Billy Taylor Trio - Warming Up!

Milestone 47103-3

In the 1953 Seussian cinematic fantasia The 5000 Fingers of Dr. T the titular villain absconds with an army of prepubescent pianists and forces them to practice in perpetuity. The real Dr. T (recipient of doctorate from U-Mass) never hatched a plan so nefarious. But in light of his library of achievements as composer, educator and all-purpose jazz ambassador over the years it’s easy to imagine him having numerous pairs of hands at his command. Taylor remains a national treasure, a professor par excellence in pianistic pedigrees from stride through postbop.

This new Milestone two-fer folds back the calendar pages to the spring of 60’ and winter of 61’ respectively, combining two chestnuts from Taylor’s early catalog. The first album was commissioned by a radio-transcription firm (one of the several side gigs the pianist worked during the nascency of his career). Only three of the dozen cuts crack the three-minute mark and in each case just barely. What’s surprising is the amount of room given Grimes to solo, especially considering the original objective of the record and the terse track lengths. He works against the swiftly ticking clock on pieces like “That’s Where It Is” sculpting adroit improvisations that exploit the springy elasticity of his strings.

The second album in the compilation comes from a Moodsville concept date for Prestige recorded at Rudy Van Gelder’s Englewood Cliffs enclave and simply titled Interlude. Taylor took as his inspiration the emotions that accompany a love affair from first flirtations to final resignations. Watkins holds down the bass chair this time out and drummer Ray Mosca returns on the traps. The nine tunes, all originals, allow for slightly longer expository space, and Taylor once again shares the floor liberally with his sidemen. It’s a real treat to compare the styles of Grimes and Watkins so closely, both men favoring fingerings that emphasize the warm, bottom registers of their instruments and natural gut strings. Mosca does another competent job varying the rhythms and keeping steady time.

Highlights of the relaxed second set include the bright blushing chords of “You Tempt Me” and the contrastingly heavy-hearted “All Alone,” which when rendered in Taylor’s optimistic elegance still can’t help but affect an undercurrent of amiability. In typical Moodsville fashion the studio demeanor is one of cozy calm. It’s an ambience perfectly captured in the snapshot that adorns the back traycard. Taylor, lying on the floor of his living room, arms crossed behind his head, cheeks puffed in a satisfied smile, listening to an LP on his hi-fi.

~ Derek Taylor