Å·±¦ÓéÀÖ

Glynn wrote: "The interview was strange ..."

It's not just the interviewer's fault I guess - though I must say his questions would have bored the hell out of me too.
Thelonious must have been quite ill at the time already (his family had a different opinion on what kind of an illness it was than did some of the physicians ) so asking dumb questions about how he met his wife didn't help the man from finding back to the present/reality.

My friend who was at the concert with me reminded me of when and where I saw Mr. Monk. It was Avery Fisher Hall on July 3rd, 1975. Part of the Newport Jazz Festival. Possibly his last concert! Here is a write up my friend sent me:

Thelonious Monk - piano; Paul Jeffrey - tenor saxophone; Larry Ridley - bass; Thelonious Monk, Jr. - drums
By the time of this appearance at Lincoln Center's Avery Fisher Hall (on a split bill with Keith Jarrett's American quartet featuring tenor saxophonist Dewey Redman, bassist Charlie Haden and drummer Paul Motian), Monk's health was in decline and his emotional state was no better. He had been taking Thorazine for years to manage his bouts of depression and manic episodes, and was in and out of hospitals during the early '70s, barely gigging at all in 1973 and 1974. Monk's only public appearance in 1975, in fact, came at this July 3rd performance as part of the Newport Jazz Festival.
George Wein, whose relationship with Monk went back to the iconic jazz pianist-composer's appearance at the first Newport Jazz Festival in 1955, introduced the quartet which featured Monk's 25-year-old son Thelonious Jr. (aka Toot) on drums, Larry Ridley on bass and tenor saxophonist Paul Jeffrey, who had replaced Charlie Rouse, an anchor in Monk's group for 11 years before leaving the band in 1970 to pursue a solo career.
The newly configured lineup opens this July 3rd set with the buoyantly swinging "I Mean You," a Monk gem first recorded in 1946 by Coleman Hawkins and subsequently recorded by Monk himself in 1948. Jeffrey turns in a heroic performance on tenor, wailing through the changes while nonchalantly double-timing on his urgent solo as Toot sparks the proceedings with brash energy on the kit and some jaunty ride cymbal work. Monk's playing on this upbeat number - the signature dissonant block chording, the formidable left-handed statements and mercurial right-handed lines -- is remarkably spry for someone who had essentially been in semi-retirement for three years. Ridley, a more substantial soloist than many of Monk's previous bassists, also contributes some virtuosic turns on his extended upright bass solo here, alternating between audacious double stops and nimble pizzicato work.
Next up is "Blue Bolivar Blues" (originally titled "Ba-lue Bolivar Ba-lues-Are" when Monk recorded it in 1956 for Riverside). A lively, quirky blues, the title refers to the Hotel Bolivar in Manhattan, where Monk's friend and benefactor the Baroness Nica de Koenigswater resided before she moved to Weehawken. Toot paces the tune with a loping swing feel as Jeffrey digs into the inherent bluesiness of the piece with purposeful strides on his tenor sax, gradually building to effortless double-time phrases over Monk's leisurely, laid back comping. Monk's piano solo here is full of deliberate phrases and imbued with a sense of angularity on the blues changes. Ridley again showcases his facility on the low-end with another imaginative bass solo. "We See" is an affecting melody originally written by Monk in 1954. Coming out of the knotty head, Jeffrey launches into a stellar tenor solo (more fluid and rhythmically adventurous in some ways than Rouse's previous contributions to the band) against the loping undercurrent propelled by Monk's stride-like piano work (dig his left hand) and Thelonious Jr.'s laid back approach to the kit. The elder Monk also delivers a gem of a piano solo, showing that at age 57 he still had plenty left in the tank. Ridley contributes another outstanding solo, giving further evidence that he just may have been Monk's most adventurous bassist. And Jeffrey returns with a brief tenor extrapolation before returning to the head.
"Misterioso," originally written by Monk in 1948 for one of his early Blue Note sessions, is the next featured number. Essentially a 12-bar blues, it opens with a chamber-like configuration in which Monk and Jeffrey engage in some deliberate counterpoint on a distinctive theme built on ascending and descending parallel sixths. Coming out of that intricate head, the quartet settles into a slow 12-bar theme with Jeffrey digging into earthy fabric of the profoundly blue piece on his relaxed tenor solo with soulful, behind-the-beat phrasing that recalls Ben Webster in deep blue mode. Monk follows with a brilliant solo in which he offers up fractured lines and utterly surprising note choices while remaining true to the form, as if deconstructing the blues from the inside out. Ridley then follows with a downhome bowed bass solo that combines the essence of old school bowmeisters like Slam Stewart and Major Holley with renegade harmonic ideas.
Following a rousing ovation from the appreciative Avery Fisher Hall crowd, the Monk quartet encores with his most famous number, the darkly alluring ballad "'Round Midnight." Originally recorded by the Cootie Williams Orchestra in 1944, Monk first recorded it himself as a leader on his initial Blue Note session in 1947. Some 30 years later at the time of this Newport concert, that classic number still resonates with profound emotion that has an immediate effect on listeners. Monk opens the piece with a remarkable solo piano extrapolation that only slightly alludes to the familiar theme. Jeffrey offers another outstanding, heartfelt solo on this melancholy number, adding to a strong case that his contribution to Monk's legacy may have been sadly overlooked by historians. Toot also underscores this memorable, affecting number with some deft brushwork. Monk's solo here is a coherent, well-crafted gem that seems to delight the audience.
In spite of the lithium treatments he had been on since 1972, Thelonious was on top of his game this night in 1975. The following year, he would make his last public appearance at Carnegie Hall with this same potent outfit as part of the 1976 Newport Jazz Festival. He then went into seclusion and was rarely seen through the last five years of his life. On February 5, 1982, the 64-year-old Monk suffered a stroke and was taken to Englewood Hospital in New Jersey. He lay in a coma for 12 days before passing away at 8:10 a.m. on February 17. Over 1,000 people crammed into St. Peter's Church in Manhattan on February 22 to attend Monk's memorial. George Wein was among those offering personal testimony at the service to the High Priest of Bop.
-Written by Bill Milkowski

