• Tous les prix incluent la TVA.
Il ne reste plus que 3 exemplaire(s) en stock.
Expédié et vendu par Emilie91150.
EUR 8,97 + EUR 2,49 Livraison
+ EUR 2,49 (livraison)
D'occasion: Bon | Détails
Vendu par Round3FR
État: D'occasion: Bon
Commentaire: Expedié la jour prochaine á partir de GA, ETATS UNIS. Toutes les produits sont inspectée pour assurer la qualitié jouable (á l'exclusion de tout contenu numérique). Notre equipe sympathique et multilingue sera prêt et heureux de résoudre vos requêtes.
Autres vendeurs sur Amazon
Ajouter au panier
EUR 12,50
+ EUR 2,49 (livraison)
Vendu par : Disco100
Ajouter au panier
EUR 15,12
+ EUR 2,49 (livraison)
Vendu par : thebookcommunity_fr
Ajouter au panier
EUR 23,42
+ EUR 2,49 (livraison)
Vendu par : sellerfellafr
Vous l'avez déjà ? Vendez sur Amazon
Egalement disponible en MP3
Album MP3 à EUR 5,49

Mulligan Meets Monk

3.0 étoiles sur 5 1 commentaire client

8 neufs à partir de EUR 8,97 10 d'occasion à partir de EUR 3,71
Promotions et bons plans musique CD Vinyle Promotions et bons plans musique CD Vinyle


Offres spéciales et liens associés



Détails sur le produit

  • CD (10 août 2010)
  • Nombre de disques: 1
  • Label: Fantasy Concord
  • ASIN : B000000YGU
  • Autres éditions : CD  |  Cassette  |  Album vinyle  |  Téléchargement MP3
  • Moyenne des commentaires client : 3.0 étoiles sur 5 1 commentaire client
  • Classement des meilleures ventes d'Amazon: 352.574 en Musique (Voir les 100 premiers en Musique)
  •  Voulez-vous mettre à jour des informations sur le produit, faire un commentaire sur des images ou nous signaler un prix inférieur?

  • Ecouter les extraits (Extrait)
1
30
8:26
Album uniquement
2
30
5:16
Ecouter Acheter : EUR 1,29
 
3
30
7:15
Album uniquement
4
30
5:51
Ecouter Acheter : EUR 1,29
 
5
30
6:34
Ecouter Acheter : EUR 1,29
 
6
30
6:57
Album uniquement
7
30
5:27
Ecouter Acheter : EUR 1,29
 
8
30
6:50
Ecouter Acheter : EUR 1,29
 
9
30
6:30
Ecouter Acheter : EUR 1,29
 

Descriptions du produit

MULLIGAN MEETS MONK

Commentaires en ligne

3.0 étoiles sur 5
5 étoiles
0
4 étoiles
0
3 étoiles
1
2 étoiles
0
1 étoile
0
Voir le commentaire client
Partagez votre opinion avec les autres clients

Meilleurs commentaires des clients

Par DUNCANIDAHO TOP 1000 COMMENTATEURS le 8 juin 2010
Format: CD
Entre Thelonious Monk et Gerry Mulligan le courant n'est pas passé...
Il faut dire que tout opposait ces deux immenses musiciens, si Monk avait réussi à faire comprendre son "point de vue" à des gens aussi talentueux que Coleman Hawkins, John Coltrane ou Sonny Rollins, avec ce grand type au saxophone presque aussi imposant que lui, rien n'y a fait.
Pas que ce disque soit mauvais, loin de là, c'est de la très bonne musique mais contrairement à ce qu'il a fait avec Johnny Hodges, Ben Webster ou Paul Desmond, ici Jeru joue le rôle d'accompagnateur sans rien apporter à la musique de Monk.
Le fait que le quasi totalité du répertoire soit fait de classiques du grand pianiste n'arrange certe pas les choses, c'est là que l'on se rend compte que cette musique est loin d'être si évidente que cela et que pour la jouer correctement il faut "rentrer dedans".
Mulligan lui est passé à coté, ce qui n'enlève rien à son talent.
Remarque sur ce commentaire 8 personnes ont trouvé cela utile. Avez-vous trouvé ce commentaire utile ? Oui Non Commentaire en cours d'envoi...
Merci pour votre commentaire.
Désolé, nous n'avons pas réussi à enregistrer votre vote. Veuillez réessayer
Signaler un abus

Commentaires client les plus utiles sur Amazon.com (beta)

