealing, West London- 19 January 1969) was a British jazz composer, pianist and co-songwriter for the band Cream.

Mike Taylor was brought up by his grandparents in London and Kent, and joined the RAF for his national service. Having rehearsed and written extensively throughout the early 1960s, he recorded two albums for the Lansdowne series produced by Denis Preston: Pendulum (1966) with drummer Jon Hiseman, bassist Tony Reeves and saxophonist Dave Tomlin) and Trio (1967) with Hiseman and bassists Jack Bruce and Ron Rubin. They were issued on UK Columbia.

During his brief recording career, several of Taylor's pieces were played and recorded by his contemporaries. Three Taylor compositions were recorded by Cream, with lyrics by drummer Ginger Baker "Passing the Time", "Pressed Rat and Warthog" and "Those Were the Days", all of which appeared on the band's August 1968 album Wheels of Fire. Neil Ardley's New Jazz Orchestra's September 1968 recording Le Déjeuner Sur L’Herbe features one original Taylor composition "Ballad" and an arrangement by him of a Segovia piece "Study".

Mike Taylor drowned in the River Thames near Leigh-on-Sea, Essex in January 1969, following years of heavy drug use (principally hashish and LSD). He had been homeless for three years, and his death was almost entirely unremarked.

The short and tragic life of pianist / composer Mike Taylor, an eccentric genius fallen victim to mental illness / drug abuse, which proved self-destructive and led to his death at the age of 29, is surely worthy a script adaptation for a Martin Scorsese movie. Sometimes referred to as “the Syd Barrett of British Jazz”, Taylor had close ties with a relatively small group of musicians, like Graham Bond and the members of his Graham Bond Organization, which included Jack Bruce and Ginger Baker – soon to be founders of Cream. Many people will be surprised to learn that three songs co-written by Ginger and Mike appear on Cream’s “Wheels Of Fire” album (“Pressed Rat And Warthog”, “Those Were The Days” and “Passing The Time”). Another one of his superb songs – “Jumping Off The Sun” – was recorded by Colosseum and appears on several of their albums. Although known intimately by very few people at the time, the legend lives on and periodically the flame of interest is rekindled among the modern British Jazz fans, like in the case of reissue of his only two existing recordings: “Pendulum” and “Trio”. Even fewer people are aware of the spectacular tribute album recorded by Taylor’s musician friends three years after his death. Recorded under the musical direction of another British Jazz legendary figure, composer / arranger / bandleader Neil Ardley, who discovered Taylor’s genius immediately and scored some of his compositions for the New Jazz Orchestra when Taylor was still alive. Unfortunately the concert, which was to feature NJO and Mike’s trio never materialized, since Taylor (already very ill at the time) simply missed the gig. Nevertheless Ardley continued to use Taylor’s music as part of the regular NJO repertoire and suggested to Denis Preston, owner of the legendary Lansdowne Studios in London, where most of the pivotal modern British Jazz was recorded, to produce a tribute album to Mike Taylor’s musical genius. Preston, who recorded the two Taylor albums, needed no persuasion and funded the complex and costly project with no hesitation, considering it a most appropriate gesture. Ardley assembled a group of 20 musicians to record this project, sharing the scoring of the music for a large ensemble with others, who were close to Taylor and new him well, like Howard Riley, Barbara Thompson and Dave Gelly. One of the tracks is based on a previously unreleased Taylor quartet recording, with the ensemble overdubbed on top of the original recording, which makes Taylor’s participation in this project almost “in person” as well as “in spirit”. The list of the participating musicians reads like the who’s who of modern British Jazz and includes among others: Ian Carr and Henry Lowther on trumpet, Chris Pyne and David Horler on trombone, Ray Warleigh and Stan Sulzmann on saxophone, Peter Lemer and Alan Branscombe on piano, Chris Lawrence and Ron Mathewson on bass, Jon Hiseman on drums and of course the divine Norma Winstone on vocals. I can’t think of a more appropriate tribute than this one, full of love, dedication and music genius by all the people involved. Considering the fact that this album combines the genius of Taylor’s Jazz composition with the genius of Ardley’s Jazz scoring / arranging, we get (in mathematical terms) a genius squared result – a rare event indeed. Recommending this album would be somewhat similar to recommending someone to read some Joyce or see a van Gogh – completely superfluous. I’m sure you get the drift by now!

