Mark Taylor's Secret Identity

[Leeway]

I knew every member of Mark Taylor’s Secret Identity band, except Mark Taylor. With Darius Jones on alto, Jonathan Finlayson on trumpet, Ken Filiano on bass, and Michael T.A. Thompson on drums, I knew this was a first-rate group, one that I wanted to see. But Taylor was certainly a “secret identity” to me.

What I learned from a bit of online research, and from attending the band’s concert at Bohemian Caverns in Washington DC, on May 11^th, was that Taylor was a proficient French horn player who was stricken with a disease that affected the area around his moth, making it impossible to play French horn, at least for the present. Taylor said that he had always been interested in composing and arranging, but that this aspect of his musical life was not well-known, and thus constituted his “secret identity.”

For the concert, Taylor played piano. Taylor said he had played piano as a child and resumed after the French horn was not an option. Taylor’s piano playing suited its purposes: to frame the compositions, guide the band, and signal transitions. May I call it composerly? I sat in for both sets, each about 60 uninterrupted minutes. From the sheet music on the piano it appeared that each set consisted of several compositions taken without breaks. What I liked about Taylor’s compositions was that, although nicely involving and with an avant sensibility, they did not smother the band under theoretical structures, and gave each musician room to play. Indeed, the compositions seemed to want to highlight each instrument, especially the front line. The soloists were able to move from composed to improvised and back in an integrated fashion.

Thompson is a precise, emphatic drummer who provided a lot of energy. Filiano is one of the best bassists around; usually if he is in a group, it will be good. Finlayson is somewhat on the Ralph Alessi end of the trumpeter spectrum, working interestingly with the sheer brassy nature of the instrument. Darius Jones has one of the most burnished sounds on alto, almost tenor-ish, but his playing is quick and strong and capable of moving from in to out in a flicker. He always gets a nice blues sensibility in his playing.

This was only the second gig for this band, having played Cornelia Street Café in NYC the night before. Taylor wants to work with the band some more, then consider touring and recording.

Edited May 12, 2014 by Leeway

[CraigP]

Sounds like a good show. You mean Jonathan Finlayson, right?

[Leeway]

Sounds like a good show. You mean Jonathan Finlayson, right?

Yes, don't know how I got Martin into my noodle. Thanks, I'll correct that.

[relyles]

I thought about catching the show at Cornelia Street, but mid-week trips to NYC are tough for me. I did not know about Taylor's issues that prevent him from playing French Horn. He was (is) a fine French Horn player. I own his three recordings as a leader and have heard him in other groups such as with Threadgill. I have also thought he was an interesting composer as well, so I would have really enjoyed hearing this ensemble. I will have to keep my ears/eyes open for future opportunities.

[Leeway]

I'm really glad you mentioned his association with Threadgill; I did not manage to get that into my post. He was also associated with Max Roach and Muhal Richard Abrams. It reflects the high level that Taylor has performed at, and I'm sure association with artists like these must have been a learning experience as far as composition goes. But Taylor takes his own approach in his compositions, and does not resemble Threadgill.

I think if they can get more time together as a group, and build the group identity, they can be a noteworthy group. There is already a lot of individual talent. Hope you get to see them.

[uli]

http://www.marktaylormusic.net/