Jazz Club

[C]

NP

Johnny Coles - Little Johnny C

Recorded in 1963, released 1964. A very fine record that swings like a barn door.

Thanks Fange playing now.

The great Joe Henderson on tenor sax

Nice

oooof!




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[C]

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Still on a Monk run:

NP






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[C]

I’ve been playing a lot of my Thelonious Monk collection recently- Monk’s Dream as I type

Anyway, a unique improvisational style that is easily recognisable

From Wiki:

Monk's compositions and improvisations feature dissonances and angular melodic twists, often using flat ninths, flat fifths, unexpected chromatic notes together, low bass notes and stride, and fast whole tone runs, combining a highly percussive attack with abrupt, dramatic use of switched key releases, silences, and hesitations.
Monk's distinct look included suits, hats, and sunglasses. He also had an idiosyncratic habit during performances: while other musicians continued playing, Monk would stop, stand up, and dance for a few moments before returning to the piano.

A ‘hesitant’ style I would suggest…

Perhaps not a style suited to everyone

What are other jazz cats’ views?




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[fange]

An exciting release coming up in November...

https://www.bluenote.com/mccoy-tyner-jo ... -at-slugs/


Blue Note Records has announced the November 22 release of Forces of Nature: Live at Slugs’, a never-before-issued live recording of jazz legends McCoy Tyner and Joe Henderson leading a stellar quartet with bassist Henry Grimes and drummer Jack DeJohnette at the hallowed lost NYC jazz shrine, Slugs’ Saloon, in 1966. The release was produced by Zev Feldman, Jack DeJohnette, and Lydia DeJohnette

Tyner and Henderson had been forging a strong musical bond on Blue Note through the mid-60s with Tyner appearing on Henderson’s 1963 debut Page One as well as his 1964 albums In ‘N Out and Inner Urge, while Henderson would appear on Tyner’s own Blue Note debut The Real McCoy in 1967. The Slugs set list included two Henderson compositions that were originally recorded on his Blue Note albums: a blistering half-hour exploration of “In ‘N Out” and a joyous romp through “Isotope” which is available to stream or download today.

Forces of Nature includes an elaborate booklet with rare photos by Francis Wolff, Raymond Ross, and Robert Polillo; plus liner notes by esteemed author and critic Nate Chinen, and interviews and statements with DeJohnette, Jason Moran, Joe Lovano, Joshua Redman, Christian McBride, Nasheet Waits, and Terri Lyne Carrington. Originally recorded by the legendary engineer Orville O’Brien — who recorded classic 1960s jazz albums such as Freddie Hubbard’s The Night of the Cookers, Charles Tolliver’s Music Inc. and Alice Coltrane’s Journey to Satchidananda — the tape has been in DeJohnette’s personal archives for nearly 60 years. The 2-LP 180g vinyl set is transferred from the original tape reel and mastered by Matthew Lutthans at The Mastering Lab, who also mastered the 2-CD and digital.

Jack DeJohnette: “…as it happened, the opportunity came to play at Slugs’ with this combination. There was some anticipation that this would really be great. And sure enough, everybody really played like there was no tomorrow. Luckily, we have this document from that week with this incredible personnel making this incredible music with this intensity and commitment. That is rare… This recording represents a time and period where musicians were really playing, intensely searching and experimenting with new things. It was a highly creative time then. Musicians were trying things and of course, there were venues like Slugs’ where people could actually play and develop their craft. There were bands that people could play in and develop. At that time, things were shifting in music; shifting over to a more, shall we say, exploratory music. And so that environment encouraged those explorations.”

[C]

An exciting release coming up in November...

https://www.bluenote.com/mccoy-tyner-jo ... -at-slugs/


Blue Note Records has announced the November 22 release of Forces of Nature: Live at Slugs’, a never-before-issued live recording of jazz legends McCoy Tyner and Joe Henderson leading a stellar quartet with bassist Henry Grimes and drummer Jack DeJohnette at the hallowed lost NYC jazz shrine, Slugs’ Saloon, in 1966. The release was produced by Zev Feldman, Jack DeJohnette, and Lydia DeJohnette

Tyner and Henderson had been forging a strong musical bond on Blue Note through the mid-60s with Tyner appearing on Henderson’s 1963 debut Page One as well as his 1964 albums In ‘N Out and Inner Urge, while Henderson would appear on Tyner’s own Blue Note debut The Real McCoy in 1967. The Slugs set list included two Henderson compositions that were originally recorded on his Blue Note albums: a blistering half-hour exploration of “In ‘N Out” and a joyous romp through “Isotope” which is available to stream or download today.

Forces of Nature includes an elaborate booklet with rare photos by Francis Wolff, Raymond Ross, and Robert Polillo; plus liner notes by esteemed author and critic Nate Chinen, and interviews and statements with DeJohnette, Jason Moran, Joe Lovano, Joshua Redman, Christian McBride, Nasheet Waits, and Terri Lyne Carrington. Originally recorded by the legendary engineer Orville O’Brien — who recorded classic 1960s jazz albums such as Freddie Hubbard’s The Night of the Cookers, Charles Tolliver’s Music Inc. and Alice Coltrane’s Journey to Satchidananda — the tape has been in DeJohnette’s personal archives for nearly 60 years. The 2-LP 180g vinyl set is transferred from the original tape reel and mastered by Matthew Lutthans at The Mastering Lab, who also mastered the 2-CD and digital.

