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MIKE TAYLOR was the most original voice in British jazz, a legend on the scene, an inspiration to Cream and the coming wave of prog. But his recordings are rare, his career curtailed by mental illness and a mysterious early death. New reissues of key works prove his genius, and remind peers and pals of their heartbreak. “The whole story is just so tragic,” they tell ANDREW MALE.<\/p>\n
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Songs in the key of life: Mike Taylor, Ronnie Scott\u2019s, London, October 27, 1967.<\/p>\n
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IT MUST HAVE BEEN IN THE EARLY MONTHS OF 1965 that Henry Lowther first met Mike Taylor. Lowther, a 22-year-old jazz trumpeter, had wangled a semi-regular residency at Stoke Newington\u2019s Regency Club with his group The Sounds Four, playing in the basement jazz club when it wasn\u2019t being requisitioned by feared London gangsters the Kray Twins.<\/p>\n
\u201cWe played three nights a week,\u201d says Lowther today. \u201cThe Regency had big connections with the whole East End criminal fraternity. The Krays would come in late at night, and we\u2019d have to stop playing so they could have their meetings.\u201d<\/p>\n
The shifting line-up of Lowther\u2019s group included a veritable who\u2019s-who of future jazz, rock and prog stars including Manfred Mann and Soft Machine saxophonist Lyn Dobson, future Cream bassist Jack Bruce, and the drummer Jon Hiseman who would go on to form Colosseum. One day, Hiseman started telling Lowther about Mike Taylor, \u201can amazingly original musician, doing things nobody else was.\u201d The drummer also told Taylor about Lowther\u2019s group.<\/p>\n
\u201cOne day he visited The Regency,\u201d recalls Lowther, \u201cthis smartly-dressed man in a navy blue blazer with brass buttons, flannel trousers, polished black shoes, a striped shirt and a tie. It was smart but\u2026 too much, you know? Over the top. Meticulous but to the point of unhealthy.\u201d<\/p>\n
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The shape of British Jazz to come: Mike Taylor on his wedding day, 1961 \u2013 \u201che had a refined quality<\/p>\n
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Taylor only stayed 10 minutes and hardly said a word. Lowther presumed he\u2019d hated what he heard, but later discovered that the opposite was true. As had been hoped, Taylor sent them some music.<\/p>\n
\u201cHis scores were meticulous, these hand-drawn works of art but also sort of obsessive,\u201d says Lowther. \u201cHe wrote three tunes for us, one of which, Black And White Raga, we played regularly. Then he asked for them back. He wanted to destroy them. He\u2019d had this change of life.\u201d<\/p>\n
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Today, Mike Taylor is regarded as one of the great lost figures of British jazz. His unique rhythmic piano style can be seen as a missing link between \u201960s hard bop, post-modal jazz, \u201970s improv and the European impressionism of Satie and Debussy, while his songwriting \u2013 as exhibited on Cream\u2019s 1968 double LP Wheels Of Fire<\/i> and 1969\u2019s Le D\u00e9jeuner Sur l\u2019Herbe<\/i> by The New Jazz Orchestra \u2013 arguably pointed the way to the progressive rock sound of the 1970s. Yet, when Taylor died in bizarre circumstances in January of 1969 his loss was barely registered by the music publications of the time and his two studio albums, Pendulum<\/i> and Trio<\/i>, slid into obscurity.<\/p>\n
But Taylor\u2019s music was too special, his life story too distinctive, to remain forgotten. The British jazz revival of the 2000s, and the steadfast work of such Taylor proselytisers as Gilles Peterson and Tony Higgins brought the pianist\u2019s genius back into the light, resulting in original copies of Pendulum<\/i> and Trio<\/i> exchanging hands for four-figure sums. Now, with the help of Higgins, Pendulum<\/i> and Trio<\/i> have both been reissued on vinyl for the first time. \u201cIt\u2019s good that this is all happening,\u201d says Lowther. \u201cIt really is, but the whole story is just so tragic.\u201d<\/p>\n
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Evan Parker found Taylor \u201cenviably hip\u201d.<\/p>\n
