Thelonious Monk - Complete 1957 Riverside Recordings CD

Complete 1957 Riverside Recordings songs On paper it seems as if such titanic and distinctive musical personalities as Thelonious Monk and John Coltrane might not mix very well, but this stellar set, recorded live at Carnegie Hall in 1957, plays almost like a blissful extended duet between the two (with support from a sensitive yet hard-swinging bassist and drummer). The opener, "Monk's Mood," for example, features the composer/pianist's typically brilliant, idiosyncratic playing, while Coltrane floats over the top in the most lyrical of modes. Monk, in particular, is a master of tension-and-release tunefulness, creating rhythmic and harmonic intricacies that seem to spur Coltrane's saxophone exploration to new heights. The quartet shines on ballads ("Sweet and Lovely"), but the leaders display their best chemistry on the Monk's thorny, uptempo bop numbers. "Evidence" and "Epistrophy," for instance," have Monk adding rhythmic, dissonant punctuation to Coltrane's torrential stream of ideas, creating a thrilling push-pull balance. A superb date, and a must for fans of both artists, AT CARNEGIE HALL captures two of jazz's most important figures working in perfect symbiosis. Recording information: Carnegie Hall, New York, NY (11/29/1957). Personnel: Thelonious Monk (piano); John Coltrane (tenor saxophone); Ahmed Abdul-Malik (bass instrument); Shadow Wilson (drums). Liner Note Authors: Larry Appelbaum; Robin D.G. Kelley; Ira Gitler; Lewis Porter; Amiri Baraka; Stanley Crouch; ...

Complete 1957 Riverside Recordings buy CD music Contains previously unreleased material. Some of the recordings on the CELLAR DOOR SESSIONS were originally released in edited form on the 1971 double-LP LIVE EVIL. There is an entire universe contained in this box. Sumptuously packaged and scrupulously annotated, CELLAR DOOR SESSIONS 1970 is a six-disc set that documents Miles Davis's extended residency at the Washington, D.C., club. Davis is backed by a group of genius musicians: keyboardist Keith Jarrett, drummer Jack DeJohnette, bassist Michael Henderson, saxophonist Gary Bartz, percussionist Airto Moreira and guitarist John McLaughlin (who appears only on the last two discs). Together they pioneered an ecstatic fusion of jazz, rock, funk, and abstract sound-painting that established the blueprint for the future of progressive music. Each disc contains a different live set, and while songs are often repeated across the set lists, no two tracks sound the same. The players improvise at a fever-pitch, pushing themselves to endless invention, and the ensemble's interplay--expressionistic, protean, and fierce--is near telepathic. The influence of rock artists like Sly Stone and Jimi Hendrix can be heard in the layering of deep funk rhythms and psychedelic inflections (especially with Miles's wah-filtered trumpet), but the overall sound seems to subsume and transcend the entire history of 20th century music. In a career full of musical innovation, this is some of Miles's most visionary work, and this essential set (which also boasts splendid remastering) documents it for a near-religious listening experience. Personnel: Miles Davis (trumpet); Miles Davis; John McLaughlin (guitar, electric guitar); Keith Jarrett (Fender Rhodes piano, electric organ); Michael J. Henderson (electric bass); Michael Henderson (bass guitar); Gary Bartz (soprano saxophone, alto saxophone); Jack DeJohnette (drums); Airto Moreira (percussion). Liner Note Authors: John McLaughlin; Keith Jarrett; Airto Moreira; Gary Bartz; Jack DeJohnette; Michael J. Henderson; Adam Holzman. Recording information: The Cellar Door, Washington DC (12/16/1970-12/19/1970). Introduction by: Bob Belden. Photographers: Jim Marshall ; Art Maillet; David Gahr; Urve Kuusik; Sandy Speiser; David Redfern.

