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Oblivion boss load order warning2/18/2022 What almost no one knew was that “Spring of Two Blue J’s” documented just one part of the concert the shorter, second set. Given our involvement in the project –college students who had never recorded or mixed an album before, outside of a few, small personal dates– the praise was enormously gratifying. ![]() ![]() Longtime Village Voice jazz writer Gary Giddins, who at the time had not yet begun his column, recalls today that Cecil’s solo on the first side was his most impressive to date, and that the quartet movement “climaxed his long alliance with Lyons and Cyrille and introduced bassist Sirone.” Of all Cecil’s discoveries in his musical journey leading to “Blue J’s,” that record’s breakthroughs were, Giddins says, the most revelatory and satisfying, and it “announced Cecil Taylor’s permanent reestablishment in the music world, an end to his marginalization, and the evidence of a maturity that allayed any doubts that he or anyone else may have harbored during that self-imposed exile in academia.” In two Voice wrap-ups in 1974, he called it his favorite album of the year. In his book about the New York music scene in the 1970s, “ Love Goes to Buildings On Fire,” Critic Will Hermes called it one of music’s two epiphanies that year (the other being the Dave Holland release, “ Conference of the Birds.”) The album that documented part of the concert, “Spring Of Two Blue J’s,” was produced and mixed by my friends and me. The result of all that largely private exploration and discovery would at last be on display by Cecil and his longtime collaborators, alto saxophonist Jimmy Lyons, percussionist Andrew Cyrille, and newcomer Sirone on bass. In fact, since his groundbreaking LPs on Blue Note in the mid 1960s, Cecil’s recorded output was relegated to mostly small, obscure European labels. #Oblivion boss load order warning free#A couple of years had passed since his last public solo performance in New York –the epicenter of new music, avant-garde, free jazz, whatever you want to call it if you need to call it anything– and listeners were eager to hear what he was going to reveal, especially with a quartet.Īs for LP evidence of his music’s evolution, the most recent touchstone was “ Indent,” a solo piano performance at Antioch released just six months before the concert at The Town Hall on Cecil’s label Unit Core, but it was not widely heard until it was released years later by Arista Freedom. That’s my first memory, nearly 50 years later, of Cecil Taylor’s “return” concert at The Town Hall in New York on November 4, 1973.Ĭecil had as much claim as anyone to be a star in that era, in that city, but instead had split to spend the early part of the 1970s teaching composition at the University of Wisconsin and Antioch College, where he also devoted time each day to his own composing. We knew then it was going to be an event. ![]() The two part “Spring of Two Blue J’s” ( Oblivion Records OD-7) is exclusively on all digital streaming platforms. All others on vinyl, CD, or any other format are unauthorized bootlegs. The only other legitimate release is by Oblivion Records in 2021. The original LP of “Spring of Two Blue-J’s” was limited to 2000 vinyl pressings in 1974 for Unit Core Records, owned by Cecil Taylor. This drop is the first release of the complete concert from November 4, 1973. This streaming release is the world premiere of “Autumn/Parade,” mixed in July 2021 for the first time since its recording. Promotional CD Mastering: Tom Nunes, Atomic Disc, Salem, OR Tracks 2 & 3: Mixed, Spring 1974, assisted by Jeff Ader, Alan Goodman, David Laura and Tony May, Spring 1974ĭigital transfers from the original analog 4-track and stereo recordings by Sonicraft, Red Bank, NJ Recorded live in concert and mixed by Fred Seibert #Oblivion boss load order warning download#Read the liner notes here, or download them from from Scribd.
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