Un album époustouflant Album Live enregistré par Mingus, pour son label et celui de Max Roach, Debut. Sous le pseudonyme de Charlie Chan, on reconnaitra Charlie Parker qui pour des raisons contractuelles n'est nommé qu'indirectement. Faisant partie de cette perle, Parker, Mingus, Roach, Gillespie &, Bud Powell. Bref que du beau monde. Bien qu l'on est à faire à de forts tempéraments, la cession est d'une homogénéité parfaite. On s'envole sous les assaults de Bird et de Dizzy. Quant à la section rythmique que pourrait on lui repprocher. A part un swing Mingussien. A écouter Salt Peanuts!!! Dommage qu'il faille tendre l'oreille pour entendre Powell. Un cd à écouter de toute urgence.
Un concert mythique joué devant une salle au trois quart vide ! En cause ? Un match de boxe de légende programmé au même instant... Bird est arrivé sans son sax, il a dû jouer avec un sax en plastique, comme Ornette.
Salle vide, sax plastique, quelques tensions entre les musiciens... Tout cela aurait dû donner un concert peu intéressant... Il n'en fut rien et la magie s'opéra entre les cinq géants présents sur la scène du Massey Hall ce jour de mai 1953. La section rythmique est de rêve avec Bud Powell, Charles Mingus et Max Roach. Impossible de faire mieux, même aussi bien, à cette époque. Quant aux solos de Parker et Gillespie, ils sont étourdissants et nous emmenent au nirvana. L'entente musicale entre ces deux là était prodigieuse, il n'existe que peu d'équivalents dans l'histoire du Jazz (Monk et Coltrane est un autre exemple d'entente parfaite) Les solos de Powell sont également de très haut niveau. Son jeu pianistique est fantastique à cette époque et peu de musiciens pouvaient jouer aussi vite et aussi bien.
Un disque légendaire qui doit être présent dans toute collection de Jazz qui se respecte. C'est un ordre :-)
Commentaires client les plus utiles sur Amazon.com (beta)
58 internautes sur 64 ont trouvé ce commentaire utile
4 1/2* Summit's Great; Summit's Just Very Good16 juillet 2001
M. Allen Greenbaum
- Publié sur Amazon.com
This is an excellent, but not "essential" recording of perhaps the five greatest jazz instrumentalists of the bop era. The legendary players include Charlie "Bird" Parker on sax, John B. "Dizzie" Gillespie on trumpet, Bud Powell on piano, Charles Mingus on bass, and Max Roach on drums. It would be difficult to ask for a better all-star lineup; it is, indeed, a historic meeting. However, while the meeting is stratospheric, the results are mixed. Of course, each plays superbly, but the ensemble playing--the empathic groove between the musicians-- is sometimes uneven. This is not to take away any superlatives from individual performances or those cuts where the band is tight and simpatico, but, in reviewing the performance, one must (somehow) suspend knowledge of each performer's individual excellence. The biggest culprit is the very uneven sound quality obtained from Mingus' backstage recorder (!). Mingus, in fact, had to dub in most of his performance later because he was recorded so poorly. Unfortunately, no one else redubbed their parts, and this, at times, dampens the performances of Powell, Parker, and Roach. The second overall problem is the apparent lack of direction in some of the music. Finally, the band's ensemble playing seldom wanders far from the familiar bebop grooves. (When it does extend itself, however, the band's creative impulse will jolt you.) Here, then, are the cuts: "Perdido" (7:53): Dizzy Gillespie provides the only fireworks here. His dramatic dynamics (volume changes) are well-recorded, his rapport with Roach is unusually good, and he throws in a trademark whimsical musical "quotation." Powell has a long searching solo that features an excellent fluid-yet-choppy solo. Parker is somewhat less well recorded, and Mingus is limited to keeping the beat with a walking bass. Parker has some good riffs, but, overall, the song lacks direction. The group hits its stride with "Salt Peanuts"(7:30), the best song on the album (along with track 4, "Wee"). Parker is really kicking here, with Diz yelling encouragement in the background, and the rhythm section has an electric, punching pulse. Dizzy's plays at a blistering pace: His bravado and virtuosity evident with every note. The great Bud Powell is not well recorded, but there's a prototypical powerhouse solo by Roach. "All the Things You Are" (7:55): Perhaps the least appealing cut. Dizzy opens nicely, but the rhythm section doesn't mesh--there's almost a feeling that they're "reading" different arrangements, trying to find their way back to each other. The sound doesn't help either--Roach drops out about midway through the song, and Powell and Gillespie are either not miked well or are just strangely absent. Bird plays well, but without the necessary support it lacks emotional impact. Dizzy finally enters with a wonderful (if slightly over