New Jazz Orchestra - 1969 - Le Dejeuner Sur L'herbe

New Jazz Orchestra
1969 
Le Dejeuner Sur L'herbe



01. Le déjeuner sur l'herbe
02. Naïma
03. Angle
04. Ballad
05. Dusk Fire
06. Nardis
07. Study
08. Rebirth

Neil Ardley: director
Jack Bruce: bass
Jon Hiseman: drums
Dave Gelly: Tenor saxophone, clarinet, bass clarinet
Jim Philip: Tenor saxophone, flute, clarinet
Dick Heckstall-Smith: tenor saxophone, soprano saxophone
Barbara Thompson: tenor saxophone, soprano saxophone, flute
Derek Wadswort: trombone
John Mumford: trombone
Michael Gibbs: trombone
Tony Russell: trombone
Henry Lowther: trumpet
Harry Beckett: trumpet
Derek Watkins: trumpet
Ian Carr: trumpet, flugelhorn
George Smith: tuba
Frank Ricottiv: ibraphone, marimba


This is the second and also the last formal album by the seminal British Jazz Orchestra called New Jazz Orchestra or NJO for short. Directed by the legendary composer / arranger / bandleader Neil Ardley the NJO was probably the most important singular British Jazz ensemble, which shaped the way British and European Jazz developed in the late 1960s.

Despite the fact that the number of people, who are familiar with this epic recording, will hardly fill up an average British pub, it is still one of the best and more importantly revolutionary Jazz albums of all times, certainly as far as British Jazz is concerned. The fact that the album, which was released on LP in 1969 and almost immediately after disappeared from the shelves, had to wait for 45 years for its debut CD reissue confirms its anonymity and obscurity. And yet for the handful of British Jazz enthusiasts it always was the magnum opus of the British Jazz resurgence, when the music emerged for the first time as a truly new Art form, related to but fully independent from the American Jazz tradition.

Why "new"? The origin of the name is not entirely clear but NJO was new indeed; it included a new generation of British Jazz musicians, which arrived on the scene mostly in the 1960s and had very little in common with the older "swing" generation, which completely dominated the British scene up to that period, and which was entirely immersed in the American tradition, strengthened by the presence of American bands in Britain during the WWII period. Several Jazz Big Bands and orchestras were active on the British scene since the 1920s and well into the 1960s, some quite excellent and even extraordinary, but those limited the artistic scope to imitating the trends originating across the big pond. The list of British composers / bandleaders includes Ted Heath, Syd Lawrence, John Dankworth and numerous others.

By the time this album was recorded the NJO was about five years old. In 1965 it recorded its debut album called "Western Reunion London 1965", which beautifully sums up the first phase of its activity, when the orchestra performed mostly new arrangements of American standards, but the overall sound of the band was already quite unique and stunning. This album was recorded by the second incarnation of the NJO, which included Jack Bruce on bass (who was already a member of Cream at the time), with the regular bassist Tony Reeves taking the position of the album's producer. The rest of the band included: trumpeters Derek Watkins, Harry Lowther, Harry Beckett and Ian Carr, trombonists John Mumford, Michael Gibbs, Derek Wadsworth and Tony Russell, tuba player George Smith, saxophonists Barbara Thompson, Dave Gelly, Jim Philip and Dick Heckstall-Smith, vibraphonist Frank Ricotti and drummer Jon Hiseman.

The album presents eight compositions, five of which are originals composed by NJO members or other British Jazz musicians / composers of the new generation; those are Neil Ardley, Howard Riley, Mike Taylor, Michael Garrick and Michael Gibbs. Two modern American Jazz standards, one by John Coltrane and another one by Miles Davis are also present, but their arrangements are stunningly removed from the original versions known to most Jazz listeners. The remaining composition is by the French composer of Polish / Jewish origin Alexandre Tansman, whose composition receives another highly unusual treatment.

The album emerges triumphantly as a masterpiece of composition, arrangement, performance and intelligent music making, all those on top of its being a first of its kind and a beacon for generations to come. Many other superb Big Band / Orchestral British Jazz recordings will follow (Michael Gibbs, Mike Westbrook and others), but as great as they were, none of them achieved the same primordial perfection, which marked the birth of British Jazz as documented herein.

