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geology jazz mixes music

Granite The Eighteenth

following on from my series of mixes dedicated to individuals here is one for thelonious monk and as usual i will write a bit about each track.

when he got a contract with riverside records in 1955 they thought it wise to start his album account with covers from the duke ellington songbook. this might have seemed insulting to someone who already had written a good number of classic bop tunes but monk liked the idea, saying later in an interview

i wanted to do it. i felt like playing that’s all. i knew that duke started playing some of his numbers more than he had as i recall

before the riverside contract he had been with prestige records and the second tune dates back to october 1951. toot was thelonious’ son’s nickname. art blakey was the drummer and gary mapp the bassist.

at the prestige session in november 1953 they were about ten minutes short of the material needed for an lp. it was friday 13 november and so that was used as the title of the composition that monk made up on the spot. listening to the track it’s fairly obvious to me why most critics dismissed the music back then. the music was way before it’s time and a lot of people thought they were playing like that because they couldn’t play properly.

brilliant corners brings us back to the riverside years to be precise 1956 and it was really the breakthrough album that started to bring a modicum of success and critical acclaim. the celeste that monk uses on the track happened to be in the studio and he set it at right angles to the piano keyboard so that he could use it on the heads and on his solo. of course the track is named after his famous rich patron pannonica de koenigswarter. the following is monk’s introduction to the track caught on a home recording some time.

it was named after this beautiful lady here. i think her father gave her that name because of a butterfly that he tried to catch. i don’t think he caught the butterfly.

in november 1957 there was a concert at new york’s carnegie hall which was a benefit for the morningside community center. as well as the thelonious monk quartet there was ray charles topping the bill, and also the bands of billie holiday, dizzy gillespie , zoot sims and sonny rollins. the concert was broadcast on the radio as a voice of america production. the recordings of the monk quartet were discovered in 2005 in the library of congress vaults.

ruby my dear started life as manhattan moods which was intially registered for copyright in 1945. sometime in the next year the name got changed. rubie richardson was an early girlfriend of thelonious’ but things didn’t work out. her parents never approved.

and so he eventually married nellie smith who he’d known since she was ten and he was sixteen. this tune dedicated to her was originally to be called twilight with nellie and it was nica who suggested using the french word instead. criss-cross now takes us to the columbia records years. the track was recorded on 29 march 1963 and the other musicians were charlie rouse on tenor saxophone, john ore on bass and frankie dunlop on drums.

underground is in my opinion the last great album he produced and the title refers to the nickname of his daughter this time

finally from halloween 1964 (or the evening after) the quartet with a new rhythm section larry gales bass and ben riley drums playing live at the it club. throughout his career monk was famed for his eccentricity but it seemed that around this time things were reaching a peak. here’s an excerpt from robin kelly’s thelonious monk biography which provides an example.

hampton hawes, who had not seen monk since he and nellie helped him out in new york, came by the it club one night to check him out. when hawes approached thelonious at the bar during a break, “he didn’t seem to recognise me. looked over my shoulder, elbow on the bar, staring into space the way he sometimes does…i said ‘monk it’s me, hampton’. he kept staring past my shoulder as if he hadn’t heard then turned his back and went into a little shuffling dance; danced a couple of quick circles around me, danced right up to me and said, ‘your sunglasses is at my new york pad.’ and danced away”

titlealbum
mood indigoplays the music of duke ellington
little rootie tootiethelonious monk trio
friday the 13ththelonious monk and sonny rollins
pannonicabrilliant corners
nuttythelonious monk and john coltrane at carnegie hall
ruby my dearsolo monk
crepuscule with nelliecriss-cross
boo-boo’s birthdayunderground
misteriosolive at the it club
Categories
jazz music quotations

Jazz Quotations 8

When I don’t change anymore then there’s no point in playing anymore – of actually trying to do anything different or trying to play modern. After you reach a certain point when you no longer improve then you just stay the same.

Art Pepper

What I think Cecil and I did mainly–we both were familiar with each other’s work, and as Stanley Cowell so aptly put it, we co-existed. We didn’t rehearse as such–what we did was we sat down and dealt with each other as two human beings and when we found out that we could live with our own attitudes and thoughts about life and things in music and liberty and all the other things that people talk about, we knew that we could deal with each other on stage. And it was pure improvisation, we just dealt from that point of view and we knew from experience that something would happen if we went our own ways but were sensitive to each other at the same time. And I think we co-existed.

Max Roach

You’ve got to study each man in the band, because each has a different disposition. Actually, you’ve got to use a lot of psychology because they all have different temperaments and habits. You have to holler at some guys–others you have to joke with. Another you may have to take across the street to the bar to get your point across. You must impress them that to be a musician you’ve got to do the things that are required of a musician–look the part, play your horn; also time-making.

Some guys didn’t aspire to be soloists; others wanted to. Trummy Young was one of the latter. He was always venturing out, always wanting to play his horn. Everywhere he went he carried his horn with him. The same with Bennie Green. These men later turned out to be outstanding. Like Walter Fuller, he was another, and there are several others I can name–Omer Simeon, Darnell Howard, and, of course, Budd Johnson and Jimmy Mundy, though it finally turned out he didn’t want to be a soloist–he wanted to arrange–but he played a good horn. In the trumpet section, Dizzy stood out so much.

