Category Archives: Piano

Les Liaisons Dangereuses 1960: Thelonious Monk (Part Two- The thing itself)

Having told the story of how this fine Monk box set came my way, with only minimal embellishment (I didn’t actually see anybody buy the Diana Ross album), it is time to get down to business and write about how the recording came to be made and to express an opinion on the music and the overall package.

At the end of May 1954 Thelonious Monk, travelling alone, crossed the Atlantic, landing in Paris, where he had been booked to play in the ‘Salon du Jazz’ Festival. Kelley* records how Monk had been a Francophile since he studied French as a teenager and this was his first visit to a city that had loomed large in his imagination since those days.

The concerts were of mixed quality, partly due to the lack of familiarity with his work and performance expectations by local accompanists. However, the short Parisian sojourn, during which he first encountered and hung out with his great friend Baroness Pannonica de Koenigswarter, also indirectly led to his involvement with the soundtrack for ‘Les Liaisons Dangereuses’.

Like so many visitors, Monk spent hours exploring the streets of the city on foot. He was accompanied by a local jazz fan, Marcel Romano who also enjoyed a good walk and who showed him around. He even catered for Monk’s niche interests and took him to a celebrated Parisian milliners where the hat-lover purchased a number of authentic Basque berets. Subsequently, Romano’s love for the music led to him rapidly becoming an influential figure in the French jazz world and five years later he had been engaged as musical director for Roger Vadim’s film of ‘Les Liaisons Dangereuses’.

Despite the friendship between Monk and Romano the realisation of the recording involved a tortuous and convoluted struggle to get Monk to contract to the project. Following the cancellation of a soundtrack recording session in Paris in the spring of 1959, Romano travelled to New York to try to make progress ahead of a deadline of 31 July.

In the sumptuous and informative 52 page booklet which accompanies the recording, Kelley explains that Monk suffered mental trauma at the end of April 1959 which led to his admission to a psychiatric hospital in Massachusetts where he was first given the anti-psychotic medication Thorazine (chlorpromazine), the start of a fifteen year period during which the powerful anti-depressant with multiple side-effects was proscribed to him. This and other distressing circumstances, outlined with understanding and eloquence by Kelley, reduced his capacity to focus on the soundtrack. Kelley also states that Monk knew that he had been cheated out of the fruits of his labours on many previous occasions and by 1959 he only really trusted his wife Nellie and his great friend and supporter Baroness Nica.

As the deadline loomed Romano through amazing persistence finally got Monk to sign the contract at dawn on 26 July and on 27 July the recording session took place.

The music:-

Monk had not given himself enough time to compose any substantial bespoke pieces and so the recording session mainly draws on songs from his existing repertoire.

The set opens with a lively version of Rhythm-a-ning that contains a particularly good piano solo from Monk. Although he first recorded the tune in 1957 on an art Blakey led session, Monk had been playing the tune, based on the I Got Rhythm chord changes since his early 1940’s days in New York.

As was his habit, Crepuscule With Nellie is played note for note as a recital piece although Brian Priestly highlights some improvisation contained within the ‘pianistic textures used’ in the two versions committed to this soundtrack.

Six in One is a very fine and sensitive ballad played on solo piano by Monk. A quick look though one of the more detailed discographies indicates that this is the first release of the track under this name (although if any readers know more, please tell us). A treasure, which was not used for the final cut of the film.

The first version of Well, You Needn’t brings the band back and a fine tenor solo from Charlie Rouse explodes from the left hand channel. It echoes the impact of John Coltrane’s solo from the version that appeared on Monk’s Music but isn’t as strong.

Side Two starts with three takes of Pannonica, the first two solo and the third a quartet version with Charlie Rouse on tenor. There’s something joyous and almost playful about Monk’s piano on this version.

Ba-Lue Bolivar Ba-Lues-Are features the full quintet with saxophone solos, first a relatively restrained effort from Rouse and then a confident 22 year old Frenchman, Wilen who acquits himself very well in such esteemed company.

Light Blue is let down by a leaden drum pattern which is too much to the fore (we’ll encounter Monk’s efforts to enable Art Taylor to get it right on Side Four).

By and By (We’ll Understand It Better By and By) is a traditional gospel hymn, which is largely solo and delightful but somewhat short.

Side Three opens up with a further visit to Rhythm-a-ning, edited from an incomplete take. The horns sound great here.

