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Oyster's Apprentice (with Karsten Vogel)

a Studio release
by
Taylor's Universe

Release Year: 2005

Date Label Catalog # Comments
Marvel Of Beauty (MOBCD 014)
While Robin Taylor tends to play most of the instruments himself on his recordings, on this release guests Karsten Vogel (Burnin Red Ivanhoe and Secret Oyster) and trumpet-player Hugh Steinmetz (voted Danish Jazz Musician of the Year 1966) are featured.
Added To Proggnosis Database on: 7/27/2006 12:00:00 AM
Entry Last Updated on: by:
  1. Ghost Reporters (5:33)
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  3. Joe Hill's Recorder (1:24)
  4. Lost Title (4:41)
  5. Vue (Time Bolero) (6:25)
  6. Aiolos (5:03)
  7. Iron Wood (6:10)
  8. The Arrangement (5:21)
Robin Taylor
guitar; keyboards; recorders; percussion
Karsten Vogel
saxophones, bass clarinet
Jon Hemmersam
guitar; Variax
Rasmus Grossel
drums
Kalle Mathiesen
drums
Lousie Nipper
voice

Reviewed by MJBrady on 18 Nov 2006


With the assistance of ex-Secret Oyster reedsman - Karsten Vogel, Robin Taylor does a play on words in creating this 2005 release, which in my opinion, is one of the more accessable and fusion based releases I have yet to hear from him. Yet Taylor's insistance on the experimental takes a constant seat along with the fusion elements. this music has a nice combination of both, you get the creative improvisational work along side of the soundfields which Taylor has seemingly integrated into most everything I have heard from him. His use of experimental sound and effect, leave his music in a unique and diverse area that most readers here are mostly not aquainted with, while some songs hint towards avant-garde, there is far too much atonality to consider this noise music, or so far over to the avant side to be a true avant recording. If anything, Taylor has found an interesting way to fuse the ambiance, surreal and intense modes of music together here. So call this one a jazz/rock fusion cd for lack of better and more descriptive terms.

This particular cd does in fact display a lot of musicians doing musical things, and the effect/sound scapes only aim to compliment that, and for the most part, It's a very enjoyable recording. It's dark, strange and ominous in parts, and thematic and dreamy in others, and pretty much all points in between. Taylor's compositions are that of an artist that could easily be doing scores for cinema, it's that abstract and ambitious at the same time.