Jack DeJohnette: “…as it happened, the opportunity came to play at Slugs’ with this combination. There was some anticipation that this would really be great. And sure enough, everybody really played like there was no tomorrow. Luckily, we have this document from that week with this incredible personnel making this incredible music with this intensity and commitment. That is rare… This recording represents a time and period where musicians were really playing, intensely searching and experimenting with new things. It was a highly creative time then. Musicians were trying things and of course, there were venues like Slugs’ where people could actually play and develop their craft. There were bands that people could play in and develop. At that time, things were shifting in music; shifting over to a more, shall we say, exploratory music. And so that environment encouraged those explorations.”

It looks tasty!

McCoy Tyner: piano
Joe Henderson: tenor saxophone
Henry Grimes: bass
Jack DeJohnette: tubs

Recorded live at Slugs’ in New York, NY in 1966

Three of my fave jazz musicians. I don’t know too much about Henry Grimes despite his long pedigree. He appears on some of my collection including Sonny Rollins

I note the first track is In ‘n Out - one of my fave Henderson albums

I’ll have some of that

Thanks for heads up fange




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[Fonz]

I’ve been playing a lot of my Thelonious Monk collection recently- Monk’s Dream as I type

Anyway, a unique improvisational style that is easily recognisable

From Wiki:

Monk's compositions and improvisations feature dissonances and angular melodic twists, often using flat ninths, flat fifths, unexpected chromatic notes together, low bass notes and stride, and fast whole tone runs, combining a highly percussive attack with abrupt, dramatic use of switched key releases, silences, and hesitations.
Monk's distinct look included suits, hats, and sunglasses. He also had an idiosyncratic habit during performances: while other musicians continued playing, Monk would stop, stand up, and dance for a few moments before returning to the piano.

A ‘hesitant’ style I would suggest…

Perhaps not a style suited to everyone

What are other jazz cats’ views?




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I listen to plenty, now and then.
Idiosyncratic for sure.
Probably responsible for the jazz=wrong notes accusations, but opened the way for a lot of the angular chromaticism that followed.
I bet he would have been cool to know.
Set Trane on the right path.

I don’t have any particular favourites; I just put something on when I’m in a Monk mood…

[C]

I’ve been playing a lot of my Thelonious Monk collection recently- Monk’s Dream as I type

Anyway, a unique improvisational style that is easily recognisable

From Wiki:

Monk's compositions and improvisations feature dissonances and angular melodic twists, often using flat ninths, flat fifths, unexpected chromatic notes together, low bass notes and stride, and fast whole tone runs, combining a highly percussive attack with abrupt, dramatic use of switched key releases, silences, and hesitations.
Monk's distinct look included suits, hats, and sunglasses. He also had an idiosyncratic habit during performances: while other musicians continued playing, Monk would stop, stand up, and dance for a few moments before returning to the piano.

A ‘hesitant’ style I would suggest…

Perhaps not a style suited to everyone

What are other jazz cats’ views?




.

I listen to plenty, now and then.
Idiosyncratic for sure.
Probably responsible for the jazz=wrong notes accusations, but opened the way for a lot of the angular chromaticism that followed.
I bet he would have been cool to know.
Set Trane on the right path.

I don’t have any particular favourites; I just put something on when I’m in a Monk mood…

Monk is on record as saying “The piano ain't got no wrong notes”.




.

[Fonz]

I’ve been playing a lot of my Thelonious Monk collection recently- Monk’s Dream as I type

Anyway, a unique improvisational style that is easily recognisable

From Wiki:

Monk's compositions and improvisations feature dissonances and angular melodic twists, often using flat ninths, flat fifths, unexpected chromatic notes together, low bass notes and stride, and fast whole tone runs, combining a highly percussive attack with abrupt, dramatic use of switched key releases, silences, and hesitations.
Monk's distinct look included suits, hats, and sunglasses. He also had an idiosyncratic habit during performances: while other musicians continued playing, Monk would stop, stand up, and dance for a few moments before returning to the piano.

A ‘hesitant’ style I would suggest…

Perhaps not a style suited to everyone

What are other jazz cats’ views?




.

I listen to plenty, now and then.
Idiosyncratic for sure.
Probably responsible for the jazz=wrong notes accusations, but opened the way for a lot of the angular chromaticism that followed.
I bet he would have been cool to know.
Set Trane on the right path.

I don’t have any particular favourites; I just put something on when I’m in a Monk mood…

Monk is on record as saying “The piano ain't got no wrong notes”.




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Eric Morecambe would agree

[C]

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NP



Joe Henderson – tenor saxophone
McCoy Tyner – piano
Bob Cranshaw – bass
Elvin Jones – tubs




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[LMG]

I have a midday meeting in Canary Wharf, so a morning at home midweek.