Amazon.com: 4.5 étoiles sur 5 17 commentaires
21 internautes sur 22 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 A valuable meeting of minds 3 avril 2002
Par N. Dorward - Publié sur Amazon.com
Format: CD
This disc combines Monk & his rhythm-section of the time--Wilbur Ware & Shadow Wilson--with the baritonist Gerry Mulligan, a stylistically unusual pairing that works out very well. Monk's skeletal chording & frequent preference to have his sidemen "stroll" (play without piano accompaniment) make a natural common ground with Mulligan, who had developed the pianoless quartet in his 1950s groups with Baker & Brookmeyer. Though this session was an informal blowing session, & thus doesn't feature any of Mulligan's sophisticated arrangements, he nonetheless frequently plays quiet counterlines to Monk like he did with Chet--it's an interesting sound, & I've never heard anyone else do this with Monk.
The album is a bit uneven, but what pushes it into the first rank is the version of "Round Midnight", which is probably the single best group reading of the tune I've heard by Monk. Certainly it's the best version he did for Riverside except for the solo version on _Thelonious by Himself_. As usual with Monk in this period, his flow of compositions was slowing down, & there's only one new tune on the disc, "Rhythm-a-Ning" (first recorded by Monk for Atlantic a few months before on his collaboration with Art Blakey). The version here is very different from Monk's later recordings of the tune: it has a double-length bridge which seems to give Mulligan a little trouble (he goofs up a little at the end of the bridge on his first chorus); the performance isn't quite together, but nonetheless has lots of meat in the solos & a good vibe, which is I presume why they didn't do retakes. I'm not sure why "I Mean You" needed 3 complete takes, as they all sound pretty good to me--but I certainly won't complain about getting the bonus tracks. "Decidedly" is Mulligan's variant on Shavers' "Undecided", & features a stoptime solo by Mulligan & some of Ware's most intriguing playing--check out his very offbeat solo on the master take, in particular. "Sweet and Lovely" is a favourite tune of mine, & despite Monk's covering it in other places I would again name this as the best group reading Monk gave it.
A fine disc. Originally it was intended that the album be split between quartet tracks & a big band arranged by Mulligan, but because the 1st recording session went so well the producer & the band decided to go back into the studio the next day to complete the album with just the quartet. I think that was the right decision. This remains one of the high points of Monk's Riverside tenure.
5 internautes sur 5 ont trouvé ce commentaire utile 
4.0 étoiles sur 5 Valuable Piece Of Jazz History 23 avril 2011
Par Donnie The B - Publié sur Amazon.com
Format: CD
This is another album I avoided in my youth but now own and cherish. While it is a bit uneven - you can tell that they got together to just blow as opposed to arrange and rehearse - I truly appreciate the sounds. I find myself grabbing this one often to take in the car. The minor technical grievances by both Mulligan and Monk do not really detract that much. Both of these jazz giants had better days - but not together. Monk's rhythm section was great here.
I suppose it was the assumed clash between styles that I feared most when I was learning the sax and acquiring a jazz library. Somehow it comes down to the fact that Bop meeting Cool still = Jazz. DownBeat magazine had it about right at 4.5 stars when it first came out. Most fans of combo jazz will appreciate this recording. The alternate takes in the CD reissue prove quite interesting.
5 internautes sur 6 ont trouvé ce commentaire utile 
4.0 étoiles sur 5 Mulligan Meets Monk 6 février 2008
Par S. Ferguson - Publié sur Amazon.com
Format: CD
Real intimate playing between M&M. I listen to Round Midnight constantly. (I play tenor sax and I am learning the licks) All the tunes are great, and there are alternate takes of Decidedly, Straight-No Chaser and I mean you. Some were previously unissued. The bass drum on Rhythm-A-Ning will shake your guts. (That's a Good thing) I just love to crank this up because I enjoy the presence of this high quality recording and I am a big fan of M and M.
4.0 étoiles sur 5 A superb odd couple that deserves better sound. 19 juin 2014
Par Martin Davidson - Publié sur Amazon.com
Format: CD Achat vérifié
Mulligan and Monk would seem to be an odd couple, but they really brought out the best in each other. Mulligan stays aware from most of his annoying musical habits, while Monk's playing is some of his best on a Riverside recording. (For some of his worst, hear the otherwise fine "Five by Monk by Five".) They are backed by two superlative and somewhat under-rated players - Wilbur Ware and Shadow Wilson. All in all a superlative session - musically worth at least five stars..

