AMERICAN MUSIC SERIES                                                                                             76 ab

Billy Taylor

with Vivian Perlis

Riverdale, New York

February 6, 1981

                                                TABLE OF CONTENTS 

Side a:                                                                                                            pp. 1-18

Missionary sense about music--playing piano on radio in college--communication--recognition for jazz composition--influence of Duke Ellington--exclusion of jazz in academia--Undine Smith Moore--Copland and improvisation--Jazz idioms in symphonic music--where jazz is played--need for jazz orchestra to play jazz--reluctance of Americans to play American music--teaching of music as something extra not essential--difficulty of Yale students in studying American music--working for change from within the establishment--lack of recognition of American music--Max Roach at Yale--relationship of all the arts.

Side b:                                                                                                                       p. 18-34

How are new jazz works going to last--should jazz composition be written down--copyright of taped music--interpretation of performers--interpretation on tape vs. music score--“Make a Joyful Noise”--people like jazz--importance of communication for a musician--contemporary music--compositional influence of Ellington--seriousness of Ellington as musician--first composition--Ben Webster--attending Ellington’s rehearsals--playing Ellington’s music at Hickory House--asking Ellington technical questions--paternal instinct of Ellington--TV interview--Ellington influence on Taylor’s accompaniment--Ellington’s arranging techniques--Taylor’s preference for Ellington music from period of his growing up--writing in suite form--devoting time to composing and playing--satisfaction in having his works played--dance piece For Rachel, A Dance Suite in Eight Movements.

AMERICAN MUSIC SERIES                                                                                             v76

Billy Taylor

w/ Vivian Perlis

1 April 1983

New Haven, CT

Please note that this is a video interview. OHAM videos are not transcribed, but may be watched at Oral History of American Music, 310 Prospect St. New Haven, CT

TABLE OF CONTENTS

Tape 1/2

01:00    Personal influences – living in North Carolina – father as an amateur musician.

04:00   Parental pressures towards becoming a doctor – wanting to become a musician.

06:00   Society’s reaction to jazz vs. classical.

07:50   Duke Ellington in his early days.

09:50   Ellington as a model – Fletcher Henderson.

12:00    Musical training – classical training at first – ragtime with Louie Brown – Elmire Streaks – Jay Harold Montag – Ondie Moore – Richard Mclelland.

14:45    Sociology studies at Virginia State University – Dunbar High School – the switch to music – putting together a 12-15 piece band.

20:00   Moving to NY – Ben Webster – meeting Ellington as a professional and not a fan. 

22:25   Competitive feelings among peers – jobs as a young musician – guidance from elder jazz musicians – alcohol and drugs in combination with playing. 

29:50   Practicing – jazz in concert hall vs. club – images associated with jazz musicians.

31:50    Composing – The Mad Monk – Solis – writing a lot of vocal music until later on tackling instrumental music.

35:30   The jazz musician as a composer – exposure through radio shows. 

39:30   Bad performances/interpretations of compositions – Easy Walker for Ray Moska – learning things from a great performer. 

43:15    Writing articles/books to better articulate what certain pieces/styles were about – developing terms to describe stylistic differences in jazz (bebop, swing, etc.) – applying personal experiences with jazz composers to benefit the process of explain their music to others.

52:00   University composers – academic obligations as a detriment to composition and performance – being a musician in America vs. the rest of the world.

Tape 2/2

01:00    Promoting jazz/being on boards – Hail Smith – Colridge Taylor Perkinson – Jimmy Owens – David Bailey.

07:00   Teaching students – passing information onto others – travelling the world lecturing – Ray Moska.

10:30    Suite for Piano and Orchestra – working with orchestral performers – conductors – rhythm.

18:20    Jazz programs in conservatories.

21:50    Jazz rhetoric – understanding the language – having fun while playing.

26:15    Importance of exposure to contemporary arts – origins of jazz.

32:00   Current projects – writing for choirs – changing the style of playing the piano – book: Jazz Piano – importance of hearing performers.