If anybody wanders about the album's title (and the title of the opening track) and its humorous sleeve design, Google it up, oh ye ignoramuses, or preferably visit the Musée d'Orsay in Paris and look for the original ;)

With the recent parting of Jack Bruce, whom I was honored and lucky to know in person, the reissue of this album is a small solace in his memory and in memory of a generation almost gone…

Mike Taylor - 1967 - Trio

Mike Taylor 
1967 
Trio

 

01. All The Things You Are   
02. Just A Blues   
03. While My Lady Sleeps   
04. The End Of A Love Affair   
05. Two Autumns   
06. Guru   
07. Stella By Starlight   
08. Abena


Bass – Jack Bruce, Ron Rubin
Drums – Jon Hiseman
Piano – Mike Taylor


Sometime in late January 1969, the drowned body of a young man was washed up by the Thames at Leigh-On-Sea, Essex. It took some time to establish his identity, and when he was found to be one Ronald Michael Taylor, a jazz musician of no fixed address, few took any notice. Looked back upon 40 years later, Taylor’s life and work seem so enigmatic that it’s tempting to think his whole existence a hoax. His contemporaries held his abilities as composer and pianist in the highest regard, yet he rejected opportunities to broadcast his work and refused interviews, relying on his music to do the talking. Though he is estimated to have composed over 300 pieces, for everything from solo piano to trios to big bands and orchestras, he recorded only two barely-heard albums, and the few private recordings of him have long since been lost. Though he wrote songs for the world’s most successful rock band, Cream, his attempts to destroy as much of his own music as possible have made his legacy frustratingly small. His biographical details are extremely scant, and photographs of him are virtually non-existent. As Melody Maker remarked in its obituary of February 15th 1969: “He looked like a bank clerk, but acted like a mystic”.

Mike Taylor was born in West London on June 1st 1938, and orphaned young. He and his brother Terry were raised in Ealing by their paternal grandparents, who later moved to Herne Bay, on the Kent coast. Nothing is known of his childhood or education, though he is said to have taken up the clarinet as a teenager. During his National Service in the RAF he focused on the piano, and by the time he returned to civilian life in about 1960 he’d resolved to become a jazz musician. He soon abandoned work as a trainee commercial artist in favour of jamming with like-minded musicians at his grandparents’ home, pausing only to earn a modest wage driving a van for his grandfather’s wallpaper firm. A great admirer of the Horace Silver Quintet and Art Blakey’s Jazz Messengers, by the early 1960s he’d formed a band with Chris Bateson and Frank Powell on trumpet and John Mumford on trombone. Bassist Ron Rubin first met him in 1962, and characterised him in his diary at the time as ‘a gaunt mélange of inspiration and inadequacy, hipness and naiveté’. More recently, Rubin told me: “You could hardly have found a more immaculate and polite chap than Mike. He was almost in the Ivy League mould: highly intelligent, well-read and thoughtful, as well as being a totally uncompromising musician.”

Taylor’s music evolved with a changing cast of like-minded musicians including Dave Tomlin (soprano sax), Ron Rubin and Jack Bruce (bass) and Ginger Baker and Randy Jones (drums), combinations of whom would often play at jazz workshops in Herne Bay. Many such sessions were photographed by his brother Terry (who was also Graham Bond’s sometime road manager), but the pictures evidently vanished decades ago, along with their photographer. When Bond invited Baker and Bruce to join him late in 1963, he introduced Jon Hiseman to Taylor, having admired his drumming at a lunchtime rehearsal at the 100 Club. Hiseman brought his schoolmate Tony Reeves with him, and a quartet coalesced early in 1964 comprising Taylor, Tomlin, Reeves and Hiseman. Practising in an old photographic studio in Ilford, they deliberately disregarded all the rules of jazz, improvising around a melody until an appropriate structure (not necessarily the musically correct one) became obvious.

Nonetheless, the Quartet was given the honour of opening for Ornette Coleman at Croydon’s Fairfield Hall on Thursday 29th August 1965. Their performance was dismissed in contemporary reviews, but word of Taylor’s unusual talent was spreading ever more widely. The late Ian Carr, ever on the lookout for talent to encourage, tipped Denis Preston off about him. Preston, Britain’s pre-eminent jazz producer, was duly impressed and invited the Quartet into his legendary Lansdowne Studios in Holland Park to record Pendulum in October. Preston is reported to have been amazed to learn that Taylor had to earn a living washing up in a Lyons Tea Shop, but at this time he was still strongly focused on music – as he is quoted, with Zen-like simplicity, on the back of Pendulum: “This is what I want to do.”