Earl Fatha Hines

Carrying along that same thought, I think musicians do have a tendency to sort of copy and get on the bandwagon instead of accepting one thing for what it is and realizing that it’s another area of progress. They immediately want to emulate. Music is a very personal thing. It’s strictly an individual thing. This one tenor player comes to mind who played like another player. He just tried to play every note exactly the same. He might have been sincere in his love for the musician but it didn’t turn out that way. Eventually, he just went right down and like you never heard of him again. He was a very competent musician but it’s just like my uncle always said, “There’s only one thing that keeps us all from being rich and if we knew what that was, everybody would have a million,” and that’s probably the thing the tenor player didn’t realize — copying was just another form of saying the other man was great. You just extend more adulation and acclaim or whatever to the other guy.

Thad Jones

Look, man, all I am is a trumpet player. I only can do one thing — play my horn — and that’s what’s at the bottom of the whole mess. I ain’t no entertainer, and ain’t trying to be one. I am one thing, a musician. Most of what’s said about me is lies in the first place. Everything I do, I got a reason.

The reason I don’t announce numbers is because it’s not until the last instant I decide what’s maybe the best thing to play next. Besides, if people don’t recognize a number when we play it, what difference does it make?

Why I sometimes walk off the stand is because when it’s somebody else’s turn to solo, I ain’t going to just stand up there and be detracting from him. What am I going to stand up there for? I ain’t no model, and I don’t sing or dance, and I damn sure ain’t no Uncle Tom just to be up there grinning. Sometimes I go over by the piano or the drums and listen to what they’re doing. But if I don’t want to do that, I go in the wings and listen to the whole band until it’s the next turn for my horn.

Then they claim I ignore the audience while I’m playing. Man, when I’m working, I know the people are out there. But when I’m playing, I’m worrying about making my horn sound right.

And they bitch that I won’t talk to people when we go off after a set. That’s a damn lie. I talk plenty of times if everything’s going like it ought to and I feel right. But if I got my mind on something about my band or something else, well, hell, no, I don’t want to talk. When I’m working I’m concentrating. I bet you if I was a doctor sewing on some son of a bitch’s heart, they wouldn’t want me to talk.

Miles Davis
Categories
geology jazz mixes music

17 gianter steps

embarrassed at not including any john coltrane in my earlier granite mix this year i thought i’d make amends by doing this new granite mix as a tribute to the great saxophonist. these are all tracks from albums that were released with coltrane as session leader or co-leader. the recording sessions come from the period 1957 to 1963. his first session as leader was in 1957 and his last session was in may 1967 two months before his death so it was a pretty incredible body of work to put out in 10 years.

Granite Mix 17
Artist Title Album
John Coltrane Body And Soul Coltrane Jazz
John Coltrane & Milt Jackson The Night We Called It A Day Bags And Trane
John Coltrane While My Lady Sleeps Coltrane (1957)
Kenny Burrell & John Coltrane Freight Trane The Kenny Burrell Quintet with John Coltrane
John Coltrane Aisha Ole Coltrane
John Coltrane Big Nick Coltrane (1962)
John Coltrane Naima Giant Steps
John Coltrane Theme For Ernie Soultrane
John Coltrane Alabama Live At Birdland

the first track was recorded on october 24th 1960 which was one of 3 days in a week where he was in the studio for atlantic records. the tracks recorded made up 3 albums and most of a fourth.

his first session for atlantic was in january 1959. a session that he co-led with vibraphonist milt jackson who he had played with earlier in the fifties in dizzy gillespie’s band.

before atlantic he was with prestige and this next track is from his first session as a leader. while my lady sleeps was a favourite ballad that he often quoted in his solos and is an early example of using a pedal point which became a major feature in his work later on.

then from a prestige recording session a year or so later which was led by guitarist kenny burrell who he also had played with when he was a sideman for dizzy gillespie. according to the sleeve tommy flanagan the pianist on the session was credited as writer of freight trane but he wasn’t and burrell himself has stated that he didn’t know who wrote it.

aisha was written by pianist mccoy tyner and named for his wife. the recording session for this album was the last session coltrane did for atlantic and in fact 2 days before he’d done his first recording for his new label, impulse and that date was a grander affair with a 20 man ensemble which came out on the africa/brass album.

this next track was not initially released on the album in fact it was recorded a couple of months before the main recording sessions for this record. but it features the classic coltrane quartet with elvin jones on drums mccoy tyner on piano and jimmy garrison on bass here playing coltrane’s homage to another saxophonist big nick nicholas.

just as the fifth track is named by mccoy tyner for his wife this seventh is named by coltrane himself for his wife. both women were from philadelphia and naima was a friend of aisha’s sister khadijah. it is one of his greatest compositions and the only one from the fifties that he was still playing live towards the end of his career.

another track with philadelphia connections in that it was written by guitarist fred lacey in memory of saxophonist ernie henry who died from a heroin overdose in 1957. In trying to glean information about this track i stumbled on an interesting article by bass player steve wallace who seems to have done a good bit of research on the subject.

on sunday september 15th 1963 a large explosion at the 17th street baptist church in birmingham alabama killed four young girls who were preparing for a church service and injured many more. ku klux klan members were eventually found guilty of planting the dynamite. they escaped justice for a long time thanks to an insidious web of corruption and racism that reached right to the top of the fbi. two months later coltrane went into the studio and recorded his dedication to the victims which was one of two studio tracks included with the three live tracks on the live at birdland album released by impulse the following spring.

granite 17