The New York Times (edited from full text review of Lincoln Center Chamber Music Society, Alice Tully Hall, L'histoire Du Soldat, Igor Stravinsky, Fiddler's Tale, Wynton Marsalis)
...Interestingly, jazz made direct contact with Friday's concert, first in the playing by Wynton Marsalis and David Taylor of the trumpet and trombone parts, and then in Mr. Marsalis's gloss on the Stravinsky piece called "A Fiddler's Tale." Stravinsky gives both brass players very difficult parts, and they relized them here with splendid articulation and gorgeous sound. Indeed, so beautiful were the timbres, so rich and quivering, that at times Stravinsky might not have recognized his own piece. Possibly the composer had a little anti-beauty in mind, but these two musicians seemed incapable of that...
The Village Voice (review: "David Taylor: Outwardly Mobile Brass")
Virtuosity's good name may be endangered from time to time when the classical-music market's vulnerability to commercial hyperbole confuses powerful interpretation with mere flash. Such confusion, however, is less likely to happen on the contemporary scene, where commercial hyperbole is confined, when it appears at all, to the most famous of minimalists, pseudominamilists, and multidirectional crossers-over. A recent concert that reaffirmed the prevailing integrity- box-office-conscious people might add "loneliness" to "integrity-" of contemporary virtuosity was given by bass trombonist David Taylor and collaborating musicians on February 28 at 92nd Street Y.
Cadence Magazine, vol 29, #7
Bass trombonist David Taylor is hardly a household name, though he has appeared in settings of astounding diversity. As one of the first-call players (and Julliard graduate) he is as apt to pop up in an ensemble performing Ives or Varese as in big bands like Duke Ellington's final working band, the Mingus Big Band, or those led by Louie Bellson, Carla Bley, Maynard Ferguson, George Gruntz, and George Russell, to name just a few. He recorded a brilliantly eclectic recording a decade ago (3/94, p.18), but hasn't appeared as a leader since. Participation in CIMP sessions led by Bruce Eisenbeil and Rosi Hertlein led to the synthesis of this recording. The idea of a bass trombone, bass, and drums trio doesn't immediately sound like a winning combination. But then again, Taylor is not just any bass trombonist. He revels in the dark sonorities of the instrument, moving from low, guttural grumbles to lithe melodic flurries with ease. The timbral and textural range of the session is surprising. Though the weighting is certainly at the low end of the sonic spectrum, Taylor darts around his horn, making the most of the warm, full sonorities. By now, Duval and Rosen‚s empathy has been cemented, and they particularly shine in a trio setting. The two stoke the improvisations, picking up on Taylor's loose momentum and providing an open sense of swing. Some of the pieces buzz with animated energy, others rumble and growl in dark abstractions. At times, a leavening voice is missed, but the three manage to carry the session along with canny dynamism and invention.
All About Jazz
Session specs on Dave Taylor are conspicuously tough to come by. According to Bob Rusch the bass trombonist gained veteran status through a long string of studio dates, but said gigs seem to fall outside the realm of creative improvised music. Paired with the Spirit Room rhythm team of Duval and Rosen, he proves conclusively that any anxiety caused by his dearth of improvisatory recording dates is ill advised.