They ran through numerous pieces ahead of the recording date, but Hiseman emphasises: “We were never conscious of rehearsing an album. In the studio we simply played what would have constituted a gig.” As a result, they were able to nail the pieces on the album in a very short time. The first three were radical reworkings of the standards ‘But Not For Me’, ‘Exactly Like You’ and ‘A Night In Tunisia’, while side two was reserved for Taylor’s unorthodox, largely improvised ‘Pendulum’, ‘To Segovia’ and ‘Leeway’ (a tribute to Tomlin’s baby daughter Lee). Avant-garde though they may seem on first listening, Taylor’s sheer attention to detail set him apart from his contemporaries – as Dave Gelly says: “At the time a lot of the music going on was all this splurging noise, but Mike’s was specific and finicky, very intimate.”

Preston was later to tell Jazz Journal that Taylor was “one of the handful of talented jazzmen I have dealt with in this country. Individually, although he was not a musical director, he was one of the outstanding talents – an original.” Nonetheless, it was an inexplicably long time before Pendulum appeared in May of 1966. In the intervening months the Quartet played a number of gigs, and Taylor composed for leading jazz combo Group Sounds Five (comprising Ron Rubin on double bass, Jon Hiseman on drums, Henry Lowther on trumpet, Lyn Dobson on tenor saxophone and Ken McCarthy on piano). Two of the resulting pieces featured in a groundbreaking BBC broadcast on Monday, November 15th 1965: ’13 Note Samba’ was not based on chord sequences, but on a bass figure encompassing all 13 notes of the chromatic scale, octave to octave, while ‘Black & White Raga’ had a central theme based on the black and white keys of the piano, with two central riffs transforming the tonality from the black notes to the white and back again. The broadcast caused consternation at the BBC, and no recording of it is thought to survive, though both pieces are remembered vividly by the musicians involved. On Sunday 12th December 1965 the Quartet are known to have played at the ICA in Dover Street, alongside the Dave Tomlin Sextet and The Graham Bond Organisation. By this time Reeves had left the group to focus on A&R work and his membership of Sounds Orchestral, so his role was assumed by Rubin, though Jack Bruce was also a frequent sideman. Indeed, the two bassists would occasionally play at once.

Despite favourable reviews, Pendulum sold in minute numbers when it finally appeared. Its commercial failure may have accelerated Taylor’s decline, but things had already started to go frighteningly awry in his personal life. He’d always been withdrawn, but friends started to notice radical changes in his persona and appearance. In place of the smart young man in tweeds and tie who would talk eloquently about his music was an unkempt bohemian who’d embraced LSD and cannabis, and communicated largely in hand gestures. “Earlier in the decade I used to call him ‘the 3 o’clock man’,” says Rubin, “because every Saturday he’d arrive at my house absolutely dead on time to rehearse and improvise. He was that precise. But by 1966 he’d become absolutely bedraggled and incoherent.” His long-suffering, popular and beautiful wife, Ann, left him at this time (they had no children, and she is now dead), and as drugs made his behaviour increasingly wild, so old friends began to feel uncomfortable around him. “I didn’t even recognise him the first time I saw him after he cracked up,” says Gelly. “When I’d first known him he was so smart he even wore a tie-pin. Now he looked like a hippie-come-tramp.”

Nonetheless, soon after Pendulum’s release Denis Preston asked him to prepare material for a follow-up, which he did. The sessions for Trio were held on Tuesday 12th and Wednesday 13th July 1966, without Reeves or Tomlin but with Hiseman, Jack Bruce (who’d formed Cream days previously) and Rubin. Rubin well remembers Taylor’s attitude towards recording: “Because his take on standards was unrecognisable, I asked him to jot down the changes for me on ‘The End Of A Love Affair’. He refused, telling me he preferred a random approach – and, for some reason, it worked.” With Trio taped, Taylor seemed to abandon any sense of musical or personal discipline, allowing his hair to grow to his waist, along with a straggly beard. Having moved out of the flat he’d shared with his brother and Hiseman, he was ‘of no fixed abode’ for the remainder of his life, sleeping in squats, on people’s floors and in the open. “Something shifted in him at some point, and no one ever knew quite what,” Hiseman reflects. “He created a world, pulled himself into it and shut the door.” Rubin's diary records an encounter with Taylor at a gig by the Soft Machine and Tomlin’s trio, the Giant Sun Trolley, at the UFO club on Saturday, February 18th 1967: 'Mike spent the evening lying comatose, rigid and immobile in the middle of the floor below the bandstand, dancers gyrating around him, his hands crossed on his chest. We played without him.' “He became something approaching schizophrenic,” says Henry Lowther. “I remember a gig at the Old Place when he was playing the piano, just about, and screaming his head off. It was pretty disturbing.”
 