Complete 1957 Riverside Recordings CD music The historic live Town Hall sessions by Dizzy Gillespie and Charlie Parker from 1945 have been discovered on an acetate pressing, and are transferred with digital enhancement to CD. Why this concert was not issued initially is understandable, but Ira Gitler's informative and insightful liner notes suggest they likely were misplaced. What Gitler's essential writing also reveals is that these dates were approximate by only weeks to the original studio recordings of these classics, and there was no small amount of controversy surrounding this revolutionary bebop. Clearly bop was a vehicle for intricate melodic invention followed by lengthy soloing, aspects of which Parker with Gillespie were perfectly suited for. Fact is, the situation surrounding the sonic capture and extended neglected shelf life of this performance was far from optimal. Symphony Sid Torin is the M.C., rambling as always, making repeated references to Dizzy "Jillespie" and misidentifying Max Roach as Sid Catlett on "Salt Peanuts." (Catlett does sit in on "Hot House" in a more supportive than demonstrative role.) The tracks with the brilliant Roach are on fire, particularly the super-hot "Salt Peanuts," with pianist Al Haig flying beside him. Haig is perhaps the most impressive musician. The rhythm section, especially Haig, is more present in the mix and up front, while the trumpet and alto sax are buried. As the concert progresses, it gets better, with Gillespie's muted trumpet clearer. Parker lays back on the mike, but not in spirit or bravado for "Interlude," which is now known as "A Night in Tunisia," and better balanced during "Groovin' High," which was originally titled "Whispering." There seems to be an unplanned slight key chance in the bridge of "Groovin' High." A late-arriving Parker was in part replaced by tenor saxophonist Don Byas, who sounds terrific on the opener, "Bebop," until Parker steps on-stage and ups the ante. At under 41 minutes in length, this can be looked upon as a historical document, likely appealing only to completists. But the overriding factor of previously undiscovered Diz and Bird makes the CD something all bebop fans should readily embrace, despite its audio deficiencies. ~ Michael G. Nastos This is a live concert recording of Dizzy and Bird from Town Hall not previously known to have been recorded. With audio restoration by Ted Kendell, the sound is excellent. This is a discovered recording of Dizzy and Bird at bebop's inception - the equiv Recording information: Town Hall, New York, NY (06/22/1945). Photographer: Charles B. Nadell. Personnel: Dizzy Gillespie (trumpet); Dizzy Gillespie; Curly Russell (double bass); Charlie Parker (alto saxophone); Don Byas (tenor saxophone); Al Haig (piano); Max Roach, Big Sid Catlett (drums). Liner Note Authors: Robert E. Sunenblick; Ted Kendall; Ira Gitler.

Complete 1957 Riverside Recordings album for sale The dramatic, spiraling inventions of Tyner lend a frenetic element to Coltrane's already intense lines, while Jones and Garrison find and rearrange nearly every rhythm and counter-rhythm imaginable. There are only four tracks here (spread out over two discs), but each--whether it's the fiery title track or the exhilarating take on "My Favorite Things"--is a study in artistry. Live Recording Recording information: Half Note, New York, NY (03/26/1965-05/07/1965). Author: Elvin Jones. Introduction by: Alan Grant. Photographer: Raymond Ross. ONE DOWN, ONE UP: LIVE AT THE HALF NOTE, recorded in the last year of the classic quartet's existence, captures John Coltrane, drummer Elvin Jones, pianist McCoy Tyner, and bassist Jimmy Garrison going full blast. Recorded a year after A LOVE SUPREME, Coltrane was already moving on to extended improvisation, stretching out a single composition for 15 or 20 minutes while deconstructing it from every conceivable angle, turning his saxophone into an instrument of relentless exploration. Personnel: John Coltrane (soprano saxophone, tenor saxophone); John Coltrane; Alan Grant (spoken vocals); Jimmy Garrison (double bass); McCoy Tyner (piano); Elvin Jones (drums). Liner Note Authors: Ravi Coltrane; Ashley Kahn.

Complete 1957 Riverside Recordings CD music At first glance, one might think that this album is another in a long line of standard-issue Duke Ellington compilations. However, this is a release created by the artist himself, and it presents sessions from May and June of 1960 with one of the best orchestras Ellington ever assembled. (Only the previously unissued "Harlem Air Shaft," one of five bonus tracks on the CD, was recorded in '61.) The title of this collection is also something of a misnomer, since PIANO IN THE BACKGROUND prominently features the piano throughout. Each track boasts fabulous bluesy piano introductions, and, at the end of each tune, the ivories usually get the last word. This dramatic conclusion sometimes comes in the form of a final blow to the lower register of the keyboard, as on "Mid-Riff," "Main Stem," and "It Don't Mean a Thing (If It Ain't Got That Swing)." These mysterioso rumblings of the piano make the tunes end with a kind of musical defiance not normally associated with jazz orchestras of the time. This is hard-swinging and inspired big-band music at its finest. Additional Tracks Liner Note Authors: Irving Townsend; Patricia Willard. Recording information: Columbia Studios, Los Angeles, CA (1960); Radio Recorders, Los Angeles, CA (1960). Photographer: Don Hunstein. Arrangers: Gerald Wilson; Bill Mathieu. Personnel: Duke Ellington (piano); Duke Ellington; Andres Merenghito, Andre Merenghito (trumpet); Lawrence D. Brown, Lawrence Brown (trombone); Billy Strayhorn (piano); Aaron Bell (double bass); Russell Procope (clarinet, alto saxophone); Jimmy Hamilton (clarinet, tenor saxophone); Harry Carney (bass clarinet, baritone saxophone); Johnny Hodges (alto saxophone); Paul Gonsalves (tenor saxophone); Eddie Mullens, Gerald Wilson, Ray Nance, Willie Cook (trumpet); Matthew Gee, Booty Wood, Britt Woodman (trombone); Juan Tizol (valve trombone); Sam Woodyard (drums). Audio Remixer: Mark Wilder.

