Elliott Levin Interview
from Cecil Taylor to Daevid Allen and NY Gong
It is my pleasure to continue the interview series with Elliott Levin. Elliott talks about his time with Cecil Taylor and Daevid Allen's NY Gong at Giorgio Gomelsky's Zu Manifestival.
Elliott Levin Interview:
If creative music has a bastard child, it must be called free jazz. In the early 1970’s any musician practicing this form of expression might find themselves branded as outcasts by their own kind – fellow jazz musicians. This is the world that Elliott Levin, sax player from Philly, landed in in 1973 when he was recruited by Cecil Taylor to play in his band. Considered one of the originators of free jazz in the late 50’s, Taylor blazed a musical scorched earth path, leaving many a confused critic in his wake. In the early 1970’s Taylor was teaching at Glassboro State College in New Jersey. Levin joined his friend George Bishop who was invited to meet Taylor before one of his Glassboro concerts. After the concert Taylor invited musicians to attend his workshops at the school. Levin, of course, was a regular attendee. He and some other devotees of the workshops formed a band with Cecil and moved to NY later that year. By 1974 Levin performed in his “first real gig”. This gig would be at Carnegie Hall in the Cecil Taylor Big Band.
By Oct of 78, Giorgio Gomelsky was planning his 12 hour long Zu Manifestival. Levin heard about it once again through his good friend George Bishop who was slated to play in a few of the bands on the bill. Levin ended up in the horn section of the NY Gong set, as well as playing in the band Taka-I-Ki. A few months after the festival, NY Gong planned a North American tour which Levin was happy to join. He only lasted a couple of gigs however when the plans start to fall apart. The tour would eventually continue without Levin, who would not be the last player to drop out.
It was an exciting time for Levin. He learned much from Cecil Taylor and Daevid Allen. The two couldn’t be more different as teachers. Levin describes Taylor as the zen master, as well as taskmaster, rehearsing his groups for hours and hours. Allen guided his group through more structured tunes with a hands-off approach to directing his players.
It all led to experiences filled with creativity and chaos that Levin loved. He continued to see Giorgio at his Zu House on the many occasions he practiced there. He remembered one of his greatest moments of intensity was playing at one of these rehearsals. The band was alone in the practice space and the magic started happening. As the minutes ticked by each member launched themselves into “the zone”. Levin had his eyes closed as he bathed himself in the improvisational rapture he and the others were creating. When the piece ended and he opened his eyes, he was greeted by a roomful of people erupting in applause. Today Elliott Levin continues his quest to learn every day to create moments like this.
Thanks again Rick for sharing this with us.