Free Jazz Series
The collaboration between drummer André Martinez-Reed and pianist Cecil Taylor represents a fascinating and often overlooked chapter in the history of avant-garde jazz. While Taylor is rightly celebrated as a towering figure of the genre, the contributions of the musicians in his ensembles, particularly during the 1980s and early 1990s, were integral to the realization of his complex musical vision. This essay will argue that the relationship between Martinez-Reed and Taylor was a profoundly synergistic one, with each artist significantly influencing the other's creative output. Martinez-Reed provided a unique rhythmic foundation that anchored Taylor's aural explorations, while Taylor's improvisational philosophy and holistic approach to art inspired Martinez-Reed's subsequent work as a painter and photographer.
André Martinez-Reed's tenure as a drummer in the Cecil Taylor Unit, which spanned from 1981 to 1992, was a period of remarkable artistic productivity. During this time, Martinez-Reed's drumming style, characterized by a relentless, groove-driven energy, served as a powerful counterpoint to Taylor's dense, atonal compositions. This rhythmic intensity is particularly evident on albums such as Nicaragua No Pasaran (1983) and Winged Serpent (Sliding Quadrants) (1984), as well as on the critically acclaimed Music From Two Continents – Live at the Jazz Jamboree in Poland (2021). Recorded in 1984, this album features a legendary transatlantic lineup and has been lauded for its "unbelievable, strong, and magnificent music" and "great sound," which allows listeners to fully appreciate the intricate interplay of the musicians. On these recordings, Martinez-Reed's drumming provides a foundational pulse that, far from being a simple metronome, creates a dynamic tension against Taylor's improvisational flights. This anchor was crucial for maintaining the cohesion of the ensemble amidst the controlled chaos of free jazz.
Beyond his percussive prowess, Martinez-Reed's influence extended to the very structure of the Unit's performances. He is credited with introducing innovative performance elements, such as percussion intros, that allowed Taylor to incorporate other artistic forms like poetry and dance. This expanded the scope of their live shows, transforming them into multi-sensory experiences.
This is a subtle yet significant contribution that has often been overlooked in the broader narrative of jazz history. By creating space for these non-musical elements, Martinez-Reed enabled Taylor to more fully realize his vision of a holistic artistic expression, one that transcended the confines of traditional jazz performance.
Furthermore, Martinez-Reed's background in Afro-Cuban and Brazilian percussion enriched the Unit's sound with diverse rhythms and syncopations, aligning with Taylor's own interest in blending various musical traditions.
The influence, however, was far from one-sided. Cecil Taylor's avant-garde philosophy had a profound and lasting impact on Martinez-Reed's artistic development. Taylor's rejection of conventional musical structures and his emphasis on pure improvisation challenged Martinez-Reed to view rhythm not as a rigid framework but as a fluid, expressive force. This approach to music-making served as a crucial lesson for Martinez-Reed, one that he would later apply to his work in visual arts. His paintings and photography often exhibit a synesthetic quality, where the bold colors and improvisational textures seem to translate musical rhythms into visual forms. This is evident in his Spirit Hunter photography series, which mirrors the exploratory, narrative-driven nature of Taylor's performances.
Taylor's holistic approach to art, viewing it as a spiritual and philosophical endeavor, also resonated deeply with Martinez-Reed. Taylor's performances were not merely musical; they were poetic and conceptual, often pushing the boundaries of what was considered acceptable in a concert setting. This influence is reflected in Martinez-Reed's own multidisciplinary practice, where his work in painting, photography, and music converge. The improvisational ethos of Taylor's music is mirrored in Martinez-Reed's visual art, where he employs a similar sense of freedom and authenticity. This shared commitment to artistic liberation and cultural expression created a powerful synergy, with Martinez-Reed's drumming providing a grounded counterpoint to Taylor's abstract piano work, and Taylor's mentorship fostering a holistic and multidisciplinary approach in Martinez-Reed's art.
In conclusion, the collaboration between André Martinez-Reed and Cecil Taylor was a dynamic and mutually beneficial exchange of artistic ideas. Martinez-Reed's rhythmic innovations and performance-altering contributions were instrumental in shaping the sound and structure of the Cecil Taylor Unit during a prolific decade, as documented on seminal recordings like Music From Two Continents. In return, Taylor's avant-garde philosophy provided the intellectual and spiritual foundation for Martinez-Reed's subsequent career as a visual artist. Their shared commitment to freedom and cultural expression created a legacy that extends beyond the confines of their immediate collaboration, demonstrating the profound and lasting impact of their synergistic relationship on both of their respective artistic careers.