The first take of Crepuscule with Nellie follows. This involves a trio of Monk, Rouse and Taylor with Rouse lightly mirroring Monk and Taylor offering some very muted brushwork.

An alternate quintet take on Pannonica follows with bass and drums playing a slightly different accompaniment.

A further quartet version of Light Blue, with Wilen sitting out, closes the side. The drums are slightly more restrained and played with a lighter touch here making it the better of the two versions, in my opinion.

Side Four presents an unedited the perfectly enjoyable take on Well, You Needn’t. It also includes over 14 minutes tracing the making of Light Blue which largely involves a tedious rehearsal of the drum pattern and which is likely to be of only of the most marginal interest to most listeners, except for the last couple of minutes when things start to come together.

The current release can be considered as being made up of three segments. Sides One and Two are made up of selections that appeared on an edited tape annotated by Romano and containing the titles heard in the film with the addition of Six in One. The Second disc comprises alternative takes that were rejected for inclusion on the soundtrack and a third element which is a final long track on Side Four which captures the tortuous gestation of the drum phrase for Light Blue. This shows that while Monk knew what he wanted, Taylor was struggling to capture his wishes.

The soundtrack was never released as an album, probably for copyright and contractual reasons. Indeed the tapes were lost, only to be found amongst the late Marcel Romano’s archives in early 2014. In the words of the producers, Feldman, Xuan and Thomas who played the tapes labeled Thelonious Monk: ‘The most beautiful findings are often made by accident.’

I’m most definitely of the camp which believes that the world cannot have enough quality recordings made by Monk and I am delighted to have obtained a copy. However, it is an album that is a wonderful addition to the recorded works and certainly not a substitute for Brilliant Corners and Monk’s Music which contain the best known examples of most of the tracks found on the Les Liaisons Dangereuses 1960 soundtrack. If you are interested in Monk’s work then you really should seek this out to listen to and I also commend Kelley’s book which is referenced below.

The Vadim film is readily available and although I cannot recall having seen it I will endeavor to do so before the end of the year. I may even include a postscript when I do so.

The overall package is an item to treasure and the sound quality for this stereo release is excellent through my Rega RP6/Naim Uniti 2/Spendor SP2 system. Once again, I’m delighted that I obtained a copy.

The band etc: Thelonious Monk (piano); Charlie Rouse (tenor sax); Barney Wilen (tenor sax); Sam Jones (bass); Art Taylor (drums ). Recorded: July 27 1959. Session Engineer: Tom Nola. Record Produced: Zev Feldman, Francois Le Xuan & Fred Thomas. Studio: Nola Penthouse Sound Studios, 111 W 57th Street, New York City. Released: 22 April 2017. Cover photo: Arnaud Boubet. Booklet notes and essays: Zev Feldman; Laurent Guenoun; Alain Tercinet; Robin D.G. Kelley; Brian Priestly. Sam Records / Saga.

*Robin D.G. Kelley’s Thelonious Monk: The Life and Times of an American Original: Free Press (New York) 2009.

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Monk’s Music: Thelonious Monk

From time to time it takes me an age to write a post. Monk’s Music is a recording that is too good to hurry over but equally two months between posts is too much of a gap to be happy with. I’ve many other things to write about (not in the least the copy of Monk’s Les Liaisons Dangereuses which I managed to purchase on Record Store Day UK 2017 and which I will write about very soon). So here goes with a look at a one of the great works from a musical genius.

Recorded sixty years ago this year (2017), in his own 40th year, Monk’s Music is a masterpiece. The album was the product of a landmark recording session for which Monk engaged that trailblazer of jazz saxophone, Coleman Hawkins, alongside John Coltrane who was in the midst of a crucial, transformative phase and was yet to emerge as one of the key figures of modern jazz.

Although 1957 was to be his finest year, things had started very badly for Monk. In his definitive biography, Robin D.G. Kelley explains that during the 1956 Christmas holiday period Monk was involved in a minor car crash in New York City. Although nobody was physically injured, the incident caused Monk to suffer a mental breakdown, reception into custody for his own safety and an immediate admission as an inpatient at New York’s notorious Bellevue Psychiatric Hospital. He was resident for between two and three weeks before being discharged without a diagnosis.

The period in hospital sharpened his desire to work, earn some money and, crucially, to put together a sextet with three horns: “…the right amount of horns”, as he told Ira Gitler in mid-January 1957. First came a six-night engagement in Philadelphia, being driven back and forth from New York each night by his firm friend and supporter, Baroness Pannonica de Koenigswarter.