Complete 1957 Riverside Recordings buy CD music Given that 'Round About Midnight was Miles Davis' debut Columbia recording, it was both a beginning and an ending. Certainly the beginning of his recording career with the label that issued most if not all of his important recordings; and the recording debut of an exciting new band that had within its ranks Philly Joe Jones, Paul Chambers, pianist Red Garland, and an all but unknown tenor player named John Coltrane. The title track was chosen because of its unique rendition with a muted trumpet, and debuted at the Newport Jazz Festival the summer before to a thunderous reception. The date was also an ending of sorts because by the time of the album's release, Davis had already broken up the band, which re-formed with Cannonball Adderley a year later as a sextet, but it was a tense year. Musically, this sound is as unusual and as beautiful as it was when issued in 1956. Davis had already led the charge through two changes in jazz -- both cool jazz and hard bop -- and was beginning to move in another direction here that wouldn't be defined for another two years. Besides the obvious lyrical and harmonic beauty of "Round About Midnight" that is arguably its definitive version even over Monk's own, there are the edges of Charlie Parker's "Au Leu-Cha" with its Bluesology leaping from every chord change in Red Garland's left hand. Coltrane's solo here too is notable for its stark contrast to Davis' own: he chooses an angular tack where he finds the heart of the mode and plays a melody in harmonic counterpoint to the changes but never sounds outside. Cole Porter's "All of You" has Davis quoting from Louis Armstrong's "Basin Street Blues" in his solo that takes out the tune, and Coltrane has never respected a melody so much. But it's in "Bye-Bye Blackbird" that we get to hear the band gel as a unit, beginning with Davis playing through the melody, muted and sweet, slightly flatted out until he reaches the harmony on the refrain and begins his solo on a high note. Garland is doing more than comping in the background; he's slipping chord shapes into those interval cracks and shifting them as the rhythm section keeps "soft time." When Coltrane moves in for his break, rather than Davis' spare method, he smatters notes quickly all though the melodic body of the tune and Garland has to compensate harmonically, moving the mode and tempo up a notch until his own solo can bring it back down again. Which he does with a gorgeous all-blues read of the tune utilizing first one hand and then both hands to create fat harmonic chords to bring Davis back in to close it out. It's breathtaking how seamless it all is. There's little else to say except that 'Round About Midnight is among the most essential of Davis' Columbia recordings. ~ Thom Jurek Recorded at Columbia Studios, New York, New York between October 26, 1955 and September 10, 1956. Includes liner notes by Bob Blumenthal. Personnel: Miles Davis (trumpet); Miles Davis; Paul Chambers, Percy Heath (bass instrument); John Coltrane, Zoot Sims (tenor saxophone); Gerry Mulligan (baritone saxophone); Red Garland, Thelonious Monk (piano); Connie Kay, Philly Joe Jones (drums). Liner Note Authors: George Avakian; Gene Norman; Bob Blumenthal. Recording information: Columbia 30th Street Studio, New York, NY (07/17/1955-09/10/1956); Columbia Studio D, New York, NY (07/17/1955-09/10/1956); Newport Jazz Festival (07/17/1955-09/10/1956); Pasadena Civic Auditorium (07/17/1955-09/10/1956). Photographers: Don Hunstein; Dennis Stock; Art Maillet; Aram Avakian. Personnel: Miles Davis (trumpet); John Coltrane (tenor saxophone); William "Red" Garland (piano); Paul Chambers (bass); Philly Joe Jones (drums).