Trio crept out in June 1967 (almost a year after it had been recorded), and received warm reviews. ‘Mike Taylor is one of Britain’s most original young pianists’, said Jazz Journal of the album, while Gramophone described him as ‘one of the new school of young British jazz musicians who seem to have reached maturity at a very early age’, in a review worth quoting at length: ‘‘Pianist Mike Taylor is one of the new school of young British jazz musicians who seem to have reached maturity at a very early age. This, his second LP, is one of the most refreshing piano records to have been made in this country for some time. Taylor’s style is free, flowing and graceful, a compound of elements to be found in the work of men such as Lennie Tristano and Bill Evans. But he makes greater use of his accompanists than either, and for that reason the LP is almost as much a triumph for drummer Jon Hiseman, certainly one of the very finest small band drummers this side of the Atlantic… Hiseman’s intelligent appreciation of the situation and careful attentiveness is of great help to Taylor, particularly on tracks such as ‘All The Things You Are’ (a song which has not been recorded for some time, I would guess). There is some thrilling bass playing to be heard from both Jack Bruce and Ron Rubin; they alternate on most tracks, but play together in places. In fact a great deal or care has gone into the planning and production of the LP; the balance of four originals to four ‘standards’ is ideal, while the choice of musicians could hardly be bettered… Taylor and his men show that there are paths for jazz development to follow which are logical extensions of what has gone before, without necessarily being radical simply for the sake of being radical.' Melody Maker was also ecstatic:

Though Rubin and Tomlin strove to keep him playing, his condition made promotional work impossible and sales of Trio were no better than Pendulum’s (a few weeks ago a copy sold for over £1300 on eBay). By the time of its release Bruce was conquering the world with Cream, alongside Ginger Baker, and Hiseman had departed for Graham Bond’s band. Hiseman’s departure had caused no ill-feeling – Bond, a highly versatile musician himself, became close friends with Taylor at this time, partly because both were so recklessly experimental with drugs. They jammed together frequently, though no recordings have surfaced, and Bond later commented of the music they made: “It was extremely avant-garde for the period, but also very melodic. With Taylor it was another Bach coming into existence.” This was wishful thinking, perhaps. Significantly, when Taylor moved out of the flat he’d been sharing with Hiseman in Kew, he left his piano behind. Indeed, he is widely quoted as having said that if only he could find a pianist capable of playing his music as he could, he’d happily abandon the keyboard himself. In August 1967 Rubin wrote of a gig at Ronnie Scott’s Old Place in Gerrard Street that 'Mike turned up bearded and barefooted – had a job getting past the doorman. Played no piano at all, just a broken tabla drum and pipes. Astonished American couple on front row goggling at the burning fag between his toes. At one point he started talking mumbo-jumbo. I said I couldn’t understand, and he replied: “It’s okay, Ron – I’m talking to the loudspeaker.”' Things were even worse by September, when they met again at a supposed rehearsal at Rubin's flat. 'He said he’d had an interesting conversation with a deer in Richmond Park, where he was living rough. Told me he’d walked all the way from there, and sat on our sofa picking stones and debris out of his bare feet. I think he’s going crazy.'

Perhaps surprisingly, on Wednesday 15th November 1967, Taylor put together a detailed résumé of his work to date, with a view to gaining financial assistance from the government. Clearly he could still be meticulous when he had to be. Most of the document consists of manuscript, but the first page has this introduction.

As 1968 came around, Taylor's friends started to feel distinctly uncomfortable around him. Again, according to Rubin's diary: 'Henry Lowther says Mike is going completely potty - he attacked Ann (his wife) because she "wasn’t treating the man she now lives with properly," and is almost certifiable and perhaps dangerous. Paranoia, like thinking Dave Tomlin wants to kill him. Dick Heckstall-Smith’s wife won’t let him into the house. In this weather he should be wearing snow shoes, not no shoes!' Perhaps surprisingly, at this time Taylor continued to compose sporadically, even co-writing three songs with Ginger Baker for Cream’s Wheels Of Fire album (‘Passing The Time’, ‘Pressed Rat and Warthog’ and ‘Those Were The Days’), which topped the charts in August 1968. I have attempted to contact Jack Bruce and Ginger Baker to ask them about their experiences with Taylor, but received no reply, and neither Baker's autobiography (published in October 2009) or Harry Shapiro's authorised biography of Bruce (published in February 2010) offers any illumination whatever. Regardless of Cream's interest in approaching his compositions from a rock standpoint, jazz remained Taylor's passion, and a notable opportunity came his way when he was asked to contribute material to Neil Ardley’s New Jazz Orchestra. This had been set up as a means of showcasing young UK players who wanted to play modern jazz in a big band setting, and featured Hiseman and Bruce amongst many others. Their second album, Le Déjeuner Sur L’Herbe, was recorded in London on Tuesday 17th and Wednesday 18th September 1968, and featured one original composition by Taylor (‘Ballad’) and an arrangement by him of a Segovia piece (‘Study’). The orchestra also attempted a big band arrangement of Pendulum, but it was deemed too complicated at the time.