Monk spent the next couple of months with his wife and children. He countered his depression with hours of practice on the fine Steinway baby grand piano that he had rented at the end of 1956 and shoe-horned into his apartment. When he was not at home he was at the Algonquin Hotel on West 44th Street, where Pannonica had settled and held an open musical salon in her suite. It was during this period that Monk and Coltrane began to work closely together. Monk became the saxophonist’s mentor as Coltrane attempted to improve his musicianship while struggling to overcome his addiction to heroin. Surely at that stage, the two artists could not imagine the legacies that each would go on to leave for us?

Along the way, in mid-April, Monk recorded another of his key works, Thelonious Himself, largely a solo work but with Coltrane and bassist Wilbur Ware contributing to a version of Monk’s Mood. A couple of days later Coltrane was fired by Miles Davis, who exasperated by Coltrane’s playing in the midst of withdrawal, may also have slapped and punched his band member. Apparently, this was witnessed by Monk who tried, without success, to intercede before offering Coltrane a job.

Their live partnership could not begin immediately as Monk was still without an all-important New York Cabaret Card which prevented him from playing in NYC. His card had been cancelled following a drugs bust several years before but his manager was working hard to get him a new one.

Just before the Monk’s Music session, his wife was admitted to hospital for treatment of an acute thyroid condition and this caused Monk an overwhelming sense of distress. In keeping with the adage ‘every cloud…’, the silver lining that was his gift to posterity was the beautiful Crepuscule With Nellie, which we will get to in a while. This was the product of sleepless nights, countless revisions and Baroness Nica’s suggestion that Crepuscule (the late Middle English word for twilight) was a better and more evocative alternative to evening for the title.

The recording begins with a short yet exquisite arrangement of Abide With Me. The hymn, which has a particular resonance for anybody who has attended an FA Cup Final was written by Monk’s namesake, British organist, William Henry Monk and entitled Eventide. Indeed there is a possibility that Monk may have made a connection with his own Crepuscule. This gem is only 55 seconds long and leaves this listener wanting more but very pleased with what has been served up in a short span.

Next up, Well, You Needn’t, starts with a swing before Monk calls on John Coltrane who delivers and exceptional solo which must have sounded like something from the future when the recording was released. The take extends to just under eleven and a half minutes and all of the musicians have space to solo.

Amongst Monk’s finest ballads, the recording of Ruby, My Dear presents a beautiful dialogue between Monk’s piano and Coleman Hawkins’ mellifluous tenor. The Ruby in question was Ruby Richardson, a significant girlfriend from Monk’s teenage years, which is when he first wrote the tune.

Off Minor has a jagged beauty that is full of surprises and is played with what my lack of theoretical musicianship leads me to venture to describe as a staccato angularity. In his sleeve notes for the 2010 CD reissue, Ashley Kahn notes that Kelley states that the tune is in G minor but that it ‘…never resolves to the tonic.’ This probably explains why it leaves us expecting something extra. The version used on the original release was the 5th take and the CD provides the bonus of an alternative version, the 4th take, which features strong though slightly less fluent and ‘worked out’ tenor and trumpet solos from Coleman and Copeland. We are lucky to have both to listen to.

Epistrophy was written by Monk and drummer Kenny Clarke in the early 1940s and it was to remain as an often visited staple of Monk’s repertoire (with Ted Gioia recording in ‘The Jazz Standards’ that over 50 recordings of the tune by Monk are known to survive). On Monk’s Music the version is a seamless splice of two takes with solos from each of the musicians starting with a fluent opening statement from Coltrane, before working through Copeland, Gryce, Ware, Blakey, Hawkins and finally Monk. Hawkins’ solo draws on his tenor’s lower register and is particularly full-bodied and robust, before Monk plays briefly and then ushers in the ensemble with an insistent caterwaul.

The afore-mentioned Crepuscule with Nellie closes the original recording. Kelley explains that unique amongst his recordings, Monk always played this without improvisation or embellishment. It is rendered as though the distilled feelings that he was conveying were sacrosanct and deeply personal. You can listen courtesy of YouTube:-

To play: touch or click on the arrow

On the CD there is an extra alternate edited version, which amalgamated the best of the 4th and 5th takes and is a welcome addition. I would venture that it possibly wasn’t selected as the master take as Blakey’s brushwork sounds a little intrusive.

