David Taylor-trombone; Rolf Schulte, Jon Kass-violin; Louise Shulman- viola; Gary Schneider-synthesizer; Fred Sherry-cello; Lindsey Horner-bass, tape; Gordon Gottlieb-percussion; Emily Mitchell-harp; Jay Branford-alto, baritone sax; Herb Robertson-trumpet, trombone; Phil Haynes-drums, percussion; Andy Laster-baritone sax; Marty Ehrlich-tenor, soprano sax, clarinet; Paul Smoker-trumpet, flugelhorn; Mark Helias-bass; Ted Rosenthal-harpsichord
This is not a recording for the fainthearted, the straitlaced, or the stylistically correct. Bass trombonist David Taylor has assembled a multi-faceted self-portrait out of pieces he selected, inspired, and composed. Taylor’s eclecticism demonstrates how meaningless the old stylistic boundaries are for a contemporary artist. Taylor is known for his work with such artists as Duke Ellington, Barbra Streisand, Frank Sinatra, Aretha Franklin, The Rolling Stones, and Quincy Jones. He also premiered compositions by Charles Wuorinen, Alan Hovhaness, Frederic Rzewski, David Liebman, Lucia Dlugoszewski, and George Perle.
Taylor’s range extends from Bachian piety to Yiddish irony, from the idealism of Charles Ives to the hipster nihilism of Lenny Bruce. Taylor’s music represents the spirit of improvisation and risk as opposed to conservatory notions of perfection. Playing a “marginal” instrument such as the bass trombone, Taylor turns marginality into a virtue, by transforming his instrument into a multiplicity of sounds and voices.