Well that was very nice of him. Excellent

Glynn wrote: "My friend who was at the concert with me reminded me of when and where I saw Mr. Monk..."

Wow, what a review. I guess it is a big help when you try and remember the concert, its atmosphere.

The Other Side Of Round Midnight featuring Dexter Gordon (full album)

Round Midnight
Berangere's Nightmare #2
Call Sheet Blues
What Is This Thing Called Love
Tivoli
Society Red
As Time Goes By
It's Only A Paper Moon
Round Midnight (Herbie Hancock Solo)

This album has more music from the film by Bertrand Tavernier and some extras.
My favorite piece is Call Sheet Blues which more or less was taped by chance as the musicians waiting for their scenes were bored and started playing around. Pure genius!

Excellent thank you - like the opening.

Glad you like it! It's a great version of Round Midnight.

Al Jarreau

Glow (1976 Album)

Al Jarreau - some great stuff Andre

Nathan East

101 Eastbound (live):

As usual a wonderful add

Bentley wrote: "As usual a wonderful add"

Thank you, Bentley!

Legendary producer Tommy LiPuma has passed away.

The list of magnificent albums he produced is endless and spread across many genres and styles.

I'll pick just one - or better two - George Benson's 1976 album Breezin' and its follow up, In Fight - the first two albums I bought that were produced by Tommy LiPuma.
Needless to say many others followed...

George Benson
Breezin' (live 1976):


George Benson
from In Flight:
The World Is A Ghetto:


Gonna Love You More:


An interview with Tommy:

Another one - many greats

Bentley wrote: "Another one - many greats"

Yes, very sad. But their legacy will forever fill us with joy.

George Benson

Big Fat Lady (from the 1966 album The George Benson Cookbook - his 2nd for Columbia):
with
Marion Booker, Drums
Lonnie Smith, Organ
Ronnie Cuber, Baritone Sax
Albert Winston, Fender Bass

Produced by John Hammond

George Benson

Soulful Strut (from the 1979 album Livin' Inside Your Love produced by Tommy LiPuma):

Thank you Andre for some George Benson

More George Benson

just playing:


Take Five (live, with Sadao Watanabe):

Lena Horne

Stormy Weather (1943):

(1966):


Honeysuckle Rose:

Lena Horne, that voice! Love love love her.

Wonderful Lena Horne - my family and I use to run into her in Saks Fifth Avenue in New York City - I think she must have loved that store. She always said hello with that big smile she had. Always looked young even though she was quite up there in age.