As mentioned, in the lead-up to the session Monk had several sleepless nights due to worries about the poor state of his wife’s health and his search for perfection in the composition of Crepuscule. On the first day Art Blakey was an hour late and then took a further hour to set up his drum kit. Although a couple of unused takes of Crepuscule were recorded, Monk was exhausted and went home to sleep, with nothing that was used in the can. With precious studio time remaining, the other musicians rapidly rehearsed and recorded an improvisation on a Count Basie influenced blues written on the spot by Gigi Gryce. Blues For Tomorrow was subsequently released on a compilation under Coleman Hawkins name. It is fascinating to compare Hawkins solo to Coltrane’s, which he follows on from. Once again, playing in the tenor’s lower register, it almost sounds (to these ears) as though Hawkins is playing a baritone sax and he really makes the piece his own.

Monk was back next day, rested and ready to go. It was his session and he pushed his sidemen to deliver exactly what he wanted. Gryce had been tasked with arranging the horn parts and there was a gap between what he had written and what Monk had asked for. Kelley memorably recounts Monk saying to Hawkins and Coltrane:-
“You’re the great Coleman Hawkins, right? You’re the guy who invented the tenor saxophone, right?” Hawk agreed. Then Monk said to Trane, “You’re the great John Coltrane, right?” Trane blushed, and mumbled, “Aw…I’m not so great.” Then Monk said to both of them, “You both play saxophone, right?” They nodded. “Well, the music is on the horn. Between the two of you, you should be able to find it.”
Find it, they all did and the entire issued album was taped on 26 June 1957

With the session in the bag, the producer, Orrin Keepnews and label boss Bill Grauer felt that they had captured something special. Cover art was conceived but Monk hated what was proposed and was angry with the designer. The original idea was to feature a photograph of him wearing a monk’s robe, standing in a pulpit and holding a glass of whisky but Monk rejected it out of hand. He went to another part of the studio where he rested on the photographer’s trolley. The unposed image was a striking one and surprisingly Monk was happy to be photographed, adding his briefcase, music paper and a pencil and explaining that he had previously composed while sitting outside his home on his child’s wagon.

Monk got his cabaret card back in May 1957 and was booked into New York’s Five Spot venue from 4th July for what turned into a 6 month residency. He was able to honour his commitment to John Coltrane who joined him on the stage from Tuesday 16 July 1957. The classic album that is Monk’s Music was released in early 1958 and acclaimed as one of the year’s top five albums by Downbeat. I cannot recommend that you listen to it too highly. The session that produced Monk’s Music is exceptional so don’t miss the version supplemented by the additional tracks on CD.

Robin D.G. Kelley’s Thelonious Monk: The Life and Times of an American Original was first published by Free Press (New York) in 2009. I am grateful to have benefitted from Kelley’s scholarship and insights and commend it as an essential purchase and great read for those who are interested in Monk.

The band etc: Thelonious Monk (piano); Ray Copeland (trumpet); Gigi Gryce (alto sax); John Coltrane (tenor sax); Coleman Hawkins (tenor sax); Wilbur Ware (bass); Art Blakey (drums ). Recorded: June 26 1957 (Blues For Tomorrow 25.06.57). Produced: Orrin Keepnews. Studio: Reeves Sound, New York City. Released: 1958. Cover photo: Paul Weller. Sleeve notes: Orrin Keepnews. Riverside RLP 12 242. Additional sleeve notes on CD release: Ashley Kahn 2010.

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Horace Parlan: 1931 to 2017

I was sorry to learn of the passing of pianist Horace Parlan on 23 February 2017, aged 86. Over the last few years, I’ve heard and enjoyed much of his work. Since writing about him in 2014, in addition to other recordings by him, I have obtained and rate highly the two albums of traditional blues and gospel songs that he recorded with Archie Shepp and released on Steeplechase in the 1970s.

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Spacebound Apes: Neil Cowley Trio

spacebound-apes

Spacebound Apes is one of those releases that I had very high expectations of. In 2014 I took a look at Neil Cowley’s last album Touch and Flee. At the time I wondered whether it would survive the test of time as a set that I would return to. It did and I have enjoyed revisiting it occasionally over the last two years.

I was delighted when I received a copy of the current set to listen to and I said I would try to review it immediately.

Unfortunately, I haven’t been able to turn this around quite as quickly as I had anticipated and well over a month has passed by.

I’ve finally got there after some difficulty and it is time to publish, if only to mark this down as ‘done’ and move on towards other projects.

