Drummer Fred Taylor showcases the compositions of respected alto saxophonist and educator Bob Ackerman on this highly interactive trio outing with bassist Rick Crane. Everyone is on equal footing here, with Crane’s agile upright bass lines resounding in the mix as prominently as Ackerman’s sax, flute and clarinet. Together they turn in a swinging rendition of “Dear Old Stockholm,” along with Ackerman gems like “LTD’s Ballad” and “My Response.” The keen-eared Taylor is responsive to every nuance throughout, which is best exemplified on the freewheeling “Inventions I and II.”
Drummer Fred Taylor, a longtime veteran of the Seattle-area music scene, has been recording as a leader and sideman for more than thirty years. Currently residing in New Jersey, Taylor presents his first east coast production with Circling, a straight-ahead session featuring woodwind player Bob Ackerman and bassist Rick Crane. The disc consists of two standards ("Dear Old Stockholm," "Moon and Sand"), a handful of Ackerman originals and the collaborative improvised effort "Inventions I and II."
Ackerman's composing, lyrical and swinging, is a highlight of the disc. The bouncy and somewhat angular opening track serves as a clear-cut introduction to the piano-less trio's concept: wide open space, highlighting intuitive group interplay. Crane's up-in-the-mix bass lines and Taylor's subtle percussive pulse compliment the melodic and improvised turns of Ackerman, who is equally effective on alto, flute and clarinet.
The bossa-to-swing groove of "Dexter's Thing" and easy flow of "LTD's Ballad" feature Ackerman's rich clarinet tone and Crane's lucid, perhaps Ron Carter-inspired, bass flourishes. "My Response (K.G.)" and "Inventions I and II" present a more free form approach while maintaining an accessible aesthetic. Taylor's patient, yet always present approach allows the leader to express himself while letting his trio-mates shine--a quality sorely missed from so many drummer-led recordings.
Ackerman's "Lauren’s Waltz," a soft musical cushion featuring light brushwork and flowing bebop lines, closes a satisfying disc worthy of repeated listening.
Fred Taylor is a talented and tasteful drummer and bandleader. His latest release, Circling, is a collection of swingin’ tunes in a traditional jazz style, the bulk of which were written by Taylor’s reedman Bob Ackerman (who plays alto, flute and clarinet on the disc). Together with bassist Rick Crane, Taylor and Ackerman present a bare bones, no-place-to-hide program that truly displays the depth of each musician in this highly sympathetic and interactive band. The three men play as one living breathing entity throughout Circling.
Five of the tunes on the disc were written by Bob Ackerman. The first of these is the title track, a medium swing, post-bop flavored number on which Ackerman plays alto sax. His tone is biting and brittle, highly emotive and uniquely original. Crane takes the first solo, an adventurous thing. This is followed with statements by both Ackerman and Taylor before a return to the main melody. Another Ackerman original, “Dexter’s Thing” is a bossa-esque tune. The exotic melody is delivered on clarinet, in a gentle style. Ackerman also plays clarinet on his “LTD’s Ballad”, an achingly slow and tender composition with some fine brushwork from Taylor. The band comes alive on their reading of the Ackerman tune “My Response”. Flute bass and drums act and react as one on this highly interactive tune. The composition displays unison playing, call and response type figures and collective improvisation. The final Ackerman song is “Lauren’s Waltz” with a return to that aching alto saxophone tone. This medium waltz is somber and a bit foreboding.
Also featured on Circling is “Inventions I and II”. The piece seems to be a free and collective improvisation (it is credited to the entire trio) and stands as a testament to the musicality and sympathy with which these musicians play with each other. The program is rounded out by an interesting take on “Dear Old Stockholm”, which incorporates the standard introduction into the form of the melody, and “Moon and Sand”, a medium swing number which again features Ackerman on flute.
Fred Taylor shows great command of his instrument—and his band—on each track of Circling. When he’s called on to solo—as in the title track—he displays a virtuous and musical understanding of modern jazz drums. When Taylor chooses to make his statements more about the tune at hand and the musicians with which he’s performing, his taste and simplicity abound. He’s picked two magnificent musicians to share his musicality with. He’s found a masterful composer in Ackerman and in Crane a bass player who is so much more than an accompanist. The Fred Taylor Trio plays trio music in the manner of Bill Evans with a unique identity (not to mention the lack of piano).
