Taylor Eigsti	Website:	www.TaylorEigsti.com
	Genre(s):	Progressive Jazz
	Instrument(s):	Piano
	Trademark(s):	Articulate, Diverse Contemporary Influences, Progressive
	Album(s):	Lucky to Be Me
	Collaborations:
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Taylor Eigsti sets out to set the record straight from the get go on his 2006 release, Lucky to Be Me, with an avant-guarde interpretation of the definitive and signature Coltrane classic, "Giant Steps", that showcases his exacting technical command over the piano, as well as his impressive capabilities for interpration. Eigsti demonstrates his fluid lyricism with palettable outside tonality and a fine ear for harmonization following the difficult changes that make "Giant Steps" a difficult arrangement to improvise, though Eigsti appears to manage the changes with relaxed ease that allows him to make an assertive statement of his progressive vision. The wise selection of venue allows any experienced listener to guage Eigsti's vernacular against this famous standard known for its difficulty to negotiate. This intrepid opening with his dazzling rendition of "Giant Steps" seems a somewhat audacious declaration of Eigsti's intent to find his place walking among the renowned giants of jazz, as if to say "I'll start with Giant Steps and proceed from that foothold". Taylor follows his bold introduction with an original, groove arrangement, "Get Your Hopes Up", that provides him and collaborating guitarist, Julian Lage, sufficient latitude to freely explore more improvisation in the contrapuntal exchanges they engage. Allowing the listener to again find their bearings relative to the real book, Eigsti ensues with a spirited rendition of the Cole Porter standard, "Love for Sale" in which he makes a further demonstration of his lyrical capabilities with jazz melodies rich with intricate harmonization. Notably on this track, Eigsti lays down some good rhythmic work with his chordal phrasings while augmenting this with sensible lead work that balances accessibility with interesting tonal exploration.

On the following two tracks, "I've Seen It All" and "Argument", Eigsti takes liberty to further explore boundaries in harmonization and timing. On "Argument", Eigsti makes a surprising change of conceptual direction with a divergence mid-arrangement into a Chick Corea style fusion sound he cultivates on the keyboards that gives way to a clean-toned, fusion-like guitar lead, again by Julian Lage. The expansion of territory continues on "True Colors", a pleasantly unusual composition with post Romantic era (early 20th century, i.e. Debussy era), exploratory influence that features Lage's melodic guitar lines complementing the shifty piano undertow controlled by Eigsti that weaves this post classical era influence with intermittent jazz accentuation. The tempo is accelerated for the more contemporary style jazz arrangement, "Woke Up This Morning", that puts down a groove complete with funk horn voicings for Eigsti to unleash the driving improvisation that he indulges on this track. Fusing a jazz style with the Mussorgsky classical composition from Pictures at an Exhibition, "Promenade", Eigsti makes an exhibition of his own talents by making a display of his ability to rework an existing composition with new vision and even adding coherent improvisation to boot. Again, the listener is given the benefit of measuring Eigsti's interpretation against a well-known composition that draws a clear portrait of his appreciable vision.

Christian McBride brings his rhythmic and mildly dissonant, lyric bass work to the forefront for the intro sections of the ninth track, "Adventure One", making a declaration of intent to conquer more avant-guarde territory once again. This arrangement explores some unusual meters, rhythms, and harmonization, though Eigsti interleaves some more easily graspable ideas to bind the piece with coherency. Eigsti next delivers a poignant, urbane interpretation of the contemplative classic "Darn that Dream", in which he exhibits his honed sense of expressionism. Shifting to an entirely different style with seemingly effortless ease, Eigsti next launches into a torrent of intricate rhythms set to odd timings and incorporating exotic, outside tonality with his version of the Eddie Harris avant-guarde jazz extravaganza, "Freedom Jazz Dance". The album is closed with "Lucky to Be Me". Again, Eigsti demonstrates an elegant aptitude for drawing meaningful sentiment from complex compositions involving intricate harmonies.

All things considered, Taylor Eigsti has made an impressive effort on Lucky to Be Me, clearly demonstrating striking technical proficiency, remarkable capacity to cover diverse territory, and refreshing originality in musical vision. Eigsti plays with a keen intelligence, though he is able to manifest his intellect with a fluid performance, always cognizant of timing, dynamics, and sound. At 21 years of age and playing with maturity and conviction typically associated with older players, these feats are all the more incredible with Eigsti seemingly embarked upon a path of potentially historic accomplishment, perhaps spawning from his fusion of styles and influences from jazz, post classical, and contemporary. The music on this album is targeted for an educated ear and experienced jazz audience, as Eigsti is seemingly bent on making a name for himself, proving his exceptional aptitude as an avant-guarde musician spanning diverse territories, though firmly rooted in conventional, classic jazz traditions. Eigsti's relatively conservative brand of avant-guarde retains a classical jazz mindset and does not venture into wildly outlandish tonality or incomprehensible meters, though the style is progressive in vision and interpretation. That being said, jazz aficionados will be interested to hear this up-and-coming pianist run the gauntlet he has laid out for himself on this bold, progressive effort.

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