long) muted trumpet solo, simultaneous daring and melodic. Mingus, and then the rest of the band, deliver a solid conclusion, but it's too little, too late. I think the other standout here is "Wee" (6:45), an up tempo blues with some of Parker's best work on the album, backed with flair and empathy by the rhythm section. Bird and Diz have ample room to paint expressively across the vast bebop canvas. Powell is better recorded here, and gives perhaps his best performance here. Roach is an acrobat, deftly tossing fireworks with controlled abandon. On "Hot House" (9:18) the bass recording overpowers Parker's nuanced, brilliantly colored performance. At one point, Powell seems to step closer to the mike, and the sound is that much more compelling. The drumming sounds muffled, and, overall there is a curious lack of energy (though Powell wraps up with an outstanding bop solo). Mingus' solo, though initially barely audible, picks up for some of his most creative work on the album. The famous Gillespie/Paparelli tune "A Night in Tunisia" (7:33) opens with a beautiful muted trumpet against an insistent, economical bass line. Excellent balance among the players, whether playing together, or trading solo adventures. I'm a huge Mingus fan, but, for some reason, he adheres fairly closely to a walking bass (although the range of notes is awesome); a more angular approach might have lent more interest. The group brings the song to an exciting conclusion. I recommend this in the same way I might recommend watching an NBA all-star game. The players have not had enough time to play as a team, although individual performances can be awesome. At times, though, there is inspiring, flowing team work. By the way, for such an auspicious occasion, it is surprising that there are no liner notes. Brian Priestley's "Mingus, A Critical Biography" (available at ...) devotes two pages to the concert. Obviously, there are some flaws here, but I still recommend it highly.
78 internautes sur 89 ont trouvé ce commentaire utile
Get Jazz Factory's "Complete Jazz at Massey Hall" Instead30 juin 2004
- Publié sur Amazon.com
Other than excerpts available here on Amazon, I haven't actually heard either this CD or the 20-bit remastered version of it. Based solely on the description, however, I instead ordered The Jazz Factory's 2003 CD "Complete Jazz at Massey Hall" (JFCD 22856) (referred to hereafter in this review as "CJMH"), and I am very glad I did. Here's why: 1. In addition to the 6 quintet tracks on the present CD, CJMH includes 8 other tracks from the concert, including a 4-and-a-half-minute self-contained drum solo by Max Roach, and 6 great tracks by a trio of Powell, Mingus, and Roach (Cherokee, Embraceable You, Halleluja, Sure Thing, Lullaby of Birdland, and I've Got You Under My Skin). Also, according to the liner notes, all 14 tracks are in the order in which they were performed at the concert. 2. NONE OF MINGUS' OVERDUBBED BASS is included on CJMH. You can still hear him, though, but much more naturally than he sounds on the overdubbed excerpts I've heard here on Amazon. 3. According to the notes on the CJMH case, the "original analogue masters have been digitally transferred at 24 bit resolution, processed using Sonic Solutions NoNoise technology and mastered to 16 bit for CD using prism SNS Noise Shaping." Whatever that means, the sound for the most part is great. Some of the tracks start a bit abruptly, and the sound on the 6 trio tracks is variable, but the sound quality of the 6 quintet tracks is phenomenal. Again, there is no Mingus overdubbing present, and--especially when Bird and Diz are playing--the sound has great clarity and presence. There is no real audible tape hiss except when only the rhythm section is playing and the levels are raised a bit. In general, the sound is far from perfect, but is pretty amazing given the time and circumstances of the original recording. 4. CJMH is very nicely packaged and presented, including a 12-page pamphlet with extensive notes about and photos of the concert. To sum up, not knowing what to expect from this import when I ordered it, I was very pleasantly surprised by the extremely high quality of both the sound and the packaging of CJMH. I would highly recommend it, instead of or in addition to the present CD, for anyone who wants a more complete and accurate recording of the Massey Hall concert.
17 internautes sur 18 ont trouvé ce commentaire utile
Greatest Jazz Concert of All Time. No, Really. I Mean It.7 mars 2007
- Publié sur Amazon.com
This concert was a reunion for Charlie Parker and Dizzy Gillespie. In spite of his name, Dizzy was actually a pretty stable guy, who was fed up with Bird's shennanigans. It was a shame, because they were two virtuosos, and Parker replaced Diz with a young Miles Davis, who was just not up to the task, not playing at a level to meet and challenge Bird.