Enjoying some Joe:



Joe Henderson, Inner Urge

[C]

I have a midday meeting in Canary Wharf, so a morning at home midweek.

Enjoying some Joe:



Joe Henderson, Inner Urge

SNAP!!





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[C]

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Still trawling through my Thelonious Monk albums - here's a nice live one from 1958



Full of music




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[C]

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More Monk:

NP



With Charlie Rouse on tenor sax.

His collaboration with Thelonious Monk lasted for more than ten years




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[C]

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NP



One of my faves.

Thelonious Monk with John Coltrane is a 1961 album by Thelonious Monk. It consists of material recorded four years earlier when Monk worked extensively with John Coltrane, issued after Coltrane had become a leader and jazz star in his own right.

The original LP was assembled with material from three different sessions. The impetus for the album was the discovery of three usable studio tracks recorded by the Monk Quartet with Coltrane in July 1957 at the beginning of the band's six-month residency at New York's legendary Five Spot club.

To supplement the release, two outtakes from the Monk's Music album recorded the previous month were included and one additional outtake from Thelonious Himself

Full of music




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[C]

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NP



What tremendous debut

Page One recorded and released by Blue Note Records in 1963. Saxophonist Henderson is featured in a group with trumpeter Kenny Dorham, pianist McCoy Tyner, bassist Butch Warren and on tubs Pete La Roca

McCoy Tyner is credited as 'Etc' on the cover due to other contractual obligations




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[LMG]

My work shifts gets bumped a day every five weeks, so I worked Saturday.

Today is my Sunday.

NP



Kenny Dorham - 'Round About Midnight Live From Cafe Bohemia.

Kenny Dorham – trumpet
J. R. Monterose – tenor saxophone
Kenny Burrell – guitar
Bobby Timmons – piano
Sam Jones – bass
Arthur Edgehill – drums

J R Monterose is fantastic - never heard of him before. Played with Mingus as well as Kenny Dorham. Lived in Europe like the character Dale Turner who Dexter Gordon plays in the (unrelated) film Round Midnight.

https://en.wikipedia.org/wiki/Round_Midnight_(film)

Although Monterose lived in Belgium, not Paris like the character in the film. Wikipedia says :

It was this uncompromising insistence on going his own way, both musically and geographically, that moved jazz historian and writer David Brent Johnson to describe Monterose as "The Best Tenor You Never Heard"



Spotify has the complete 2 CD version of 'Round About Midnight Live From Cafe Bohemia. It goes on the must have list, although it is rare, versions mainly seem to be issued in Japan.

I will make do with Spotify until I clutch it in my hot sweating eager hands.

[C]

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NP



Hank Mobley – tenor saxophone
Lee Morgan – trumpet
Harold Mabern, Jr. – piano
Larry Ridley – bass
Billy Higgins – tubs




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[C]

My work shifts gets bumped a day every five weeks, so I worked Saturday.

Today is my Sunday.

NP



Kenny Dorham - 'Round About Midnight Live From Cafe Bohemia.

Kenny Dorham – trumpet
J. R. Monterose – tenor saxophone
Kenny Burrell – guitar
Bobby Timmons – piano
Sam Jones – bass
Arthur Edgehill – tubs

Spotify has the complete 2 CD version of 'Round About Midnight Live From Cafe Bohemia. It goes on the must have list, although it is rare, versions mainly seem to be issued in Japan.

I will make do with Spotify until I clutch it in my hot sweating eager hands.

I have the original shorter version - it’s seminally robust!

It is an amazing live recording for 1956

Full of music

Bobby Timmons, on piano, was only 20 at the time

Further reading suggests Bobby was an incessant liar and often threatened people with a knife!

Later he played in Art Blakey's Jazz Messengers and with Cannonball Adderley’s combo

A heroin addict, he died at 38






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[C]

My work shifts gets bumped a day every five weeks, so I worked Saturday.

Today is my Sunday.

NP



Kenny Dorham - 'Round About Midnight Live From Cafe Bohemia.

Kenny Dorham – trumpet
J. R. Monterose – tenor saxophone
Kenny Burrell – guitar
Bobby Timmons – piano
Sam Jones – bass
Arthur Edgehill – tubs

Spotify has the complete 2 CD version of 'Round About Midnight Live From Cafe Bohemia. It goes on the must have list, although it is rare, versions mainly seem to be issued in Japan.

I will make do with Spotify until I clutch it in my hot sweating eager hands.

I have the original shorter version - it’s seminally robust!

It is an amazing live recording for 1956

Full of music

Bobby Timmons, on piano, was only 20 at the time

Further reading suggests Bobby was an incessant liar and often threatened people with a knife!

Later he played in Art Blakey's Jazz Messengers and with Cannonball Adderley’s combo

A heroin addict, he died at 38


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PS I see that the tubsman Arthur Edgehill died last month aged 98!





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[cheifwhat]

I am listening to Keith Jarratt's Koln concert. I had never heard it until about a week ago.