First visit archive offers previously unreleased recordings of historic and musical importance. When, in this music, he succeeds in fusing the emotional (translated into its lyrical and dramatic qualities) pas- sage of ritual with the complex architecture of his ensemble’s infrastructural procedures, we have a bridge into Cecil Taylor’s creative spirit, and far beyond. (Art Lange)

This second installment from an electrifying concert should thrill Taylor fans and win a few converts. It defies odds that the pianist, after so many years, continues to astound with his totally original performances. This one is vintage Taylor, with the pianist in full throttle, winding and turning phrases with characteristic brilliance…

Cecil Taylor has never compromised his ideals, and this recording is no exception. During the course of more than one hour, Taylor and his quartet perform only one piece, but do it with such exquisite finesse that it incorporates dozens of shades and styles of expression…

Strange as it sounds, this is a somewhat typical date by avant-garde master Cecil Taylor. Recorded live at a Minneapolis concert, the performance consists of three improvisations (two of which are quite lengthy) that have Taylor in mostly thunderous form, leavened by a few brief lyrical moments. Bassist Dominic Duval and drummer Jackson Krall do their best to keep up with Taylor but there is no doubt who the leader is. Taylor's remarkable technique and endurance are in evidence, as is his ability to build on the most abstract ideas and somehow have it all make musical sense…

Oblivion Records is delighted to announce the February 15, 2022 release of Cecil Taylor – The Complete, Legendary, Live Return Concert, marking the first chance for listeners to hear the legendary pianist’s 1973 return to live performance in full. The concert saw Taylor reunite with Cecil Taylor Unit members Jimmy Lyons (alto saxophone) and Andrew Cyrille (percussion), with the addition of Sirone on bass. This project, assembled by the original producer and recording engineer Fred Seibert, is a much-anticipated opportunity to hear the missing piece of a puzzle long-thought lost, that adds another chapter to the story of Taylor’s search for artistic freedom.

One of Cecil Taylor's earliest recordings, Looking Ahead! does just that while still keeping several toes in the tradition. It's an amazing document of a talent fairly straining at the reins, a meteor about to burst onto the jazz scene and render it forever changed. With Earl Griffith on vibes, Taylor uses an instrumentation he would return to occasionally much later on, one that lends an extra percussive layer to the session, emphasizing the new rhythmic attacks he was experimenting with. Griffith sounds as though he might have been a conceptual step or two behind the other three but, in the context of the time, this may have served to make the music a shade more palatable to contemporary tastes…

This double-LP is the only recording that exists of Cecil Taylor and his group (other than two songs on the bootleg Ingo label) during 1962-1965. Taylor's then-new altoist Jimmy Lyons (who occasionally hints at Charlie Parker) and the first truly "free" drummer Sunny Murray join the avant-garde pianist in some stunning trio performances recorded live at the Cafe Montmartre in Copenhagen. With the exception of an interesting version of "What's New" (which finds Lyons showing off his roots), the music is comprised entirely of Taylor originals and is atonal and full of power.

Avant-garde icon Cecil Taylor has a superfluity of gems in his catalogue, but his recordings from the early 1960s have a special significance in that they represent the pianist's transition from a traditional post-bop approach to his more abstract stylings. Lyrical, bluesy, and driven by bold improvisation, 1960's Air is an excellent example of Taylor's early work. Along with saxophonist Archie Shepp (who sits in on two numbers) and a sharp, tight-knit rhythm section, Taylor can be heard stretching the jazz canvas of the era, forming the radical vocabulary he would master on landmark albums like 1966's Unit Structures. Air is a must for Taylor fans, and is also a good entry point for those who find his later work too jarring or abrasive.