How often do you hear the French horn used in a jazz context as a solo
instrument--especially a modern jazz context? Not often!
Mark Taylor's playing brought new colors and subtle nuance to Muhal Richard Abrams'
Blu Blu Blu album back in 1990, and in '92 he contributed to the remarkable Jazz Composers
Alliance
Orchestra's Flux. He was a integral part of the Ebony Brass Quintet '95 record Brand New
Bag --which in many ways mirrored the concepts of the World Saxophone Quartet and
Lester Bowie's Brass Fantasy group.
On this new recording he employs the awesome talents of pianist Myra Melford (who appeared
on Taylor's first
solo album, Quiet Land on Mapleshade), bassist Brad Jones, and drummer
Matt Wilson. The results are somewhat mixed.
First off, let it be known that every player represented on this album is a master of his or her
chosen
instrument, and all are capable of stunning improvisations. But somehow this music doesn't entirely
transcend the
medium. Whether it's good or bad, we're constantly aware that it is a French horn we're listening
to, even when the instrument in Mr. Taylor's able hands sounds more like a trombone (in the 'bone's
higher register). Couple that overall characteristic with the abstract pointillism that Melford brings
to this project and things start to fall apart. Ironically, the rhythm section of Jones and Wilson is rock
solid and provides the music with some of its richest moments, but the juxtaposition between the
driving keyboard style used throughout this recording and the more straightforward harmonic and
rhythmic aspects explored by the bass and drums may simply be too great a chasm for Mr. Taylor to
leap.
Circle Squared brings up another interesting question. Is the French horn such an usual
and fresh sound in
the world of jazz soloists that we can't help but notice its presence in this context? In that regard, this
recording
is a success. Mr. Taylor takes lots of chances with this music and he definitely covers some
new ground in relation to his chosen instrument. In the liner notes he says of the music, "It's
beautiful--and
terrible and free and ugly and structured and unpredictable, completely under control and utterly
ridiculous.
Just like life."
That sums this album up pretty well. There is a lot of great
playing on this effort, but the end result is not entirely compelling.
This album also brings up some very interesting questions, always a welcome thing in the world
of jazz. Give it a listen and decide on the answers for yourself.
Visit the artist at:
www.marktaylormusicgroup.com .
~ Farrell Lowe
