This is a post I wrote about Art Taylor's cymbals, for the Cymbalistic site blog, plus a few added comments for this site:
Here is Art Taylor playing a very interesting ride cymbal that reminds me very much of some Cymbal & Gong cymbals I've played— in fact it's quite similar to the first C&G cymbal I bought. The tune (and album) is Sonny's Crib, by Sonny Clark.
It is a apparently a 20" K. Zildjian ride, with rivets, medium weight— I'm guessing around 1925-2000 grams. A traditional medium, not a modern medium. Overall pitch is high, with pronounced high and low harmonics. A moderately dark sound, and not particularly warm— while the horns are playing it seems that it could well be an A. Zildjian; the “raspy” sounding highs are, to my ear, as much a feature of the old As as “darkness” is of old Ks. I hear that quality on a lot of records, and a lot of C&G cymbals have it. The cymbal's low end has a slight exotic edge— you can hear that most clearly during the piano solo. Strangely, it almost sounds like a different cymbal with the piano than with the horns. I had to check a few times to confirm that it wasn't. Listening during the piano solo, it seems clear that it is a K.
The other cymbals present seem to be an 18" A, and 14" or 15" hihats. They're pleasing-sounding, and fairly straightforward— the 18 is clean, full, and fairly low pitched; it still is a high, energetic sound when crashed next to the 20". Taylor rides the 18 with a brush during the bass solo. The hihats seem to be light medium, with a nice foot sound that is not too chunky, not too soft. He crashes them two or three times during the track, but I couldn't get a particular handle on describing the sound there.
A few other observations: The vibe is relaxed and Taylor isn't working too hard. The time is somewhat flexible— it drifts quite a bit, in fact. The track ends much slower than it started. What is interesting about it is the overall quality of the groove; it's very different from our current metronome-fixated thing. The comping is different, too— today we like overtly hip, interactive comping, which is not what's happening here. What Taylor plays is straightforward, rhythmically similar to what a pianist might play, and focused on moving the groove along, and moving from phrase to phrase. Very little bass drum jumps out at me.