From the Whitney website: “This residency will feature a series of live performances amid a retrospective environment that will include documentation of Taylor’s career, including videos, audio, notational scores, photographs, poetry, and other ephemera.”
Curious as to whether, and hopeful that, Cecil will be joined by some former associates. Either way, I really wanna try to make this.
http://whitney.org/Exhibitions/OpenPlanCecilTaylor
Horses was a crucial step in the evolution of New York Rock & Roll, blending a reverence for Smith’s musical and literary influences, with a fresh and vital perspective on those traditions, and in so doing, it helped lay the groundwork for New York’s (and by proxy, the world’s), nascent Punk scene. Smith’s shamanic, poetic explorations were ably abetted by the sympathetic musicians who would form the core of her band, for the following several years (and further), Lenny Kaye, Ivan Kral, Jay Dee Daugherty and Richard Sohl, who provided both solid ground and an improvisational fluidity perfectly suited to Smith’s style. Add some help from Television’s, Tom Verlaine, Blue Oyster Cult’s, Alan Lanier, John Cale behind the board, god of all that is mastering, Bob Ludwig, on post-production, and the now iconic Robert Mapplethorpe cover photo, and you’ve got yourself a masterpiece, every bit as vital today as it was forty years ago.
Because even when you’re Mick Jagger, sometimes you’re not the most interesting man in the room. Delon’s style makes Jagger’s mismatched socks, beat down shoes and scruffy coif look entirely adolescent. Hell, Delon even has that uncanny French knack for turning a cigarette into a desirable accessory, while Mick is dreaming of the advent of the cell phone. Either way, Marianne’s in the proverbial catbird seat. Taken in 1967, at a discussion with director Jack Cardiff on his film The Girl On A Motorcycle, starring Faithfull and Delon.
blog hit sally inside 