John Taylor (jazz)

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For other persons named John Taylor, see John Taylor (disambiguation).

Taylor in 2008

John Taylor (born in Manchester 25 September 1942) is a British jazz pianist; he has occasionally performed on the organ and the synthesizer. He is one of Europe's most celebrated jazz pianists and composers^{[citation needed]}.

1 Performing career
2 Keyboard Style
3 Teaching
4 Family
5 Discography
6 External links
7 References

[edit] Performing career

John Taylor first came to the attention of the jazz audience in 1969 when he partnered saxophonists Alan Skidmore and John Surman. He was later reunited with Surman in the short-lived group Morning Glory and in the 1980’s with Miroslav Vitous’s quartet.

In the early 1970s he was accompanist to the singer Cleo Laine and started to compose for his own sextet. Taylor also worked with many visiting artists at Ronnie Scott’s club and later became a member of Ronnie’s quintet.

In 1977 Taylor formed the trio Azimuth, with Norma Winstone and Kenny Wheeler. On some of the group's recording Taylor played synthesizer and organ. The group was described by Richard Williams as “…one of the most imaginatively conceived and delicately balanced contemporary chamber-jazz groups’. The trio made several recordings for ECM Records and performed in Europe, the USA and Canada.

The 1980s saw Taylor working with groups led by Jan Garbarek, Enrico Rava, Gil Evans, Lee Konitz and Charlie Mariano as well as performing in duos with Tony Coe and Steve Arguelles. Composing projects included a commission for the English choir Cantamus Girls Choir with Lee Konitz and Steve Arguelles and pieces for the Hannover Radio Orchestra with Stan Sulzmann.

As of 2006, Taylor is a member of Kenny Wheeler’s quartet and large ensemble and performs in duo and quartet settings with John Surman – their recording of ‘Ambleside Days’ on ahum won critical acclaim. In 1996 John played organ on Surman's choral work 'Proverbs and Songs' from Salisbury Cathedral, later released on ECM Records. During the 1990s he made several recordings also for ECM with Peter Erskine's trio with Palle Danielsson on bass.

In 2000 Taylor made a new collaboration with Azimuth and the Smith Quartet for the Weimer Festival. Also in that year he recorded 'Verso' with Maria Pia De Vito and Ralph Towner.

Taylor celebrated his 60th birthday year in 2002 with a Contemporary Music Network Tour in which he presented his new trio with the drummer Joey Baron and Marc Johnson on bass. The tour also featured the Creative Jazz Orchestra playing Taylor's composition 'The Green Man Suite'. In July 2002 Taylor received the BBC Jazz Award for 'Best New Work' for this suite.

His trio recording with Johnson and Baron was released early in 2003 and September 2003 saw the release of his solo CD 'Insight' on Sketch. The Guardian wrote, "this is one of contemporary jazz's great performers at work . . . a beautiful solo statement by a very modest star." In 2004 Taylor recorded 'Where do we go from Here?' in duo with Kenny Wheeler and 'Nightfall' with bassist Charlie Haden. They subsequently performed at the Montreal International Jazz Festival. Also that year Taylor formed a new trio with Palle Danielsson and Martin France. They performed at the Vancouver Festival and recorded 'Angel of the Presence' for CAM Jazz. This recording was released in January 2006 to coincide with their UK tour and has received critical acclaim.

[edit] Keyboard Style

Whilst John Taylor's unique piano style draws on the whole of the jazz pallette and considerable influence from classical music, his approach is characterised by a sophisticated and advanced rhythmic and harmonic sensibility. Rhythmically he is a specialist in asymmetrical meters and in employing "drumming" patterns on the keyboard. Harmonically, he has significantly developed and expanded the harmonic vocabulary of musicians such as Bill Evans and Gil Evans (see references below).

[edit] Teaching

Taylor has been professor of Jazz Piano at the Cologne College of Music since 1993, and became a Lecturer in jazz at University of York in 2005. He coaches and teaches undergraduate jazz musicians and is of central importance to the new Master's degree jazz pathway and in advancing doctoral research and performance in jazz.