Another unrecorded work was ‘Horn, Gut & Skin Suite’, loosely based on the mathematics used in building the pyramids, and intended to reflect their mystique. Though it featured a large horn ensemble, it centred on three drummers (Baker, Hiseman and Phil Seamen). Taylor is also known to have written at least ten so-called ‘folk songs’ over the years, most of which remain unheard (though one cropped up on Norma Winstone’s Edge Of Time album after his death). ‘Half Blue’ found its way onto a later New Jazz Orchestra album, whilst ‘Jumping Off The Sun’ was recorded by Colosseum and used by Jack Bruce in a BBC Jazz Workshop broadcast in 1969, as was ‘Folk Song No.2’ and ‘Brown Thursday’ – the latter being one of the few scores Hiseman managed to save when Taylor inexplicably decided to burn all his manuscripts at the end of the year. Henry Lowther had been in possession of some other beautifully-bound Taylor manuscripts. “After two or three years, he unexpectedly asked for them back, so I of course handed them over. Someone later told me he’d only wanted them in order to destroy them.”

Though he still showed flashes of musical inspiration, any hopes of him returning to the studio were forlorn. Towards the end of his life he experimented with electronics and sped-up tapes, but it was desultory stuff. His LSD consumption remained prodigious, and he even served a brief prison sentence at some point in 1968 (possibly for vagrancy), but it did little to chasten him: Rubin recalls receiving a letter from him in prison, requesting hashish in the post. It pains his friends to remember his last months. “He took to busking with an old, broken Arabic clay drum,” says Lowther. “If anyone tried to engage him in conversation, all he would reply was ‘I’m a man of God’.” Dave Tomlin recalled that the last time he saw him, he was walking barefoot in the street, banging his hand drum and claiming he’d just met “the King of the Gypsies”. Despite his desperate condition, there was still a consensus that he was a unique talent. He met Hiseman and others to improvise from time to time, and as late as November 1968 the Mike Taylor Trio (with Rubin on bass) was booked to play at the first of the winter concerts organised by the Jazz Society at Conway Hall. He failed to appear until almost the end, however, when the New Jazz Orchestra were playing. His spot had been filled by Howard Riley, who happened to be in the audience. It was the last time many of the musicians he’d known saw him alive, and he is said to have seemed more than usually morose before sloping away again.

Mike Taylor was barely 30 when he died. It’s not certain that he killed himself deliberately – in his state, any delusion (even the ability to walk on water, it has been suggested) was conceivable. Rubin suspects he may have tried to swim the freezing estuary to reach his grandparents’ house in Herne Bay, only to lose his life in the strong currents. Rubin recently came across the following, terribly poignant local newspaper cutting:

'Mystery Of Body In Creek: Police are still trying to identify a man whose body was washed up at Leigh Creek on Sunday. Investigations ruled out thoughts that he was one of three wildfowlers lost off Foulness a fortnight ago, and a possible link with a cabin cruiser found wrecked on Shoebury Beach has also been discounted. He is aged between 25 and 30, 5ft. 8in. tall, of medium build, with shoulder-length dark brown hair, auburn moustache, a long and straggy full beard, straight nose, blue eyes and large ears with small lobes. He was wearing a cream striped shirt, two white vests, two pairs of trousers and brown shoes. The body had been in the water for about six or seven hours - perhaps less.'

The precise date of his death is unknown, though his gravestone (in Sutton Road Cemetery, Southend-On-Sea) gives January 19th. It bears the inscrutable epitaph 'I dive from a springboard into cool clear water, and yet I furnish my springboard with my experience so that my life is more than my action'. This was apparently penned by Taylor, though its source is unknown.