Bentley wrote: "Wonderful Lena Horne - my family and I use to run into her in Saks Fifth Avenue in New York City - I think she must have loved that store. She always said hello with that big smile she had. Always ..."

So beautiful, strong, brave, and kind...

Very true

John Abercrombie has passed away...

John Abercrombie

Structures (full album):


J.A. Quartet live:


The Gateway Trio (with Jack DeJohnette and Dave Holland): Homecoming live:

I am surprised at the full album being available - great!!

Charles Pasi

Charles WHO? :-)
Hard to categorize/pin down (but then, who would want to?), but a great musician, moving somewhere between R&B, Jazz and Pop

Charles Pasi Live:


From The City (live):


Little Love (live):

Thank you so much for the wonderful add.

Thank you, Bentley. Glad you like it.
I think Charles and his band create a wonderful mood.

They do - I am listening to them now.

Wow! That's the good side of the internet!
And it makes everybody happy...

It is frankly - global connections (lol)

Nice. Al Jarreau comes to mind. Wicked harmonica :)

Kevin Mahogany

Teach Me Tonight:


Kevin with the Ray Brown Trio (live):


With Kevin being one of my favorite Jazz singers I was devastated to hear he passed away yesterday...

Andre, I’m sorry for your loss. What a beautiful voice and incredible talent in the jazz community. I’m looking forward to listening to his works. Take care.

Lorna wrote: "Andre, I’m sorry for your loss. What a beautiful voice and incredible talent in the jazz community. I’m looking forward to listening to his works. Take care."

Thank you, Lorna.
He was such a great talent. For some reason others made it bigger but with some 12 albums out there is much to enjoy for his fans.
I suggest you start with My Romance (depending on your taste of Jazz of course).
He did 2 Big Band albums but those never really moved me. Probably also because I'm more a small-setting-fan.

Hugh Masekela

Stimela (live in Lugano):


an older version:


Soweto Blues (live - with Miriam Makeba):


an interview form 2014:


Live in Berlin:

What wonderful adds as is always the case in the music section - this is very much appreciated.

Cecil Taylor
From the 1962 album Live at the Café Montmartre:
Call:


Live at the Ornette Coleman Memorial:


African Violets:


Free Improvisation #3:


All the notes (documentary):


Cecil Taylor:

Andre - some jazz always seems crazy to me like the opening bars of the 1962 album but jazz will be jazz.

Thank you very much for your wonderful adds.

I am not much of a Free Jazz fan either but I felt Cecil Taylor's magnificent playing deserves my attention.
One never knows, sometimes it just happens that you open up to a certain style.
It's a little as with abstract painting to me. I want to look a the painting first, without knowing anything about the purpose - if there is any - or the title. It allows me to like certain art in my own way.

Most assuredly but free jazz always makes me feel a little scattered. But when I am sitting and watching a wonderful jazz combo and sipping a glass of wine - suddenly everything seems to fit together.

Bentley wrote: "Most assuredly but free jazz always makes me feel a little scattered. But when I am sitting and watching a wonderful jazz combo and sipping a glass of wine - suddenly everything seems to fit together."

With Free Jazz I'll probably need more than just one glass, and quite a bit of home made pasta ...

Yes, pasta would help a lot - like my classical the best. And ones with no discordant notes.

Haha! Discords are fine with me but I need a little harmony/melody. When it comes to Jazz, that's Bebop or Hard Bop.
Love improvisations and variations, even the ones going over the top, as long as they come back to the theme from time to time :-)

What I don't like is the dishwasher pop music so very popular today and of which Quincy Jones said: "pop music today is just loops, beats, rhymes and loops"

Quincy Jones featuring Barry White:
The Secret Garden (Jazz Version):


Killer Joe:


and of course this one:

Sanford and Son Theme Song/The Streetbeater:

Thank you again

Larsen Feiten Band

Windsong (live 1978):


Buzz Feiten and Neil Larsen also recorded some albums as Full Moon

Full Moon (1972 album):


1982 album:


Live:

A lost John Coltrane album from 1963 will be released on Impulse June 29
Here the NY Times article:

Thank you very much for the posting of the article Andre

My pleasure, Bentley.

By the way, for those who use Netflix, here's the trailer for their new documentary QUINCY on ... Quincy Jones, who else... (out Sept. 21.):