For the last 30 years Cecil Taylor has been an idol of mine. His
playing inspired me to keep on searching and to reach for the stars.
This album is a culmination of my 30 years of free-form playing. To
some free-form means atonal, but it’s not. It is culmination of notes
that can be beautiful or (to some ) ugly. But it is free, meaning not
in time, no time signature. Just as Sigmund Freud used free
association, that’s what free players do. It is easier to listen to a
solo artist than it is to a quartet. If it is a good quartet, each
musician would listen to each other and play off of their
compatriots . If they don’t listen, then it sounds like a mish-mash
of nothing. Is it avant-garde? Sometimes, but free playing has been
going on throughout the centuries. Is it accepted in today’s society
of pop induced music? Not all the time. There is a limited audience
for this music.
Cecil Taylor, who was raised in Queens NY, and ended up at the New
England Conservatory of music where he studied classical
composition, was heavily influenced by the music of Bartok and
Stockhausen. When he came back to New York with his brand of
jazz ( improvisation), he was snubbed by the jazz community. Slowly
he began to work and introduce chord clusters and playing in a
more percussive way. He was finally accepted for the genius he was.
His solo performances were regaled as extraordinary. A usual high
energy set would run close to an hour.
That’s what I attempted to do. But using four free improv solos. The
first three are very long and the last piece is short. I ask that you
keep an open mind to what you are going hear. I don’t use any
effects. It is sheer open improv. Cecil played piano and I am playing
guitar. There are some things I just can’t do because it is a guitar. I
feel I came close to what Cecil would have done.
I would like to thank Mary Dunayer of Musecat Studio for a
splendid job of recording and mixing and Jack DeSalvo of Unseen
Rain Records for producing and releasing this Recording.
A special thanks to German Aprile for making an extraordinary
guitar that I love to play and to Valeria Marchese for cover photo.
My only regret is that I didn’t have a chance to play with Cecil. He
passed away on April 5th 2018.
— Dom Minasi
The guitar playing is genius. Even though it is clearly dedicated to
Cecil, and Dom described to me his process while recording, this
music goes to the heart of what Dom has been developing for
decades. And in this world of free improvisation no other guitarist,
including Derek Bailey, has reached this advanced point.
— Jack DeSalvo
from Remembering Cecil,
released April 2, 2019
Dom Minasi - guitar
All music by Dom Minasi, Dom Minasi Pub. ASCAP
Recorded and mixed by Mary Dunayer at Musecat Studio, New York
Cover photo by Valeria Marchese
Design by Qua’s Eye Graphics
Produced by Jack DeSalvo
supported by 5 fans who also own “Remembering Cecil”
Nobody, giant or otherwise could sleep through that opening section!...I liken it to the struggle for life...working/striving for balance in a musical/ecological domain... (what?) oh, its groovy too! Bob Ross