CD Review: Andrew Cyrille, William Parker & Enrico Rava - 2 Blues For Cecil

Andrew Cyrille, William Parker & Enrico Rava

2 Blues For Cecil

(TUM) www.tumrecords.com

Cecil Taylor did play the blues. In the early part of his career at least, he wasn't above working within the 12-bar structure that so many others had done. But "Charge 'Em Blues," from his 1959 debut Jazz Advance sounded nothing like what Horace Silver was laying down around that time. The rhythm section kept to a loping vamp that followed the chords. Drummer Denis Charles even traded fours with Cecil. But the pianist's solos, and even those by soprano saxophonist Steve Lacy, didn't let bar lines or chords help to anticipate where they were going. The two soloists were aware of the sound beneath them, but chose to fly just above it. 

That type of forward vision has lead many skeptics over the years to think that purveyors of "the new thing" or free jazz or whatever it might be called, don't know how to play something as traditional as a 12-bar blues. "Blues for Cecil No.2" from this album should put any thoughts to rest. Bassist William Parker - who can create some intensely vicious music with his instrument - lays down a slinky walk that gets right in the pocket with drummer Andrew Cyrille, who keeps it simply but sly. Enrico Rava, the sole horn on this whole session, unleashes some warm, bluesy lines, along with some upper register flutters. The whole thing could get heads shaking in rhythm at your local jazz festival. Don't ever say these guys aren't connected to jazz conventions. 

All three of these players have connections to Cecil Taylor's Units. Cyrille came to prominence during the 11 years he played with the pianist, from 1964 to 1975. In recent interviews, Cyrille has explained the way he put his drum experiences to use in different ways when playing with Cecil, which has provided greater understanding for Taylor's music. Parker also spent 11 years with the pianist, from 1980-1991. Rava met Taylor in the '60s but didn't perform with him (in a few of his larger orchestras) until the '80s. The trio convened at the opening for the Whitney Museum's 2016 exhibition Open Plan: Cecil Taylor. After performing in a tribute to the late pianist in late 2020, they recorded this album.

When paying homage to an individual like Cecil Taylor, his music is rarely used. Not so much because it could be hard to interpret (though it surely is) but because Taylor was such an individual devoted to new. personal expression who would likely prefer to hear new ideas rather than new takes on his older ones. Or, as Parker states in the liner notes, "Cecil was a spokesman for individuality, a musical warrior always operating on a high level." 

For that reason, 2 Blues for Cecil is made up largely of compositions by the performers. Four are group improvisations. "Blues for Cecil No. 1" sticks closer to a groove rather than an actual blues but it retains that spirit. The tracks simply titled "Improvisations" are loose but still feel like a deep three-way conversation between the players. Rava, for one, opens the album with some rusty squeaks and flutters from his horn, but he spends a lot of time using a rich, dark tone, sometimes touching on the simple expression of Miles Davis. 

Of the composed works, "Ballerina," a Rava piece that he first recorded in 1991, has a free bop melody that darts over Cyrille's gentle cymbals and snare rolls. "Top, Bottom and What's in the Middle," by the drummer, builds on individual statements by each player, which includes Parker utilizing his bow. (Cyrille created a similar piece in the '80s with saxophonist Jimmy Lyons.) The bassist's "Machu Picchu" consists of a 6/4 vamp where the other two players respond spontaneously with spirit and drive.

The album closer with that oft-repeated chestnut "My Funny Valentine." Like Chet Baker when he sang it, the trio plays one simple chorus with little embellishment. Again, Rava's delivery recalls Miles Davis' version on the album of the same name for Columbia, in which he stretched the melody out, bending phrases with moody tones. Cyrille gently brushes in the background, Parker's plucking might either be maintaining the structure or acting as a low harmony. It's a surprising end to such an individualist set, but this music is all about surprise.

It's easy to wonder what Cecil Taylor would think of this set. (He'd probably chastise my Miles comparisons, of course.) He was in attendance for the trio's performance at the Whitney. Most likely, he would approve of their sense of adventure and the places to where it leads them. That feeling is what comes across most prominently here.