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BORN IN EALING IN 1938, AND RAISED BY HIS GRAND-parents following the death of both parents during the war, Mike Taylor began playing the clarinet and piano in his early teens, throwing himself into the London jazz scene following two years of National Service in the RAF. One early witness to his genius was jazz trombonist John Mumford, who started playing with Taylor at a basement coffee bar called The Nucleus (\u201cThe Nuke\u201d) on Soho\u2019s Monmouth Street. \u201cWe were beginners,\u201d says Mumford, \u201cemerging from the era of trad jazz. It was an amiable and absorbing chaos.\u201d<\/p>\n
The piano players at the Nucleus\u2019s all-night sessions would take a couple of tunes each at the dilapidated upright \u2013 but Taylor stood out. \u201cBill Evans had recently become a focus,\u201d explains Mumford, \u201cbut in Mike you also spotted Ellington, Monk, Gil Evans, John Lewis, Ahmad Jamal and Erik Satie.\u201d<\/p>\n
Mumford remembers Taylor\u2019s appearance \u2013 \u201ctweed jacket, shirt and tie, a well-trimmed haircut, a small military moustache, spectacles, well-polished shoes\u201d \u2013 but little of the man himself. \u201cI did visit his flat in Richmond once for a try-out rehearsal for a quintet. The place was sparse but comfortable, suburban, his wife Anne organising tea and sandwiches, Mike silently busy with large and immaculate manuscripts at a window table. I remember going past his car and seeing rolls of wallpaper on the back seat: the only information I had regarding his day job.\u201d<\/p>\n
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Taylor made: Mike and bassist Ron Rubin, 1962<\/p>\n
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Taylor supplemented earnings from music with shifts at his grandfather\u2019s wallpaper business. His wife Anne Summersby was a part-time catalogue model. Meanwhile he edged towards the ideal vehicle for his music. Missteps included a BBC audition that failed due to the too-loud presence of one Peter \u2018Ginger\u2019 Baker on drums, but in 1964, a permanent quartet was assembled with saxophonist Dave Tomlin, drummer Jon Hiseman and bassist Tony Reeves.<\/p>\n
\u201cHe definitely had a refined quality to him,\u201d remembers Reeves, \u201cbut underneath there were hints of the bohemian. He was the first person who introduced me to cannabis, one evening in his grandparents\u2019 house, saying I should try it, because \u2018it liberates you\u2019. His piano-playing was<\/i> liberated. Not flashy but this constant thread of being off-kilter. He\u2019d follow a chord with another chord you wouldn\u2019t expect.\u201d<\/p>\n
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(from left) Henry Lowther, Chris Laurence and Norma Winstone, 1980.<\/p>\n
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\u201cI found him enviably hip,\u201d says free sax magus Evan Parker, who had a brief encounter with Taylor around 1963, playing at a gathering in Staines. \u201c[Early \u201960s scenester] Dave Chaston had introduced us. Mike was polite but it was obvious I was not in his league.\u201d<\/p>\n
In the summer of 1965, Taylor\u2019s quartet caught a break supporting The Ornette Coleman Trio at Croydon\u2019s Fairfield Halls. Today, Tony Reeves rates their set as \u201cbetter than good but not us at our best. We watched Ornette from the side of the stage and I remember thinking, Is he too near the edge? Mike was a master of finding the edge. Take his approach to a standard like But Not For Me. You\u2019d be lucky if you got a couple of bars of completely straight playing before\u2026\u201d he pauses to think of the correct analogy. \u201cYou know when you\u2019ve got a piece of paper and you just tear the edges of it? He wouldn\u2019t so much tear it up as nibble away at the edges to annoy them.\u201d<\/p>\n
According to his biographer Luca Ferrari, by 1965 Taylor was also pushing himself to the edge mentally, becoming more obsessive and non-communicative. After a split from Anne, he moved into a flat in Kew where, according to Richard Morton Jack, in his linernotes for the 2021 release of Mike Taylor Quartet\u2019s Preparation<\/i>, he installed a pianola and began to experiment with LSD.<\/p>\n
To make matters worse, the pharmaceutically enthusiastic R&B behemoth Graham Bond moved in, later followed by Hiseman. \u201cMike was moving in very stoned circles by then,\u201d Hiseman told Morton Jack. \u201cLSD had started to alter his perception.\u201d<\/p>\n