Spacebound Apes is a concept album and this sets the alarm bells ringing for me. The 1970’s and 80’s saw the release of numerous musical extravaganzas in which rock musicians, who had often delivered strong earlier recordings, were allowed to develop themed albums where absurdity was often a highly visible passenger in the stagecoach of grandiosity. Thank heavens for honest to goodness soul, pub rock and punk which provided an alternative and eventually sluiced out the Augean Stables of pomp rock. Sorry if this offends but you can keep Topographic Oceans, Tommy, Tarkus, Olias of Sunhillow and each and every one of Henry VIII’S six wives and don’t expect me to start work on a musical interpretation of The Labours of Hercules any time soon.

Does music benefit from an associated comic book, animations, short films, costumed performers and other embellishments? I suppose it can do but, in live performance, a short verbal introduction from the artist can take us into the world of our own imagination that can be even more powerful than an unwanted and superfluous picture or projection.

While struggling with Spacebound Apes I wanted to make sure I was giving the piece a fair hearing and I went to see a live performance by Neil Cowley and his band. Introducing his show, Cowley was engaging and unpretentious. All three musicians were very talented and were listening intently to each other. The first section offered the current album in its entirety, with an accompanying slide show which helped to set the scene for the track that was being played.

The second half dispensed with the visuals, without losing anything. Tracks included Bluster and His Nibs. When Cowley announced that the last song was called She Eats Flies the title led me to assume that we were in for something that would disappoint. However, he disclosed that the ‘she’ in question was a spider the size of a Labrador dog that lives at the bottom of his garden. That simple explanation conjured up an image and added to what we heard without needing its own comic strip, back projection or articulated arachnid prop.

Time to take a look at the album, which concerns a 43 year old male who is having a mid-life crisis. I don’t know about you (and this excludes all younger and female readers), but I’ve been there, done that and, over time, the scars slowly healed. If you want to know more about the concept under consideration you can google the Spacebound Apes website. As for me, I’ll just follow my usual format of offering a brief listening note for each of the tracks on the CD:

Weightless ia a piece on which the piano trio are supplemented by electronics. I particularly enjoyed the bass playing here.

Hubris Major starts with a further electronic phase before Cowley’s piano and the bass drum move us through another of his delightful numbers on which Cowley really conjures a sense of space.

Governance is a track with a staccato feel seemingly conveying an image of monotony and stultification. It is definitely not something to jump out of bed to in the morning.

The City and the Stars, a dynamic track. On the video, Rex Horan plays an electric bass hung down low in a stance reminiscent of Peter Hook.

The next track, Grace, is a beautiful tune that has a hymn-like quality. It is the high point of the set for me. Take a look at the accompanying images:-

Echo Nebula presents us with another dreamy soundscape.

The Sharks of Competition led me to imagine a frenetic combination of Devo and Joy Division, which is OK in its place.

Duty To The Last. Brooding sense of menace gives way to the solemnity of an elegy.

Garden Of Love. Conjuring images of passing through something and marvelling without engaging.

Death of Amygdala. The Amygdala lies deep within the brain and, according to Wikipedia, ‘…performs a primary role in the processing of memory, decision-making and emotional reactions.’ A dreamy track, which has a classical feel about it and while pleasant enough could possibly do with more development to turn it into something a little more special.

Finally, The Return of Lincoln is a short closing track.

Overall, I was disappointed by Spacebound Apes. As stated, I’ve liked some of Cowley’s earlier work and the band delivered a fine live performance at Islington’s Union Chapel at the end of October 2016. I feel somewhat churlish in my reaction, as a great deal of thought and effort has obviously gone into the making of this. But I also have a deep suspicion, verging on aversion to ‘concept albums’. This one offers up a series of moods and soundscapes, as they all do with varying degrees of success, but, for me, the overall dish doesn’t work.

I’m not giving up on Neil Cowley and will return to tracks like Grace and Weightless whilst hoping that he navigates away from grand concepts in the future. It really isn’t what the World needs, while a great piano player and composer will always be in demand. The Neil Cowley Trio are well worth catching live and play with great energy so don’t ignore them if they are in a venue near you.

The band etc:- Neil Cowley (piano); Evan Jenkins (drums); Rex Horan (bass); Leo Abrahams (guitar, FX). Produced: Dom Monks. Recorded: RAK Studios, London. Released September 2016. HideInside Records.