His funeral, held in Southend on February 7th, was shambolic, with most mourners turning up to the wrong church. Beyond jazz circles and warm appraisals in Melody Maker (‘Taylor was one of the most original talents to arrive on the British scene in the last decade… his approach to jazz piano playing seemed to owe nothing to any other pianist’) and the Sunday Times (‘from the start he had a completely original talent’), his death went unremarked. Graham Bond, whose own career bore strong similarities to Taylor’s, perhaps spoke for many in saying: “Mike was the wellspring. Everyone dug him.”

The New Jazz Orchestra's Le Déjeuner Sur L’Herbe was released in March 1969, a month after his burial. Melody Maker was enthusiastic, writing that 'rumours that this album was something special have been filtering through the jazz scene since it was recorded last September. They didn’t exaggerate – it’s superb… All the arrangers have made use of the full tonal palette, and have not been afraid to slap on great thick slabs of sound.' After his death, Taylor's collaborators made numerous efforts to promote his work. BBC Radio 1’s Jazz Workshop broadcast a tribute to him on Saturday 17th May 1969, and a memorial concert was held on Thursday December 4th:

In 1973, Ian Carr referred to Taylor a few times in his history of British jazz, Music Outside, but more relevant to posterity is the full tribute album recorded by Denis Preston at Lansdowne in June 1973. It was the brainchild of the late Neil Ardley, and featured Taylor’s big-band arrangement of 'Pendulum'. The line-up, featuring Neil Ardley, Kenny Wheeler, Ian Carr, Henry Lowther, Harold Beckett, Jon Hiseman, Jack Bruce and others, amply demonstrates how respected Taylor was. Though it went unreleased at the time, it's now available as Mike Taylor Remembered. Other than a few scraps that remain in the National Sound Archive, however, no more of Taylor’s material has surfaced, and it seems that his work is doomed to the obscurity he apparently sought.

There’s no consensus as to what influence Mike Taylor would have had if he’d lived. Dave Gelly told Jazz Journal in 1974: “I have a horrible feeling that if Mike was still around, he’d be ignored as he was in the 60s”, while Pete Brown felt: “His music was unconventional, but it would have been latched onto eventually.” Jon Hiseman, meanwhile, prefers not to dwell on the tragedy of Taylor’s life. “I don’t find thinking of Mike depressing at all,” he says. “The flesh and bone is irrelevant – ultimately all that counts is the fact that the music he made is fascinating, and people still want to hear it.”

Mike Taylor - 1966 - Pendulum

Mike Taylor 
1966
Pendulum




01. But Not for Me
02. Exactly Like You
03. A Night in Tunisia
04. Pendulum
05. To Segovia
06. Leeway


Bass – Tony Reeves
Drums – Jon Hiseman
Piano – Mike Taylor
Soprano Saxophone – Dave Tomlin


Michael Ronald Taylor (1 June 1938, Ealing, West London- 19 January 1969) was a British jazz composer, pianist and co-songwriter for the band Cream.

Mike Taylor was brought up by his grandparents in London and Kent, and joined the RAF for his national service. Having rehearsed and written extensively throughout the early 1960s, he recorded two albums for the Lansdowne series produced by Denis Preston: Pendulum (1966) with drummer Jon Hiseman, bassist Tony Reeves and saxophonist Dave Tomlin) and Trio (1967) with Hiseman and bassists Jack Bruce and Ron Rubin. They were issued on UK Columbia.

During his brief recording career, several of Taylor's pieces were played and recorded by his contemporaries. Three Taylor compositions were recorded by Cream, with lyrics by drummer Ginger Baker "Passing the Time", "Pressed Rat and Warthog" and "Those Were the Days", all of which appeared on the band's August 1968 album Wheels of Fire. Neil Ardley's New Jazz Orchestra's September 1968 recording Le Déjeuner Sur L’Herbe features one original Taylor composition "Ballad" and an arrangement by him of a Segovia piece "Study".

Mike Taylor drowned in the River Thames near Leigh-on-Sea, Essex in January 1969, following years of heavy drug use (principally hashish and LSD). He had been homeless for three years, and his death was almost entirely unremarked.

