Research Catalog

Oral history interview with Art Taylor.

Title: Oral history interview with Art Taylor.
Publication: New York : Schomburg Center for Research in Black Culture, 1994.

Details

Additional Authors

Description

2 videodiscs (109 min.) : sound, color; 4 3/4 in.

Summary

The oral history interview with Art Taylor, jazz percussionist, author and publisher, begins with his early years growing up in Harlem and playing with local musicians as a teen. Arthur Taylor was born April 6, 1929 at 145th Street and St. Nicholas Ave. to parents of Jamaican origin, his one sister became a classical pianist. Taylor recalls his father taking him to see Chic Webb, Joe Jones, J. C. Herd; he was very impressed. Another memorable event was at age 17 or 18 when Taylor went to a jam session at a ballroom in the 60s (Lincoln Center area), this being the point at which he decided to become a drummer. That Christmas his mother gave him a drum set, the following January he was working as a drummer. He had a neighborhood group that played at dances, parties, the Audubon Ballroom which included: Sonny Rollins, Jackie McLean, Kenny Drew, Andy Kirk Jr. Taylor talks about some popular spots at that time: Small's Paradise, Connie's Inn, Barron's Club, Bowman's, and a place for ribs owned by Sidney Poitier. Taylor expresses his admiration for Charlie Parker for his intelligence and the positive regard he always had for other musicians. In 1950, Taylor began playing with Oscar Pettiford's trio (which included Wynton Kelly), made his first recording session with Pettiford, after which they drove to Chicago to open at the Blue Note where Duke Ellington was closing. He recalls staying in the South Central Hotel on 63th Street with Dizzy Gillespie, John Coltrane, Jimmy and Percy Heath, Specs Wright, and Milt Jackson; an experience he treasured. After one year with Pettiford, Taylor joined Coleman Hawkins (with Kenny Drew, Sweets Edison, Tommy Potter). Taylor's big break came when he was recommended by Max Roach to Bud Powell; while playing with Powell, they would perform an average of 16 weeks a year in Berlin, and also opened for big names such as Duke Ellington, Dinah Washington, Count Basie. His affiliation with Powell helped Taylor to get more work with other musicians. Taylor then elaborates upon a recording session and concert, Thelonious Monk Orchestra at Town Hall, and how it was the most difficult session work he ever did; all arrangements were by Hall Overton. Taylor made numerous recordings with Jackie McLean, Red Garland, John Coltrane and describes what he liked about recording at that time when sessions were held with the band together in the studio, compared to the recording scene today which he says is lacking. Taylor recalls learning a lot from working with Miles Davis and Kenny Durham, and explains that he had become only interested in playing with the very best musicians. Taylor's greatest challenge was playing with Charlie Parker. Parker advised Taylor to learn the lyrics to all the standard songs; he said being able to sing along with them in time would help him as a drummer. Taylor tells how Philly Joe Jones tutored him an entire day with piano and drums at Minton's Playhouse which helped him tremendously. Miles' advice: don't hold back, clean up later. Taylor recalls an incident in which he played the sock cymbal too loudly and what the consequences were. Taylor tells how Thelonius Monk knew all the chords and changes to all the songs; Taylor knew Monk as a youngster, they had a band together with Charlie Rouse and Sam Jones. Taylor explains how he came to live overseas for nearly two decades (1963-80). Initially he went to Paris to play with Johnny Griffin, Kenny Drew and Sonny Griffin at the Blue Note on a 3 month contract, 7 nights a week. Three months turned into 6 months, he then took the band as leader and stayed 6 more months. He recalls having a great time in Paris; the U.S. was looking too grim to elicit a return, although he returned permanently in the early 80s when his mother became ill. Taylor studied formally for the first time for three years while in Paris with Kenny Clarke at a school Clarke opened. Taylor also enjoyed working with kids here but declined Clarke's offer to become a formal teacher at the school. American drummers and saxophone players would stop by the school when in town to play for the students. Taylor expresses his feelings on integration, and talks about having lived in Liege, Belgium; Paris; the Riviera; Switzerland; and compares Europeans with Americans. He compares universal health coverage in Europe with the lack of equal health care in the U.S. Taylor describes the U.S. as being in a state of demise in contrast to the U.S. of his pre-Europe years. On a more positive note Taylor says he still loves playing drums, loves the music and has friends all over the world. He mentions his daughter, a doctor of psychology at UCLA, as being his crowning achievement. His opinion on music today is that it has become too controlled and subject to economics; it is much less sensitive. He now prefers playing and performing for students rather than in the clubs. Other work Taylor has gone into: modeling in Europe and the U.S. (he appeared in Ebony magazine for TWA), writing and publishing. He explains how his interviews with Miles Davis and other musicians culminated in his publishing of the book Notes and Tones; he remarks it will be soon be published in Japanese. He concludes the interview by commenting on Louis Armstrong's talent and image; he became interested in Armstrong while in his 30s in France (1963-64) and explains how he was too shallow in his youth to have appreciated Armstrong then. Currently, Taylor has intentions of publishing more interviews with various musicians; he has done a documentary on himself that involves various sights in Harlem and includes two days in Taylor's apartment and two days with his band in Condon's. He is also working on a book about drummers.

Subjects

Genre/Form

Oral histories.
Interviews.

Note

The Louis Armstrong Jazz Oral History Project was funded by the Louis Armstrong Educational Foundation, Inc.

Terms of Use (note)

Permission required to cite, quote and reproduce; contact repository for information.

Biography (note)

Art Taylor is a jazz drummer, author and publisher. Born April 6, 1929 in New York City, Taylor began his career playing with local musicians at various NYC venues and has performed and recorded extensively in the U.S. and in Europe where he resided 1963-1980. Taylor has also authored and published interviews of musicians, and modelled as well.

Linking Entry (note)

Forms part of: Louis Armstrong Jazz Oral History Project.

Call Number

Sc Visual DVD-1068

OCLC

1123173144

Title

Oral history interview with Art Taylor.

Publisher

New York : Schomburg Center for Research in Black Culture, 1994.

Type of Content

two-dimensional moving image

Type of Medium

video

Type of Carrier

videodisc

Digital File Characteristics

video file DVD

Performer

Interviewer, Warren Smith.

Event

Recorded July 26, 1994, at the Schomburg Center for Research in Black Culture.

Terms Of Use

Permission required to cite, quote and reproduce; contact repository for information.

Biography

Art Taylor is a jazz drummer, author and publisher. Born April 6, 1929 in New York City, Taylor began his career playing with local musicians at various NYC venues and has performed and recorded extensively in the U.S. and in Europe where he resided 1963-1980. Taylor has also authored and published interviews of musicians, and modelled as well.

Linking Entry

Forms part of: Louis Armstrong Jazz Oral History Project.

Local Note

Archival original: 1 videocassette (MII) in Sc Visual VRC-9.

Added Author

Taylor, Art, interviewee.

Smith, Warren, 1934- interviewer.

Schomburg Center for Research in Black Culture.

Schomburg Center for Research in Black Culture. Louis Armstrong Jazz Oral History Project.

Research Call Number

Sc Visual DVD-1068

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