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Ed Kelly and Pharoah Sanders

Sanders Kelly

There’s great excitement and anticipation in the downwithit household. As Pharoah’s summer gig at Ronnie Scott’s approaches it seems opportune to introduce or possibly remind you of one of his lesser-known albums. I’m trying out a simple poll for visitors on this post- just to see how many of you own recordings by Pharoah, so please feel free to complete, if you so wish.

After coming to notice as a trusted sideman during John Coltrane’s final years, recording a string of his own sets on Impulse and accompanying Alice Coltrane and Don Cherry, the mid-1970’s arrived. To state things simply, this was a difficult, transitional time for the music. Free Jazz and the New Thing had exploded into difficult territory and many of those at the vanguard had turned back towards a hybrid fusion, funk and R & B sound (as exemplified by the late work of Albert Ayler- I will take a look at New Grass sometime perhaps) and the eclecticism of Archie Shepp’s Attica Blues.

Pharoah Sanders seemed to have lost his way and in 1978 he released a soul jazz album on Arista, Love Will Find A Way, which I have yet to hear. I understand this featured a vocal track from Phyllis Hymen and a poor cover of Marvin Gaye as the title track.

Fortunately, in 1978 Pharoah went into the studio with pianist, Ed Kelly, who was an important figure in the local San Francisco and Oakland jazz scene. The two of them recorded six tracks which ranged from covers of standards, through soul jazz through to two real gems. The album was originally released as Ed Kelly and Friend due to Pharoah being contracted to Arista Records at the time. Indeed, as you can see, the cover shows Kelly playing next to Pharoah’s hat, shoes and Selmer tenor saxophone. Let’s explore:-

Heavens above! Smooth Jazz alert! Rainbow Song, a Kelly composition, opens matters in a manner far removed from Pharoah’s work on his Impulse albums (although there had been a dramatic change of course when he signed with Arista and recorded). This is firmly in Grover Washington Junior territory with a liberal sprinkling of oh so tasteful strings. The Master’s sound is full and mighty as ever, but the overall confection is too tame.

Thankfully, with the radio track out of the way it is business as hoped for and Newborn is a Sanders composition that burns with intensity. The power of his solo is as good as anything he has produced and he runs over the full span of the tenor’s range and onwards into territory lesser known or explored by 99% of sax players. You can take a listen, courtesy of zigett at YouTube:-

To play, touch or click on the arrow (or you may even be able to command Siri to do something).

Sam Cooke’s You Send Me is treated with reverence and respect, with Pharoah delivering a sensitive and heartfelt rendition and ending with some extraordinary phonics, which we will meet again on later albums. Kelly’s accompaniment complements Sander’s playing before he receives his own space for a shimmering yet restrained solo which discloses what this non-pianist assumes to be an agile right hand.

Pippin is another Ed Kelly composition, based firmly on the 1980″s soul sound and only merits passing attention.

Answer Me My Love is an early 50’s ballad with a fascinating back story. On its initial release in post-war Britain, covers of this this fine melody stirred sufficient controversy for the song to be banned by the BBC. What led to it being barred from broadcast on the Light Programme and treated like Anarchy For The UK, Wet Dream and Give Ireland Back To The Irish? I can reveal that the reason for this draconian action was that the original version was entitled ‘Answer Me, My Lord’. In the olden days, it seems that a direct appeal to God was considered to be blasphemous- especially if set in a secular or selfish context (I can’t understand how hymns got around this though). Further research indicates that Nat King Cole made the most celebrated recording and that Bob Dylan used to sing it live in the 1990’s, presumably during his overtly Christian phase- which I didn’t know until now was so risky. Anyway, it is a grand tune, played very well but listen with care and don’t attempt to Google the lyrics. Here at downwithit.info we have to warn you that too much of that sort of thing may place your mortal soul in peril (to those unfamiliar with English humour, I am joking here).

Pharoah went on to record at least three studio versions of his great anthem You’ve Got To Have Freedom but the one here is the earliest incarnation that I am aware of. It is also the most restrained treatment of the theme, although Pharoah’s solo shows his ability to play with fire and power over the entire range of the horn. There’s plenty of space for Kelly’s piano too and he provides an elegant setting for Sanders’ exploratory work. The version on Africa (recorded 1987) is taken at a faster pace and features an equally fine piano solo from John Hicks.

