Reviewer Henry Smith wrote: "the whole of the album is marked by a distinct sense of restraint, highlighting interaction and careful mood setting rather than dynamic buildups and dramatic delivery. His virtuosity here is attendant to his sense of detail, as he executes gorgeous tremolos and exquisite glissandi, the angular arpeggiations more meaningful as a result of the seemingly limitless timbral variety with which they are contextualized." While the percussive nature of his work gets the most attention, he commands every detail of each note he plays. Taylor's approach brings the most surprise and enjoyment. Bassist William Parker and Taylor's symbiotic relationship is beautifully captured here.
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Even at the moments of highest drama, when Taylor leaves predetermined structure for free flight, Harada's playing is astutely reactive. Harada's approach to sound is beautifully aphoristic, a well-placed roll or cymbal stroke speaking volumes in his hands. Masashi Harada's playing accounts for much of the novel aesthetic, his touch light and his interjections fewer than those of other drummers in Taylor's orbit. even the densest moments on Dance Project are somehow replete with space. 'Art did not begin with us,' quoth Cecil, 'it was here before we got here.'" Writing for All About Jazz, Marc Medwin stated that the album "presents a more introspective side of art, an aspect discussed too infrequently." He commented: "The sound-world is sparer than much of Taylor's work of the period. There is a sense that the artists are tapping into something infinitely older, more vast and enduring than what usually passes for culture in mainstream media. In his AllMusic review, arwulf arwulf awarded the album 3.5 stars, commenting: "This recording, like the event which it documents, transcends all notions and parameters of conventional presentation, let alone entertainment.
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Reception Professional ratings Review scores After the rustling beginning with sparse gestures, voices and percussive sounds, the three musicians formed into the trio. The combination of music and dance, mirroring each other, mutual inspiration. From the far back of the room four dancers advance with wave-like movements. Steps which merge into a sequence of images and sounds, before the first key of the piano has been struck. Voices communicating with each other – way beyond words. Three musicians creeping about, a scene which turns into a ritual for a few moments. The album liner notes provide a recollection of the first few minutes of the event: One of Taylor's most frequently quoted statements is "I try to imitate on the piano the leaps in space a dancer makes".
In the early 1950s, he worked with Bill Bailey and Buck Washington of Buck and Bubbles, and he would later go on to collaborate with a variety of choreographers and dancers, such as Dianne McIntyre, Heather Watts, Mikhail Baryshnikov, Min Tanaka, and Cheryl Banks-Smith. Taylor's fascination with dance dated back to his youth, when he saw The Four Step Brothers and Baby Laurence. The album documents a multimedia event that featured Taylor, bassist William Parker, percussionist Masashi Harada, and a group of four dancers.
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CT: The Dance Project is a live album by Cecil Taylor recorded during the Summer Music concert series at the Akademie der Kunste, Berlin on July 8, 1990, and released in 2008 by FMP.
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