By A.B. Spellman
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Additional resources for Four Jazz Lives
But you can't. If Igor Stravinsky was sitting down writing, you wouldn't all of a sudden run in and say, 'Stop it Igor! Like, we want to sell a few drinksl' It's about the same thing. " Yet, as the owners of New York's Village Vanguard recently learned, Cecil is a moneymaker. Termini says that Cecil" always drew well. " Termini could give no reason for not hiring Taylor more often. His general attitude was that there is no money in any jazz, because its audience is young and fickle: "I might not have jazz in the future.
And my appeal to certain of these people I can understand. But it's also like being grateful for small favors. And most of their information was inaccurate. The trouble was they couldn't hear. It was certainly valid for them to say 'I heard such-and-such a composer: and perhaps so, but what I also heard, and what was also there, were jazz personalities and jazz musicians which they didn't bother to identify because their reference eluded that. " This not too oblique reference to Schuller's essay is all there is on record to indicate Cecil's reaction to that essay, and when asked, he does not choose to be speCific about it.
No. Historically not. This is what has always happened. " Bob Levin quotes Cecil in his notes to the Hard Driving Jazz record as saying: "The object of any jazz musician who has had [my] background is to bring it to jazz-combine it with jazz and see what happens. My particular field is jazz and therefore it will eventually become a complete jazz expression. " Cecil Taylor [ 29 ] It is not surprising that the critics, many of whom have been searching for generations for the missing link between Mro-American jazz and the great body of Western music, have emphasized these influences in writing about Taylor's music.