Better known for his educational work than his stellar playing, pianist Billy Taylor was one of the early boppers, playing with the likes of Ben Webster, Stuff Smith and Slam Stewart before focusing on his popular jazz radio program Jazz Alive. This pair of releases shows his classy touch and style, akin to Hank Jones, but maybe with a bit more muscle, but still baptized in the church and school of lyricism.
Taylor Made from 1957 has Taylor teamed with a rhythm section of Earl May/b and Ed Thigpen/dr. The real treat her is the inclusion of Ellingtonian alto saxist Johnny Hodges, who’s present on all the tracks, but featured on a drop dead gorgeous “Theodora”, “Day Dreaming” and “Can You Tell By Looking At Me”. Other Ducal guests are featured on the rest of the album, including Clark Terry/tp, Willie Cook/tp, Britt Woodman/tb, Paul Gonsalves/ts and Harry Carney/bs, for a swinging “Biddy’s Beat” velvety “Mood For Mendes” and fun “Tune For Tex”. Where has this been all my life?
In 1960, Taylor flexes his extensors digitorum lungus in a studio trio setting with Henry Grimes/b and Ray Mosca/dr and a concert performance with the same gents in NYC. In the studio, all of the tunes are Taylor originals, and they range from the fun “Uncle Fuzzy” and “Don’t Bug Me” to the thoughtful “Lonesome Lover”, with the pianist digging into “Native Dancer”. At the Prelude Club, Taylor brings in a bit of Gershwin on a lithe “’S Wonderful” and throws in some churchified beats for “Moanin’” and “Soul Sisters” while he bops with the best on “Jordu” and “Biddy’s Beat”. This guy definitely deserves a re-evaluation.
As with all things from Fresh Sound Records, there are great liner notes in the booklet as well as session material to put the records, and artist, in proper perspective. A rea
https://www.freshsoundrecords.com/billy-taylor-albums/55876-taylor-made-jazz.html