To give you an idea of what Dizzy had been putting up with, Parker played the gig on a white plastic saxophone, because his horn was in the pawn shop. That was a common tactic of Charlie Parker, drug addict, pawning his horn before a gig, in order to get money for heroin. In spite of the plastic horn (that actually became kind of a collector's item because Bird had used the horn on this notorious recording) he played fantastic, and the alto break on Night in Tunisia, where the band stops just after playing the head, and then the alto carries it, and the band rejoins him for the first solo chorus, is classic, and is now referred to as THE "alto break." In addition to his pawn shop situation, Parker also had to record under the name of Charlie Chan, due to other contractual obligations. It is just amazing, that in spite of the situation, they had assembled the greatest band of all eternity, who were able to perform the Greatest Jazz Concert of All Time.
Charles Mingus was quite a bass player, but a volatile personality as well. One time when a trumpeter announced he was quitting, Mingus punched him in the mouth, breaking several teeth. This is even more serious for a musician, especially a trumpet man, than it is for the average citizen. What a prick. But what a bass player he was.
Bud Powell suffered from mental illness. I think there was an incident where he got beat up by bouncers at a club, much like the way Jaco Pastorius was killed. He was also a genius, and developed a stripped down left hand style, just suggesting the chords with 2 or 3 notes, while freeing up his right hand for furious bebop explosions. Titles of his original tunes, like Glass Enclosure, or Dance of the Infidels, gives you a glimpse into his mind set.
Max Roach was like the match to this molotov cocktail. What a perfect drummer for this ensemble. Roach, Mingus, Powell, Gillespie and Parker. Not even white plastic saxophones, mental illness, or chronic bad attitude could hold them back. Added bonus is Dizzy and/or Bird anouncing the tunes, sometimes even in French.
Check out their version of Hot House, a wonderiferous tune composed by Tadd Dameron. This tune has a lovely and beautimus head based on the changes to Cole Porter's What Is This Thing Called Love?
In spite of any qualms you might have about the sound quality (it was recorded by Mingus with a back stage recorder and never intended to be released or anything) it is a document of 5 virtuouso geniuses, brought together by fate for this single recording that is rightly referred to as the Greatest Jazz Concert of All Time.
I remember that I had the Double LP, and the second LP was Bud Powell playing in piano trio format. To include that would be the only possible improvement to this fantastic CD. 5 stars. 6 or 7 even if they would let me.
17 internautes sur 19 ont trouvé ce commentaire utile
Bird and Diz Go At It20 décembre 2000
David B. Erickson
- Publié sur Amazon.com
By 1953, when this was recorded, Dizzy Gillespie had been the subject of a story in LIFE Magazine. Bird had not. Dizzy was touring and making a good buck. Bird was not. So when the Toronto Jazz Society asked the two of them to play together for a special one-night gig, the gloves came off. This recording more or less explains what it is that people love about bebop: The two players take each other's ideas and try to drive them higher and harder. Bird, even on the famous borrowed plastic alto, is at the absolute top of his game; Dizzy likewise. Given the fierce rivalry, a high point is Dizzy making Bird laugh on "Salt Peanuts." The recording quality is the best Fantasy's engineers could come up with, given that this was basically a home recording that Mingus made with his own reel-to-reel machine. For illuminating detail on the evening (it was the same night as the Rocky Marciano-Jersey Joe Walcott fight--Dizzy kept leaving the stage for reports on the fight's progress), read Ross Russell's wonderful (if at times factually flawed) "Bird Lives: The High Life And Hard Times Of Charlie Parker."
19 internautes sur 23 ont trouvé ce commentaire utile
Bird and Diz fly high on this set of sheer pure bebop beauty28 septembre 1999
Kenneth G. Tibbits
- Publié sur Amazon.com
There seems to be less bird and diz music sets than some fans and musicians might like to access. I am a Jazz Alto sax player who takes over from where Parker left off, but even with my extensive Parker LPs, tapes, and CDs, only three are specifically the two founders of Bebop playing together. Other old LPs have lots of takes but you have to guess, quite often, that it is dizzy on trumpet. No big problem for me, but new fans and music students might have some difficulty. If I had tons of money, I would buy "Jazz AT Massey Hall by The Quintet" in quantity and send it to every middle school music department. Charles Christopher Parker invented modern music, and as Charles Bukowski wrote, guys like Charlie Parker and J.S. Bach usually show up about once every century or two.