11:11am

Thu June 2, 2011
Music Reviews

Craig Taborn: Seeping Into The Consciousness

Originally published on Fri June 3, 2011 12:34 pm

The piano is an inviting instrument. That's why drummers, bassists and blues guitarists all record as pianists, and even non-musicians will tickle a few keys when no one's around. The piano's easy to get a sound out of, and on the keyboard, you can see all the tonal patterns laid out in black and white. You can approach playing it as a visual puzzle, connecting the dots. You don't have to be a virtuoso to get a rhythm going, or to set the wooden box of wires humming. And every piano has its personality to discover, pliant or not so much. When you improvise, the instrument can show you where to go if you're listening: It'll lead you to its best sounds, its secrets.

Now, if it's a very responsive piano, and you're the virtuoso Craig Taborn, and you can maintain that blank-slate willingness to let the instrument lead you on, that can be a beautiful thing. Taborn says he's less about transcending the piano's limitations than exploring what's possible within it — treating the contraption as a "pure sound source."

On his new solo album, Avenging Angel, Taborn often falls into patterns: repeating rhythms or phrases, or arcs of upward-reaching chords. He likes to layer one idea over another as his two hands pursue their own agendas. Those dialogues are polyrhythmic callbacks to West Africa, boogie-woogie and vintage Cuban music.

Taborn says he doesn't worry about the great piano traditions when he improvises, but he can't ignore everything he learned on the way up; the blank slate he starts with can only be so blank. So in 30 seconds of "Neverland," you may hear echoes of Thelonious Monk's blues "Misterioso," composer Darius Milhaud's Brazilian solo pieces and old man Bach's fugues. But Taborn puts it all in his own voice.

In other folks' bands, Craig Taborn plays a whole mess of piano, giving leaders their money's worth. Solo, he has room for stuff he can't usually get to on a bandstand — like wide-open spaces between notes, and very quiet dynamics. At times on Avenging Angel, he pushes the music toward the threshold of hearing. When he brings it way down, it's nice.

This is the rare jazz piano album to remind me of Brian Eno's Music for Airports — background sounds that seep into your consciousness. But Taborn's Avenging Angel isn't ambient; it's music for listening. He makes you lean in to catch every note.

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Transcript

DAVE DAVIES, host:

Jazz pianist Craig Taborn has made a name for himself playing rambunctious music with James Carter, Dave Douglas, Tim Berne and William Parker, and he's made a few punchy records with his own groups. Now Taborn has released his first solo album.

Jazz critic Kevin Whitehead says it goes in another direction.

(Soundbite of music)

KEVIN WHITEHEAD: The piano is an inviting instrument. That's why drummers, bassists and blues guitarists all record as pianists, and even non-musicians will trinkle a few keys when no one's around. The piano's easy to get a sound out of, and on the keyboard, you can see all the tonal patterns laid out in black and white. You can approach playing it as a visual puzzle, connecting the dots. You don't have to be a virtuoso to get a rhythm going, or set the wooden box of wires humming. And every piano has its personality to discover, pliant or not so much. When you improvise, the instrument can show you where to go if you're listening; it'll lead you to its best sounds, its secrets.

(Soundbite of music)

WHITEHEAD: Now, if it's a very responsive piano, and you're the virtuoso Craig Taborn, and you can maintain that blank-slate willingness to let the instrument lead you on, that can be a beautiful thing. Taborn says he's less about transcending the piano's limitations than exploring what's possible within it, treating the contraption as a pure sound source.

(Soundbite of music)

WHITEHEAD: On his new solo album, "Avenging Angel," Craig Taborn often falls into patterns: repeating rhythms or phrases, or arcs of upward-reaching chords. He likes to layer one idea over another as his two hands pursue their own agendas. Those dialogues are polyrhythmic callbacks to West Africa, boogie-woogie and vintage Cuban music.

(Soundbite of music)

WHITEHEAD: Craig Taborn says he doesn't worry about the great piano traditions when he improvises, but he can't ignore everything he learned on the way up; the blank slate he starts with can only be so blank. So in 30 seconds of "Neverland," you may hear echoes of Thelonious Monk's blues "Misterioso," composer Darius Milhaud's Brazilian solo pieces and old man Bach's fugues. But Taborn puts it all in his own voice.

(Soundbite of song, "Neverland")

WHITEHEAD: In other folks' bands, Craig Taborn plays a whole mess of piano, giving leaders their money's worth. Solo, he has room for stuff he can't usually get to on a bandstand, like wide-open spaces between notes, and very quiet dynamics. At times on "Avenging Angel," he pushes the music toward the threshold of hearing. When he brings it way down, it's nice.

(Soundbite of music)

WHITEHEAD: This is the rare jazz piano album to remind me of Brian Eno's "Music for Airports," background sounds that seep into your consciousness. But Craig Taborn's "Avenging Angel" isn't ambient; it's music for listening. He makes you lean in to catch every note.

(Soundbite of music)

DAVIES: Kevin Whitehead is a jazz columnist for eMusic.com. His new book is "Why Jazz: A Concise Guide." He reviewed Craig Taborn's new album "Avenging Angel," which will be released Tuesday.

Coming up, Maureen Corrigan has some summer reading picks set in the past.

This is FRESH AIR. Transcript provided by NPR, Copyright NPR.