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David Taylor - Past Tells

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Download links and information about David Taylor - Past Tells by David Taylor. This album was released in 1993 and it belongs to Jazz genres. It contains 19 tracks with total duration of 01:12:47 minutes.

Artist: David Taylor
Release date: 1993
Genre: Jazz
Tracks: 19
Duration: 01:12:47
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Tracks

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No. Title Length
1. Ach, unser wille bleibt verkehrt/Herr, so du willt/Herr, wie du willst, so schick's mit mir (featuring Ted Rosenthal, Emily Mitchell, Gary M. Schneider) 8:16
2. The Things Our Father Loved (And the greatest of these was Liberty!) (featuring Ted Rosenthal, Emily Mitchell, Fred Sherry, Rolf Schulte, Louise Schulman) 2:15
3. The Indians (featuring Ted Rosenthal, Emily Mitchell, Fred Sherry, Rolf Schulte, Louise Schulman, Jon Kass) 2:13
4. Chanson Hébraïque (featuring Emily Mitchell) 3:50
5. One Hundred Bars for Tom Everett (featuring Gordon Gottlieb) 4:37
6. Come Sunday (featuring Ted Rosenthal, Jon Kass) 5:39
7. Tolerance (featuring Emily Mitchell, Fred Sherry, Rolf Schulte, Louise Schulman, Jon Kass) 0:43
8. Shtik (featuring Marty Ehrlich, Andy Laster, Herb Robertson, Phil Haynes, Mark Helias) 12:56
9. Tailor-Made, Op. 112: Top Hat (featuring Emily Mitchell, Gordon Gottlieb) 3:51
10. Tailor-Made, Op. 112: White Tie (featuring Emily Mitchell, Lindsey Horner, Gordon Gottlieb) 5:29
11. Tailor-Made, Op. 112: Tails (featuring Emily Mitchell, Lindsey Horner, Gordon Gottlieb) 4:02
12. Past Tells (or Orals): Beginning (featuring Marty Ehrlich, Andy Laster, Herb Robertson, Phil Haynes, Paul Smoker, Mark Helias, Gary Schneider, Jay Branford) 1:53
13. Past Tells (or Orals): Lamentations (featuring Marty Ehrlich, Andy Laster, Herb Robertson, Phil Haynes, Paul Smoker, Mark Helias, Gary Schneider, Jay Branford) 3:27
14. Past Tells (or Orals): Four Chord (featuring Marty Ehrlich, Andy Laster, Herb Robertson, Phil Haynes, Paul Smoker, Mark Helias, Gary Schneider, Jay Branford) 0:48
15. Past Tells (or Orals): Nokh a Mol (featuring Marty Ehrlich, Andy Laster, Herb Robertson, Phil Haynes, Paul Smoker, Mark Helias, Gary Schneider, Jay Branford) 3:01
16. Past Tells (or Orals): Processive Regalia (featuring Marty Ehrlich, Andy Laster, Herb Robertson, Phil Haynes, Paul Smoker, Mark Helias, Gary Schneider, Jay Branford) 3:46
17. Past Tells (or Orals): Duo (featuring Marty Ehrlich, Andy Laster, Herb Robertson, Phil Haynes, Paul Smoker, Mark Helias, Gary Schneider, Jay Branford) 0:59
18. Past Tells (or Orals): Spiritual-Out Chorus (featuring Marty Ehrlich, Andy Laster, Herb Robertson, Phil Haynes, Paul Smoker, Mark Helias, Gary Schneider, Jay Branford) 3:08
19. Past Tells (or Orals): Epilogue (Variations on Ives) (featuring Marty Ehrlich, Andy Laster, Herb Robertson, Phil Haynes, Paul Smoker, Mark Helias, Gary Schneider, Jay Branford) 1:54

Details

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Past Tells is virtuoso bass trombonist David Taylor's daring attempt to draw together his disparate musical interests. An in-demand sessionman with a sound as robust as the darkest chocolate, Taylor has graced classical chamber music groups, avant garde jazz sessions, and the Duke Ellington Orchestra during the last days of the maestro's reign. Taylor touches all these bases in this sprawling date. Opening with a sentimental evocation of Bach it includes a salty burlesque tribute to Lenny Bruce by David Schiff and touches of free jazz. References to American iconoclast composer Charles Ives serve as an emulsifier, but prove not binding enough to keep the stylistic layers from separating. While Taylor's "Past Tells" manages to create an effective mosaic using colleagues from the downtown scene of the period, David Noon's "Tailor Made" proves too scattered with taped segments of a Woodrow Wilson speech on Indian affairs and a recording of Irish tenor John McCormack singing "It's a Long Way to Tipperary" overwhelming the "live" music. (This would undoubtedly be more effective performed on stage when the theatrical presence of the musicians would counter-balance the samples. ) Schiff's piece has Taylor declaiming bits of Lenny Bruce's monologue "To is a preposition." With it's swooning lounge act saxophones the piece provides an eerie echo of the 1950s and gives the leader a chance to flex his acting chops. Despite the success of individual parts and Taylor's efforts to link the individual numbers intellectually, the session as a whole never coalesces.