Pianist / composer Mike Taylor was the most enigmatic figure on the British Jazz scene in the 1960s. His genius was almost completely unknown to most and just a handful of close friends / musicians had the opportunity to work with him and hear his music. His eccentric personality, which bordered on the mentally unstable and his tragic death at a ridiculous young age cut his career short, leaving a legacy of just two albums, of which this is the first. Anybody listening to this album will surely realize that this is one of the most daring and earliest modern British Jazz recordings and it parallels (in time and complexity) to the most advanced Avant Garde Jazz experiments happening across the Atlantic. Taylor’s unprecedented and unconventional approach to music was so ahead of its time that it’s truly mind-boggling. The quartet playing on this recording includes Taylor on piano, Dave Tomlin on soprano saxophone, Tony Reeves on bass and Jon Hiseman on drums (the last two were of course to form the band Colosseum a few years later). The sound of the quartet is somewhat similar to John Coltrane’s legendary quartet, but Taylor plays quite differently than McCoy Tyner of course. The music includes three Jazz standards (on what used to be Side A) and three original compositions by Taylor (on Side B). The treatment of the standards is an absolute hair-raising experience, with Taylor de-composing / de-structuring the original harmony and re-assembling the pieces together in a completely new way. His original compositions are awesome as well, exposing a new musical universe. The entire album is a knockout from start to finish and listening to it over 40 years after it was recorded should still produce Goosebumps on every sensitive listener’s skin. BTW people unaware of Jon Hiseman’s early Jazz days should check out his recording with another great British pianist Howard Riley on Howard’s debut album “Discussions”. Taylor was about to record only one more album, called simply “Trio”, with Jon Hiseman and Jack Bruce on bass (Bruce was very much involved with the British Jazz scene before his adventure with Cream – see Jack’s debut album “Things We Like”), who was a friend of Taylor, as were the other members of the Graham Bond Organization. Also it’s really strange that Taylor’s fate was in many ways similar to that of Bond’s, both ending their lives in a suicide / accident, following a long period of mental instability. This album is a central piece of the puzzle forming the birth of modern British Jazz and no serious follower of that scene can afford not to have this album in his collection. Beyond essential!

Graham Bond - 1970 - Solid Bond

Graham Bond 
1970 
Solid Bond



01. Green Onions
02. Springtime In The City
03. Can't Stand It
04. Only Sixteen
05. Last Night
06. Long Legged Baby
07. Walkin' In The Park
08. It's Not Goodbye
09. Neighbour, Neighbour
10. Ho Ho Country Kicking Blues
11. The Grass Is Greener
12. Doxy
13. Waltz For The Pig (Bonus Track)
14. Wade in the Water (Bonus Track)

Alto Saxophone, Soprano Saxophone – Dick Heckstall-Smith (tracks: A1 to A3, B1 to B4, C1, C2)
Bass – Jack Bruce (tracks: D1, D2, C3)
Drums – Ginger Baker (tracks: D1, D2, C3), Jon Hiseman (tracks: A1, to A3, B1 to B4, C1, C2)
Guitar – John McLaughlin (tracks: D1, D2, C3)
Organ, Saxophone [Alto], Piano, Vocals – Graham Bond

Recorded Live at Klooks Kleek, 1963 MONO: D1, D2, C3
Recorded At Olympic Studios, 1966, STEREO A1 to A3, B1 to B4, C1, C2




This rather odd double LP is a patchy, yet good assortment of '60s material that Bond did not put out during that decade, and which remains unavailable on any other release. Nine of the 12 tracks date from 1966, with Bond accompanied by Dick Heckstall-Smith on sax and Jon Hiseman on drums (Jack Bruce and Ginger Baker had by this time left to join Cream). Most of those nine songs are not on the two proper albums he issued in the '60s (The Sound of '65 and There's a Bond Between Us), and though a few did appear on those albums and non-LP singles, these recordings are different versions. While not up to the level of the best cuts waxed by the Bruce/Baker lineup, these Hiseman/Heckstall-Smith-backed numbers are still solid jazzy R&B with that aura of faint menace unique to Bond's mid-'60s work. His singing is particularly effective in its drawn-out anguish on "It's Not Goodbye" and "Springtime in the City" has those uneasy descending chord progressions and creepy R&B black-mass organ that were Bond specialties. "Neighbour Neighbour" and "Walkin' in the Park" aren't as good as the versions he did with Bond and Baker on the first two Graham Bond Organization LPs, but they're different enough to merit hearing. The three remaining songs were done in 1963 with Bruce, Baker, Heckstall-Smith, and John McLaughlin, and are long, straight jazz pieces that are much different in nature. Historically they're interesting, particularly in their documentation of the period in which McLaughlin (who solos well, though his free jazz style was a long way off in coming) was in the band. However, Bond's outfit became much more distinguished as an R&B group than they were as an average jazz one, making the 1963 material more of a curiosity than a highlight of his discography.