New Jersey Jazz Society 'Jersey Jazz' December 2008
"The essence of jazz is the player" says NJJS member Fred Taylor, and the spare, piano-less trio on his new CD offers ample room for three skillful players to ply their artful trade. The progressive but musical disk features six originals by fellow Jazz Society member Bob Ackerman among the CD's eight tracks. Veteran bassist Rick Crane rounds out the trio.
Propulsive little grooves run through floating atmospheres in the debut release from drummer Fred Taylor's Inquest quartet, carrying the listener along in a sort of rhythmic jet stream. Guitarist Gary Rollins is the primary melodic voice early on, crafting serpentine soliloquies over the leader's stuttering cadences and James Clark's flowing lines on electric and acoustic bass. Later, saxophonist-flutist Craig Lawrence adds a melancholy touch to the proceedings, soaring like a balloon through 'Icarus' and buffeted by breezes in the title track. *********************************************************************************
Clive Griffin Jazz Improv July 2007 (Excerpts)
The title track, 'Processional', composed by Fred Taylor features the lyrical soprano sax of Craig Lawrence, who takes center stage for an extended solo. This piece is noteworthy for its driving rhythm in 7/4 time. Guitarist Rollins follows Lawrence with a spirited solo. James Clark also gets to shine here on the electric bass.
Lawrence switches to tenor sax for a magnificent rendition of 'Fall', a beautiful ballad composed by Wayne Shorter. He solos with aplomb, thoughtfully exploring the sound of his instrument. He gently and patiently explores the fabric of the song, soloing by employing an abundance of long tones to let the ear savor it all. By contrast, Rollins's solo, which follows, is a bit more exploratory - more notes, freer rhythms, employment of some dissonance.
The group changes color once more, as Lawrence moves over to clarinet on Ralph Towner's Icarus. Lawrence breathes fresh spirit into this mesmerizing melody. James Clark takes the spotlight for the first solo and shows off his beautiful round sound and colorful lines. Lawrence follows with a dancing solo on clarinet.
There's more than 65 minutes of music to enjoy on Processional. What are you waiting for?
Nancy Vivolo Victory Music Folk and Jazz Review May 2007
Processional is smooth, easy, professional sounding jazz/fusion. Fred Taylor and Inquest’s new CD shows off the musicianship of this ensemble’s four members with a combination of original works by drummer, arranger and composer Fred Taylor and guitarist Gary Rollins, with new arrangements of pieces by John McLaughlin, Chick Corea,Wayne Shorter and Ralph Towner. The result is generally mellow, spacey, occasionally funky, and sometimes very beautiful and a little exciting. The most interesting track “Dude Heavers,” - a Taylor original - was described by recording engineer, Howard Mostrom, as Frank Zappa meets James Brown. I don’t know about that, but it is a curious and entertaining amalgam of sounds. “Bela’s Bounce”, also by Taylor, is a fine tune. I really enjoyed Gary Rollins's guitar playing on this piece as well as James Clark’s bass playing and Craig Lawrence’s clarinet solo. “Inquest”, the Gary Collins composition, captures the original style of the group that first formed as a trio in 1976. But “Icarus” is my favorite track. Featuring solos by Gary Rollins on guitar, Craig Lawrence on woodwinds and James Clark on bass, this light and lovely Ralph Towner composition is very prettily played.
********************************************************************************* Fred Taylor Court of Circe
Chris Lunn, Victory Folk and Jazz Review, July 1982 (Excerpts)
Fred Taylor debut album is a strong mainstream jazz entry and has a host of good players and tunes. "Flutterby's Waltz", probably my favorite, goes back to his Brubeck roots... "Rio Skyline" is a contemporary motif by Brian Chambers the guitarist, and utilizes some time changes... and Fred's drum work which works. Strong arrangements abound. Lots of care and work here that pays off.
Paul deBarros, Seattle Weekly June 1982 (Excerpts)
.. Spokane drummer Fred Taylor... has produced a more interesting jazz record... Featuring a dozen local musicians, its production is crisp and full. Taylor. obviously an organizer, has managed to get these dozen locals to play his sensible, stretched-out arrangements very well. "Flutterby's Waltz" skips in and out of tempo and features Taylor's sensitive cymbal technique, an appropriately meandering soprano sax solo by Craig Lawrence, and a Hammond organ solo, an unusual touch.
********************************************************************************* Richard Kamins, Cadence Jazz Review November 1982 (Excerpts)
Court of Circe is the first solo album from percussionist Fred Taylor. The bulk of the music could be described as soft jazz fusion... Taylor is a solid drummer ... He sounds like Jack DeJohnette, building his solos on polyrhythms and splashing cymbals.