These six tracks made up the selections released on the original album on Theresa Records. From this point on, Pharoah’s work on the CD is complete and the final five recordings are from 1992 and feature Ed Kelly with a quintet on the first two and on solo piano for the last three. They are well worth a listen and my notes follow:-

Song For The Street People endeavours to create an aural representation of day to day life in Oakland. Like the next track it has that jaunty mainstream sort of feel that makes you feel all is good in the world.

West Oakland Strut wouldn’t be out of place on Donald Byrd / Mizell brothers production. AJ Johnson’s muted trumpet sounds fine but overall the piece is slightly too light for me.

The CD concludes with three solo piano pieces. Lift Every Voice has been referred to as the Black American national anthem and Kelly’s piano offers a reflection on a tune of great cultural significance. Just The Two Of Us is the popular MacDonald, Salter, Bill Withers number, which was recorded by Withers and Grover Washington Jr. on Winelight. Stripped of strings and over-embellishment it is most listenable.

Finally, Kelly takes a look at Thelonious Monk’s Well You Needn’t, which he interprets wonderfully and which shows what a talented pianist he was.

I came across this CD a couple of months ago and was surprised as I had never heard of it before. It represents a satisfying bridge from the free-fire of the Impulse recordings to the later more melodic Sanders. You should be able to track it down on CD, but expect to pay over £15.00 (which is small change for collectors of first pressings).

As I have said elsewhere, Pharoah Sanders seems to be somewhat ignored by many lovers of jazz. Some of his work on Impulse can be abrasive and difficult and, since he emerged in the mid-1960’s he doesn’t have the hard bop pedigree that some insist on. That is their loss. Ed Kelly and Pharoah Sanders has been a great find and if you want a good introduction to this great saxophonist it may be a suitable springboard for you.

Ed Kelly shows a talent that could have enabled him to have made his name on the international stage. However, he chose family life on the West Coast over potential fame in New York and was a professor of Music at Laney College, Oakland for 27 years before his untimely death aged 69 in 2005. There is an obituary here.

The bands etc:
Tracks 1-6 (the Pharoah Sanders collaborations from 1978).
Ed Kelly (Piano); Pharoah Sanders (Tenor and Soprano Saxophone); Peter Barshay (Bass); Eddie Marshall (Drums).
Recorded: Bear West Studios, San Francisco. December 1978.
Tracks 7 and 8 (quintet selections from 1992).
Ed Kelly (Piano); Robert Steward (Tenor Saxophone); AJ Johnston (Trumpet); Harley White (Bass); Mark Lignell (Drums).
Tracks 9-11 (solo piano from 1992).
Ed Kelly (Solo Piano).
Recorded: Hyde Street Studios, San Francisco. 8 December, 1978.
Produced by Allen Pittman and Al Evers. recording and Mixing Engineer: Mark Needham. Premastering: Dave Shirk. Cover design Imageworks. Cover photos: Tom Copi. CD released 1993. Evidence ECD 22056-2.

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Thelonious Monk Quartet with John Coltrane at Carnegie Hall

Monk & Coltrane at Carnegie Hall

Reader, I have a confession. This started out as a review of Thelonious Monk Live At The It Club (in Los Angeles 1964) but ended up as a look at the Carnegie Hall Concert (November 1957), via a visit to The Five Spot in New York City (August 1958). There is an explanation. Firstly, although it is an excellent recording featuring a great performance by Monk, a review of The It Club set is a daunting prospect. The Colombia double CD runs to over 150 minutes and contains 19 separate compositions. I did think about writing about it over two or three posts but, somehow that didn’t seem satisfactory. Secondly, I came to realise the significance of a short period during an amazing year for two of the all time greats (if not the greatest). Thirdly, I wanted to write about the Carnegie Hall Concert, with its tale of the re-discovery of a lost treasure of incalculable value. So here we go.

At the end of November 1957, Monk was invited to play in two performances of a benefit concert at Carnegie Hall to raise funds for the Morningside Community Center in Harlem. The prospect of making a contribution to this local social action centre appealed to him because as a young person he had spent most of his free time at a youth centre across the road from his family home in Midtown New York. The rest of the bill was stellar and included Billie Holliday, Dizzy Gillespie, Chet Baker, Zoot Simms and Sonny Rollins. Ray Charles headlined with a jazz set. Two dollars, or $3.95 for the best seats and you were in.

