In June of 1958, Cecil Taylor was well into his transition from eccentric square peg in mainstream jazz to visionary of post-bop free music. That was the summer that he was to cause shock, consternation, and intrigued curiosity among various segments of the audience of the Newport Jazz Festival. He was beginning to be acknowledged as a developer of something new in jazz and, like all innovators, was being received enthusiastically by a few, warily by some, and not at all by most musicians, listeners, and critics. These pieces from his late early period are compact, accessible, and rhythmic in the sense of conventional swing.
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