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Exactly like you: Taylor, Ronnie Scott\u2019s, 1967 \u2013 \u201che was a master at finding the edge,\u201d says bassist Tony Reeves.<\/p>\n
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EVEN SO, BY THE TIME THE QUARTET CAME to record their debut LP, Pendulum<\/i>, at Lansdowne Studios, London, in October 1965, Reeves still saw Taylor as \u201cpretty damned together. There was certainly a sense of, you know, We mustn\u2019t bugger this up. People ask me, \u2018When did I notice this shift in his personality?\u2019 I didn\u2019t. I barely saw him after we recorded Pendulum<\/i>.\u201d<\/p>\n
After Pendulum<\/i>, the sense of disintegration that Reeves identifies as integral to his compositional style seemed to spread to Taylor himself. Poorly promoted, the album failed to sell and, following the financial collapse of his grandfather\u2019s wallpaper company in April 1966, the pianist\u2019s look became more unkempt, his behaviour more erratic. There were concerns that a follow-up album would never be recorded, but the session that resulted in Trio<\/i> finally began on July 13, 1966, with Hiseman on drums and Jack Bruce and Ron Rubin on bass, playing separately and together: the same line-up Henry Lowther had assembled for Sounds Four.<\/p>\n
\u201cI think I was quite instrumental in that,\u201d accepts Lowther. \u201c[And] I think the results are quite beautiful. It\u2019s just a unique and very different album. Mike used to be influenced by Horace Silver\u2019s piano playing, which was quite percussive, so I think that went into his playing, but with Trio<\/i> he evolved his own thing.\u201d<\/p>\n
A mix of four standards and four original compositions, Trio<\/i> is a work of eerily suspended beauty, modernist in construction yet restless and melancholy in its effect. Reviews were positive, but sales were again disappointing. And by the time of its release in June 1967 Taylor\u2019s appearance had transformed utterly.<\/p>\n
\u201cHe sat in on a couple of occasions at [John Stevens\u2019 free jazz club] Little Theatre Club in Covent Garden,\u201d says Evan Parker. \u201cThat could have been 1967. I would call his look \u2018street person chic\u2019. Long unkempt hair, bare feet, maybe sandals. He sat in an armchair with a small clay hand drum, played accents on that and spoke the occasional poetic word or phrase.\u201d<\/p>\n
According to Luca Ferrari, Taylor was sleeping on couches and in squats, beset by paranoia. There were reports of the barefoot musician appearing at London tube stations, playing flute for commuters. \u201cHe is now almost certifiable and perhaps even dangerous,\u201d wrote Ron Rubin in his journal. \u201cHe thinks Dave Tomlin wants to kill him. He is sinking fast.\u201d<\/p>\n
Ironically, in that time, a small Mike Taylor revival took place. At the height of their fame, Cream, featuring Taylor alumni Ginger Baker and Jack Bruce, included three Taylor compositions on their 1968 double LP, Wheels Of Fire<\/i>. Then, in September, Neil Ardley\u2019s The New Jazz Orchestra (which at that point included Bruce, John Mumford, Jon Hiseman and Henry Lowther in its 15-strong line-up) included two Taylor tunes on their groundbreaking LP, Le D\u00e9jeuner Sur L\u2019Herbe<\/i>.<\/p>\n
Yet the pianist\u2019s personal decline continued. Ron Rubin recalls a final encounter late in 1968: \u201cHe arrived at the door of the London Free School where I was a resident music teacher. Not recognising him, I invited him in and offered a cup of tea. Then, taking a closer look, I saw through the bare feet and shaggy beard my old musical friend Mike Taylor. He would not speak but stayed a few days mostly walking around the streets banging a small drum. Then he disappeared, never to be seen by me again.\u201d<\/p>\n
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ON JANUARY 20, 1969, THE BODY OF A young man was found washed up in Leigh-on-Sea, Essex. The corpse lay unclaimed until it was formally identified through fingerprints as that of Taylor. The coroner\u2019s verdict on February 6 was an open one: \u201cDrowning in the sea.\u201d Taylor was buried on February 7, 1969 at Sutton Road Cemetery, Southend-on-Sea, the red granite tombstone bearing a small poem of Taylor\u2019s that reads, \u201cI dive from a springboard\/Into cool clear water\/And yet I furnish my springboard\/With my experience\/So that my life is more than my action. MT.\u201d<\/p>\n