Monk Coltrane Carnegie Poster

In the four months before the concert, John Coltrane had been playing as part of Monk’s quartet at the Five Spot. This was the year in which Coltrane’s talents flowered. He had kicked heroin after being fired by Miles Davis in April 1957 and spent a great deal of time at Monk’s apartment, learning from the older master-musician. The superb and informative booklet which accompanies the CD release records Coltrane as saying:-
“I’d go by his apartment and get him out of bed (laughs). He’d wake up and roll over to the piano and start playing… He would stop and show me some parts that were pretty difficult, and if I had a lot of trouble, well, he’d get his portfolio out and show me the music…sometimes, we’d get through just one tune a day. Maybe.”

In ’57 Monk also had much to celebrate. Brilliant Corners had been released and earlier work on Blue Note and Riverside was re-released on the new 12″ long playing LPs. He had regained his Cabaret Card in May 1957 and was once again able to play in New York clubs that served alcohol. In July, he obtained a residency at The Five Spot, a small bar on the edge of The Bowery and on Tuesday July 16, he was joined by John Coltrane. The original piano was inadequate and in very poor repair but with an eye to the crowds lining up outside every night the club owner rapidly agreed to allow Monk to source a Baldwin baby grand.

The night at Carnegie Hall gave Monk the opportunity to perform in public on one of renowned venue’s concert grands. Monk’s Mood features a pianist taking great delight in the tone of an excellent piano and the fine acoustics of the hall (although he also had access to two baby grand Steinway pianos: his own rented instrument and one owned by his friend Baroness Pannonica de Koenigswarter). John Coltrane also approaches this beautiful ballad, that he made great efforts to learn and interpret, with great sensitivity, while Shadow Wilson’s drumming is sparse and complements the two soloists.

Evidence is angular and almost jagged with Monk giving Coltrane the space to develop a solo that contains fast phrases reminiscent of his work on the recently recorded Blue Train.

Crepuscule With Nellie had been written in the early summer of 1957 at a time when Monk’s beloved wife was facing a major thyroid operation. Monk laboured long and hard to produce music which captured his feelings and sought perfection in a piece that he usually played without improvisation or embellishment (on this version there is a brief reference to the ’52nd Street Theme’ just after Coltrane starts to play). ‘Crepuscule’ sounds like some type of seafood but it actually means ‘twilight’ and it was suggested that Monk should consider using the French word by his friend the Baroness.

This is followed by a jaunty version of Nutty, which features some fine percussion and great fluency from Coltrane.

Epistrophy is complex with some fine cymbal work. The quartet is really tight and this is superlative musicianship.

I understand that the final four tracks were recorded during the second set of the evening.

Bye-Ya is another vehicle for John Coltrane to shine on, although there is a short solo from Monk before the band moves straight into Sweet And Lovely, the standard favoured and recorded regularly by Monk.

Blue Monk is taken at a brisk pace. This tune is a classic which has become a staple of the young jazz musician’s repertoire, which means that it is regularly put through the mangle. I recently heard a sax player in a local pub who should never play this again until he can aspire to get within a million miles of how Coltrane plays here (not playing flat would be a start). You can listen courtesy of Praguedive on Youtube by touching or clicking on the arrow below:-

Finally a second truncated reprise of Epistrophy from the second set closes the recording.

Although Thelonious Monk and John Coltrane worked together during an intense period of about six months, very little was recorded by the great quartet. There were three studio tracks and a further live recording made by Coltrane’s first wife on a portable tape machine. There was an awareness that the Carnegie Hall concerts had been recorded by Voice of America and Coltrane biographer Lewis Porter had made enquiries at the Library of Congress, which was believed to be where they had been consigned to, but the tapes were lost. Then, in February 2005, Larry Appelbaum, a recording lab supervisor, found several tapes labelled ‘Carnegie Hall Jazz 1957’ and one had a box with a note labelled T Monk. A treasure had been discovered and within six months this resulting album was released. It is available on vinyl- with the Mosaic recording being the one to seek out. However, I’m delighted with the CD which comes complete with a brilliant booklet. This is a recording that I recommend without reservation and which I hope you will enjoy. Happy listening.

The band etc: Thelonious Monk (piano); John Coltrane (tenor sax); Ahmed Abdul-Malik (bass); Shadow Wilson (drums). Recorded: 29 November 1957. Produced for release: T.S. Monk and Michael Cuscuna. Cover illustration: Felix Sockwell. Sleeve notes: Amiri Baraka; Ira Gitler; Ashley Kahn; Stanley Crouch; Robin D.G. Kelley; Lewis Porter and Larry Appelbaum. Released as Blue Note 35173 on September 27, 2005.

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