'Six Encomiums for Cecil Taylor' and the question of the maestro's influence

Here is my Rolling Stone review of the new Tzadik release Six Encomiums for Cecil Taylor, on which six pianists — Anthony Coleman, Sylvie Courvoisier, Kris Davis, Brian Marsella, Aruán Ortiz and Craig Taborn — pay tribute to the late maestro with respective solo pieces.

I enjoyed this one a lot, and it made me think about how Cecil's legacy will be preserved and/or carried forward in the future. Playing Changes, Nate Chinen's excellent new up-to-the-minute history of contemporary jazz, concludes with an overview of last year's Monk@100 festival, which, by the sound of it, reaffirmed the already well-established inexhaustibility of the Monk songbook. As I point out in the review, Cecil wrote an enormous amount of music, but precious little of it has ever been performed without him present. (In addition to the Steve Lacy and Vandermark 5 examples I linked to there, this is the only other instance I'm aware of, outside of his actual funeral, at which a band of his associates played the piece "Womb Waters Scent of the Burning Armadillo Shell.") A lot of this likely has to do with the sort of learned-by-ear method he seemed to favor within his own groups, which is described in many accounts of his working process. Still, though, there's a lot of Cecil music out there, and I'm curious to see if anyone, either his former collaborators or those who simply love his work enough to want to internalize and interpret it, will take up that challenge.

Will there ever be, in other words, an enshrined and constantly renewed culture of Ceciliana, the way there is with Monk, Ellington, Mingus, even, increasingly, a figure like Wayne Shorter? Can Cecil's music exist without him?

And beyond a project like Six Encomiums, where exactly will we see evidence of his influence on other pianists? Certainly plenty of musicians not featured on this album have cited him as a key influence: to name just three, Vijay Iyer, Marilyn Crispell and Jason Moran (who performed his own Cecil-inspired solo piece at a 2015 tribute to Taylor held while he was still alive at HarlemStage).

His actual presence and the specific sensation and content of his performances, especially the solo ones, seems almost impossible to recapture, though, again, I wonder if anyone will try.

The question is, really, how do you carry on the legacy of a figure who, especially by the later stages of his career, stood entirely apart from genre, who carved out a new niche in American (and global) culture that only he could fill, right down to his dress and his manner of speaking. Outright imitation is generally ill-advised anyway, but what about even some kind of respectful emulation? How would an admirer of Cecil Taylor express that in his or her own endeavor? And more broadly, what will a post-Cecil reality look or sound like? I'll certainly be staying tuned.

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Note: Ben Ratliff's Times piece on CT from 2012, which arrived in advance of a 2012 Taylor-centered mini-fest that included a tribute concert with Iyer, Taborn and others, probes into some of these same questions. Essential reading.