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I thought this was a great concept to hear these two combustible players making bonfires, lighting fires along the way,dropping entires 'trees of expressions', well not 'here', not this time; as they travel the paths into the wilderness, Max Roach lyrical on drums goes well,tends to make Cecil play different;Not as free as cecil-'Indent' ideas;he always makes sense for what he does, and "sense" has many levels, scoping it out past the Here and Now, and projecting it down stream a little; with Cecil Taylor uncompromising solos, the plan is to stay out of his way, you don't play with him, as against him, fusing-uniting whenever, and wherever possible; I tended to listen to Max more, I pretty much know the "cognitive maps" that Cecil deploys/ does as in the First Improv between them, really "Funny" to hear "Modal" ideas from Cecil,(1979) marks out the time this was done, He's also more traditionally beautiful,perhaps knowing he was playing with the lyrical drummer; the First Improv goes, and goes, like sent through a pipe to a large water dam unknown, Cecil just keeps going, textures abound, high filigrees, tickleey stuff,In One? No one knows; Max just fills the space,never coming to dominate;Set-Man, Set Drummer;We need to wait till Oxley shows his Face to Us; also creating wonderful metal-canvases, in the use of cymbals,suspended, rolls on them to unbearable loudness; the ringing,hanging/banging,janging timbres he gets, things do at times get turned up a few nothches from places you would think they already got as high up the mountainside as you can go, but just these walls, "sheets" of sound really breath-taking away-from-me;
The Second Improv, Max and Cecil is more rhythm, like a fugue, motives tossed between them both,shorter, clipped ideas; very different, same development, Cecil now more mindful of the situation,still goes up in clusters, using his three-fingered chords;like a small Jack-Hammer;particles,splinters of piano ideas,you can't call them "melodies", micro-melodies" is about It; more scoping out where he is,(Cecil) Who he is, and Where he wants to Go,(Max) and Go they do, again, the drums draws you in,Max and Flex-tones, ratchets, kinda get him out of Himself, you gotta when Cecil is forever testing the stream of minerals of/in the music;(Max) like that's what is punctuating these long paragraph sentences(Drums) you got,going on, the Goings-On are very interesting, you'd hear the whole Thing again, and I'd still be drawn to Max, Cecil was like the Wall,Piano-Screens,enveloping, developing into textures that go nowheres;straight-line,linear arrays of musical ideas. . . . Jazz should Do more of these, instead of all the boring ideas that you know makes bread, while the getting is Good, but now and then you gotta do something for Jazz, the Art, it doesn't pay the Rent, and you may wind up in a Line waiting for a Bowl of Soup, but Jazz as a language is well worth it, standing out in the Cold,Waiting for the Bus;#151; Jazz deserves it, so does what you Do together, Piano and Drums. . .