I am a great fan of stereo recording, but many early (1957/8) stereo recordings were not good. At the time two completely separate recordings were used with different mikes and recorders. Riverside's 1957 stereo attempts, notably this and "Monk's Dream" did not do justice to the bass, leaving it sounding distant and vague. The sound would be so much better if the mono recordings were used - Wilbur Ware deserves to be heard properly.
1 internautes sur 1 ont trouvé ce commentaire utile 
4.0 étoiles sur 5 Unlikely Circumstances Lead to Unlikely Pairing with Likeable Results 6 juin 2014
Par Disink - Publié sur Amazon.com
Achat vérifié
The summer of 57 was a good one for Monk, easily his best (professionally at least) in some time, if not ever. With his stellar band, including John Coltrane, bassist Wilbur Ware, and drummer Shadow Wilson, Monk was getting round the block lines to get in, raves from the hipsters, the papers, and fellow musicians, and some long overdue record sales and recognition. In a perfect world, Riverside would have been at the Five Spot, recording constantly, preparing two or even three albums to release. There was simply one problem: Coltrane was contracted to Prestige, and that label's owner, Bob Weinstock, wouldn't let Coltrane record with Monk on Riverside without Monk agreeing to record with Coltrane on Prestige. Due to the fact that the label sold Monk's contract for a song (or less, literally), and berated his music while Monk was on the label, Monk held a grudge and refused to enter Prestige's studio. The results were that the jazz world lost out on some great collaborations. Thankfully, we do have the Riverside studio recordings and, after a mere forty eight year wait,the masterpiece Thelonious Monk Quartet with John Coltrane at Carnegie Hall. We also have this album, which paired Monk and his band with cool school creator Gerry Mulligan.

How exactly Mulligan wound up at Riverside for this one recording while he was mostly working with Verve remains a bit of a mystery (perhaps he was between contracts?), as does his status as first leader on a record featuring Monk's band and compositions, but who cares. He clearly LOVES being here and embraces the challenging compositions that surely held back a baritone saxophone. The session appears to be fairly spontaneous, and this both helps and hurts the recording. On the help side, there's the opening "Round Midnight". To my mind, Monk never made a bad recording of this (nor did he make many recordings of it, in comparison to some of his other songs), but this one alone makes this a must-buy for any Monk fan. Mulligan's sax curves itself around the melody and gives it a noir quality that wouldn't sound a bit out of place in a Sam Spade movie. The liner notes mention that Mulligan requested this song for the session, and it is easily the highlight. Just behind this is "Straight, No Chaser", another song that seems custom made for the baritone sax. Monk seems to sense this and really digs in, and both takes of this are first rate.

Others, while technically fine, cause more problems. "Decidedly" is fine enough, though why it was attributed to Mulligan when it's very clearly the standard "Undecided" is another mystery. It's fine, but may be better on the alternate take where Mulligan plays it with an alto, an instrument better suited to some of the turns in these songs. Speaking of, Mulligan completely blows the out line of "Rhythm-a-ning", which was getting its Riverside debut on a Monk album after debuting on Art Blakey's Jazz Messengers With Thelonious Monk a few months prior. Roughest of all is "I Mean You", which also had been recorded for the Blakey album. It takes three takes to get the song where all were satisfied, and the alternate takes show them struggling to get a tempo that will work for both. Usually played at breakneck speed, the song is tried at a brisk pace (on what, to be honest, is my favorite version) before being slowed down. Listening to the three takes is interesting, but it's hard to not to feel like maybe they should have found a different Monk tune. Anyway, the take of "Sweet and Lovely" is indeed sweet and lovely, and only plays second to the Coltrane version on the Carnegie set. Ultimately, nothing here is off (how could it be?), but there's a sense that Monk is here more out of obligation than that he was excited about the recordings (the best evidence of this is the lack of a new Monk song, something he brought to both the Blakey gig and his album with Clark Terry made the following year, In Orbit). Still, it's a good album that sometimes gets lost in the sequence of great albums (and live gigs) that Monk was making at the time. Most of all, it goes back to "Round Midnight", which shows a perfect meeting ground between Mulligan and Monk, and that's enough reason to add this to any Mulligan or Monk collection.
Ces commentaires ont-ils été utiles ? Dites-le-nous


Discussions entre clients


Rechercher des articles similaires par rubrique


Commentaires

Souhaitez-vous compléter ou améliorer les informations sur ce produit ? Ou faire modifier les images?