Double Standards
Martin Taylor
There is only one word for Martin Taylor's Double Standards: sublime.
This music is a collection of duets in which Dr. Taylor plays both parts. You may think that two Martin Taylors would be twice as good as one, but you would be mistaken. It is much better than that, more like MT squared. (OK, I have to admit that I stole that one from my wife, but it certainly is an apt description!)
It is hard to imagine a finer album of two guitars. As I have said before I love guitar duets, and Martin Taylor certainly knows the gilded history of the form, right from the seminal work of Eddie Lang and Lonnie Johnson, Carl Kress and Dick McDonough, and Albert Harris and Ivor Mairants. Although he does not mention them explicitly, I am sure that he also knows the stellar work of George Barnes with Carl Kress, and later with Bucky Pizzarelli. Besides a deep affection for the form, Martin Taylor seems to have imbibed the high standard set by these formidable players, and he more than lives up to it here.
The set begins with a mellow, mild Latin version of Jobim's Triste. The melody floats over exquisite comping, sliding in and out of octaves with airy nonchalance. This is a very rich start that foreshadows the entire disc of tasteful, virtuosic playing.
The tempo picks up for the snappy chords that open Bluesette. The swinging chords in both parts soon give way to the flowing melody in the lead guitar, but the chords return between phrases to punctuate them. Martin Taylor demonstrates his ability to incorporate virtually any guitar technique into his own unique style, whether blindingly fast runs, string bending, or double- and triple-stopped melodic phrases. With surprises at every turn this one is a joy to listen to right up to its final note.
Young and Foolish slows the tempo but increases the beauty of the playing. From its opening arpeggios to the sliding octaves of the melody, the outstanding tone that Dr. Taylor draws from his Vanden 'Martin Taylor Artistry' guitar is just amazing. It is also a perfect complement to his wonderful artistic sense and expression.
From the quirky count-in, Drop Me Off At Harlem displays some great ensemble work, amply showing that Martin Taylor has been studying brass scoring as well as adapting it to the guitar. In addition to the huge chords there are great duo guitar lines that evolve into a swinging lead line accompanied by Martin Taylor's patented "bass and rhythm" comping that provides the perfect counterpoint for the melodic adventures. It is rare to find so accomplished a lead player with this fine a command of comping, so enjoy!
Alfie is simply a lovely arrangement of Bacharach & David's classic song. A master musician knows better than to overwhelm a beautiful melody with ornamentation or an overly busy accompaniment, and Martin Taylor is a master. This year in Toronto Martin Taylor defined jazz as "a good song ruined." Yes, his tongue was firmly in his cheek, and this good song is as far from ruined as could be. This arrangement sets the melody like a fine gem.
Lest we get too sentimental, we next get the sassy Jive At Five. Over a virtually orchestral accompaniment Dr. Taylor lets loose with cascades of stylish lines and riffs that are sure to delight fans of all styles of guitar. This is another arrangement that is so perfect that it is incredible to discover it was improvised.
Another song that is definitely not "ruined" is Gershwin's Someone To Watch Over Me. This classic ballad begins with a straightforward presentation of its melody over a most tasteful accompaniment of arpeggios and counter-melodic motives. The improvised sections are wonderful variations on the original tune, all in the same mood but building gradually to a climax before ebbing into an exquisite ending.
Alice In Wonderland starts off as if it were to be a similar ballad, but then the comping picks up and we get a gently swinging version of this Disney tune. The textures here are luxuriant as once again Martin Taylor improvises chord melody over a chordal accompaniment. The lead lines are smooth as silk, and the great ending will leave you wondering how he can get those low notes from his guitar!
Estaté begins with octaves over a languid Latin rhythm. Arpeggios evolve into a line that gradually becomes the melody. There is understated elegance in both guitars as they deftly probe the inherent possibilities of the tune. As the lead lines get more hectic the accompaniment simplifies, only to ramp up again as the lead becomes more restful. Having slowly built to a fiery climax, the original tempo returns but before the song ends we are reminded of the fire latent in the tune, easing up only as the song fades.
Next we are presented with a suave version of the 1931 classic When I Take My Sugar To Tea. For me this is what good jazz is all about: a modern reading that stays true to the essential spirit of the song. There is flashy guitar work here with a pizzazz that fits seamlessly with this fine tune. A truly classy performance.
Another beautiful ballad arrangement is Cahn & Styne's I Fall In Love Too Easily. Again, the melody is straightforward, with garnishes in the second guitar to set off the flavour of the tune. A very tasty dish indeed.
All good things must end, and this set ends with another classic, Just Friends. The rubato beginning slowly morphs into the melody, which then becomes a marvellous dialogue between the two guitars. The tempo picks up into a chorus of abandoned jamming with both verve and finesse. If Martin Taylor has left a single fret of his guitar unplayed, he gets to it here. As if in reply to the restraint that he has shown on the earlier tunes, here he treats us to unfettered heights of virtuosity on two guitars at once. This is heady stuff, and as we reach the relative calm of the ending we can appreciate the wonderful experience that we have been given with this remarkable CD. Lest we feel sad that we have reached the end of this CD, take heart that Martin Taylor intends to record more "solo duets". We await them with bated breath.
This is a CD that belongs in every guitarist's collection, as well as in the collection of any music lover. Forget any preconceptions that you may have about "jazz." This is an album that you can enjoy as sheer "music." There are no good songs ruined here! These duets belong in the pantheon beside those of all the great guitar duos of the past.
Don't miss this CD! It is one of the very finest guitar duets in decades.
You can buy it at Amazon.com:
or in Canada at Amazon.ca:
Double Standards