1955-1961

~ Release by Cecil Taylor (see all versions of this release, 1 available)

Tracklist

1▼CD
#TitleRatingLength
1Bemsha Swing
recorded in:
Boston, Massachusetts, United States (on 1956-09-14)
double bass:
Buell Neidlinger (on 1956-09-14)
drums (drum set):
Denis Charles (drums) (on 1956-09-14)
piano:
Cecil Taylor (on 1956-09-14)
cover recording of:
Bemsha Swing (instrumental) (on 1956-09-14)
composer:
Denzil Best and Thelonious Monk
publisher:
Bayes Music Corporation, Bocu Music Ltd., Embassy Music Corporation, Second Floor Music and Thelonious Music
sub-publisher:
ミュージック・セールス (Music Sales, Japan, subsidiary of Shinko Music Entertainment) and 日音 Synch事業部 (NICHION, INC. Synch Division)
7:25
2Things Ain’t What They Used to Be
producer:
Nat Hentoff
baritone saxophone:
Charles Davis (saxophone player) (from 1961-01-09 until 1961-01-10)
bass and double bass:
Buell Neidlinger (from 1961-01-09 until 1961-01-10)
drums (drum set):
Billy Higgins (US jazz drummer) (from 1961-01-09 until 1961-01-10)
piano:
Cecil Taylor (from 1961-01-09 until 1961-01-10)
soprano saxophone:
Steve Lacey (from 1961-01-09 until 1961-01-10) and Steve Lacy (jazz saxophonist and composer 1934–2004) (from 1961-01-09 until 1961-01-10)
tenor saxophone:
Archie Shepp (from 1961-01-09 until 1961-01-10)
trombone:
Roswell Rudd (American jazz trombonist and composer) (from 1961-01-09 until 1961-01-10)
trumpet:
Clark Terry (American swing trumpeter) (from 1961-01-09 until 1961-01-10)
recorded at:
Nola’s Penthouse (Nola's Penthouse, NYC) in New York, New York, United States (from 1961-01-09 until 1961-01-10)
instrumental recording of:
Things Ain’t What They Used to Be (in 1961-01)
lyricist:
Ted Persons
composer:
Mercer Ellington (in 1942)
publisher:
Tempo Music, Inc. (Duke Ellington’s music publishing company)
10:08
3Cindy’s Main Mood
producer:
Nat Hentoff
bass and double bass:
Buell Neidlinger (from 1961-01-09 until 1961-01-10)
drums (drum set) and timpani:
Billy Higgins (US jazz drummer) (from 1961-01-09 until 1961-01-10)
piano:
Cecil Taylor (from 1961-01-09 until 1961-01-10)
recorded at:
Nola’s Penthouse (Nola's Penthouse, NYC) in New York, New York, United States (from 1961-01-09 until 1961-01-10)
recording of:
Cindy’s Main Mood (in 1961-01)
composer:
Billy Higgins (US jazz drummer), Buell Neidlinger and Cecil Taylor
5:13
4Sweet and Lovely
double bass:
Buell Neidlinger
membranophone:
Denis Charles (drums)
piano:
Cecil Taylor
cover recording of:
Sweet and Lovely (on 1956-09-14)
lyricist:
Harry Tobias
composer:
Gus Arnheim and Charles N. Daniels
publisher:
Harry Tobias Music, Keith Prowse Music, Redwood Music, Sony/ATV Tunes LLC (ASCAP), Anne-Rachel Music Corp. (in 1931), Chappell & Co. (in 1931), Quartet Music Inc. (in 1931) and Range Road Music Inc. (in 1931)
6:38
5Air
engineer:
Bob d’Orleans
double bass:
Buell Neidlinger (from 1960-10-12 until 1960-10-13)
drums (drum set):
Denis Charles (drums) (from 1960-10-12 until 1960-10-13)
piano:
Cecil Taylor (from 1960-10-12 until 1960-10-13)
tenor saxophone:
Archie Shepp (from 1960-10-12 until 1960-10-13)
recorded at:
Nola’s Penthouse (Nola's Penthouse, NYC) in New York, New York, United States (from 1960-10-12 until 1960-10-13)
recording of:
Air (in 1960-12)
composer:
Cecil Taylor
publisher:
Jay Bee Music Corp. and Syndicore
8:49
6Azure
recorded in:
Boston, Massachusetts, United States (on 1956-09-14)
double bass:
Buell Neidlinger (on 1956-09-14)
drums (drum set):
Denis Charles (drums) (on 1956-09-14)
piano:
Cecil Taylor (on 1956-09-14)
cover recording of:
Azure (on 1956-09-14)
lyricist:
Irving Mills (in 1937)
composer:
Duke Ellington (US composer, pianist & jazz bandleader) (in 1937)
7:29
7Charge ’em Blues
recorded in:
Boston, Massachusetts, United States (on 1956-09-14)
double bass:
Buell Neidlinger (on 1956-09-14)
drums (drum set):
Denis Charles (drums) (on 1956-09-14)
piano:
Cecil Taylor (on 1956-09-14)
soprano saxophone:
Steve Lacy (jazz saxophonist and composer 1934–2004) (on 1956-09-14)
recording of:
Charge ’Em Blues (on 1956-09-14)
composer:
Cecil Taylor
11:07
8Port of Call
engineer:
Bob d’Orleans
double bass:
Buell Neidlinger (from 1960-10-12 until 1960-10-13)
drums (drum set):
Denis Charles (drums) (from 1960-10-12 until 1960-10-13)
piano:
Cecil Taylor (from 1960-10-12 until 1960-10-13)
recorded at:
Nola’s Penthouse (Nola's Penthouse, NYC) in New York, New York, United States (from 1960-10-12 until 1960-10-13)
recording of:
Port of Call (in 1960-12)
composer:
Cecil Taylor
publisher:
Jay Bee Music Corp.
4:20
9You’d Be So Nice to Come Home To
recorded in:
Boston, Massachusetts, United States (on 1956-09-14)
piano:
Cecil Taylor (on 1956-09-14)
cover recording of:
You’d Be So Nice to Come Home To (on 1956-09-14)
lyricist and composer:
Cole Porter (composer) (in 1943)
publisher:
Chappell & Co., Chappell & Co., Inc. (USA), Warner Chappell Music Ltd. (no slash; used 1988–1996) and Warner/Chappell North America Limited (formerly incorporated as Marmalade Music Ltd., from 1968/09/19–1999/11/09)
part of:
The 16th Academy Award for Best Original Song (number: 2)
9:20