Since then, many jazz scholars have speculated whether Taylor\u2019s death was an accident, suicide or something else. \u201cWe all assumed he\u2019d jumped off Kew Bridge,\u201d says Henry Lowther, \u201cso how did they find his body at the end of the Thames estuary? He must have gone further out. You\u2019d have to go really far out to end up where Mike did because the tide will always throw you backwards.\u201d Taylor\u2019s body would have travelled 57 miles.<\/p>\n
It\u2019s tempting to wonder what music Taylor would have made had he lived but more sensible to be thankful for the recordings we have, augmented in recent years by the discovery of Preparation<\/i>, a rehearsal tape for the Fairfield Halls concert, and Mandala<\/i>, a live session by Taylor\u2019s regular quartet recorded at the Studio Club, Westcliff-on-Sea in January 1965. \u201cThe great tragedy is that there is no chance of any more<\/i> Mike Taylor recordings being unearthed,\u201d says Tony Reeves. \u201cI mean, imagine if there was a recording of a Mike Taylor Sextet out there\u2026\u201d<\/p>\n
There is a well-timed pause.<\/p>\n
\u201cWell, I found one,\u201d says Reeves. \u201cAmongst all my tapes that I periodically trawl I found a 7.5-inch binaural tape with my writing on it, that says \u2018Mike Taylor Sextet\u2019 and something that says \u2018Big Band\u2019, which could be The New Jazz Orchestra with Mike on piano. I\u2019ve sent a copy to John Thurlow at the Jazz In Britain label.\u201d<\/p>\n
Mike Taylor\u2019s strange, sad story may have one more unexpected epilogue. Reeves smiles. \u201cThat\u2019s a nice note to end on, isn\u2019t it?\u201d<\/p>\n
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With thanks to Norma Winstone, John Thurlow, Tony Higgins and Richard Morton Jack. The vinyl, audiophile reissues of Pendulum and Trio are out now on Decca Records. Out Of Nowhere: The Uniquely Elusive Jazz Of Mike Taylor by Luca Ferrari is published by Gonzo. <\/i><\/p>\n
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\u00a9 Jak Kilby Trust; \u00a9 Jak Kilby Trust, Courtesy Richard Morton Jack, \u00a9 Estate of Ron Rubin, Getty (2), Estate of Mike Taylor<\/p>\n
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But Not For MeMIKE TAYLOR was the most original voice in British jazz, a legend on the scene, an inspiration to Cream and the coming wave of prog. But his recordings are rare, his career curtailed by mental illness and a mysterious early death. New reissues of key works prove his genius, and remind peers […]<\/p>\n","protected":false},"author":13,"featured_media":2888,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_et_pb_use_builder":"on","_et_pb_old_content":"","_et_gb_content_width":"","_lmt_disableupdate":"","_lmt_disable":"","footnotes":""},"categories":[7],"tags":[],"class_list":["post-2869","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-mojo-presents"],"acf":[],"modified_by":"kschwarz","_links":{"self":[{"href":"https:\/\/flatplanplus.io\/mojo\/wp-json\/wp\/v2\/posts\/2869","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/flatplanplus.io\/mojo\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/flatplanplus.io\/mojo\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/flatplanplus.io\/mojo\/wp-json\/wp\/v2\/users\/13"}],"replies":[{"embeddable":true,"href":"https:\/\/flatplanplus.io\/mojo\/wp-json\/wp\/v2\/comments?post=2869"}],"version-history":[{"count":5,"href":"https:\/\/flatplanplus.io\/mojo\/wp-json\/wp\/v2\/posts\/2869\/revisions"}],"predecessor-version":[{"id":2934,"href":"https:\/\/flatplanplus.io\/mojo\/wp-json\/wp\/v2\/posts\/2869\/revisions\/2934"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/flatplanplus.io\/mojo\/wp-json\/wp\/v2\/media\/2888"}],"wp:attachment":[{"href":"https:\/\/flatplanplus.io\/mojo\/wp-json\/wp\/v2\/media?parent=2869"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/flatplanplus.io\/mojo\/wp-json\/wp\/v2\/categories?post=2869"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/flatplanplus.io\/mojo\/wp-json\/wp\/v2\/tags?post=2869"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}