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Thelonious & Sonny Import


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Détails sur le produit

  • Album vinyle (10 juillet 2012)
  • Nombre de disques: 1
  • Format : Import
  • Label: Mis
  • ASIN : B000000Y3P
  • Autres éditions : CD  |  Cassette  |  Téléchargement MP3
  • Moyenne des commentaires client : Soyez la première personne à écrire un commentaire sur cet article
  • Classement des meilleures ventes d'Amazon: 132.593 en Musique (Voir les 100 premiers en Musique)
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Amazon.com: HASH(0x91e35a08) étoiles sur 5 22 commentaires
33 internautes sur 34 ont trouvé ce commentaire utile 
HASH(0x91e4860c) étoiles sur 5 Giants of Jazz 25 août 2002
Par George H. Soule - Publié sur Amazon.com
Format: CD
So this is another misleading package--par for the course for Monk. And to be fair, not so unusual for other jazz musicians. We have three tracks of the five (no bonus here, my friends) that actually have Monk and Sonny Rollins on the stand together. The two quartet tracks with Art Taylor on drums and Tommy Potter on bass are "The Way You Look Tonight" and "I Want to be Happy." They are worth the price of the album because both Monk and Rollins are in fine form and they work and play well together. In fact, when I first heard this recording, I doubted that I was hearing Monk. I thought that I was hearing a lyrical pianist imitating Monk. Rollins seems to bring Monk out, and he plays longer lines, more lyrical lines without abandoning his characteristic left hand chords and the discords against them in the right hand triplets. (Notice that I said "discords." Monk doesn't play mischords.) So Monk is different and in some respects playing outside of his usual mode. (Dare I say "envelope"?) And Rollins has the great gifts that were eclipsed by the advent of John Coltrane. Rollins' solos on "The Way You Look Tonight" and "I Want To Be Happy" show that he is a great tenor saxophonist, and this album is testimony to his skill. The third Monk/Rollins collaboration is a 1953 gig that also featured Julius Watkins on French horn. The rendering of Monk's "Friday the 13th" is worth a listen because the horn is a jazz curiosity; its phrasing and intonation are a unique addition to the jazz palette. (An interesting experiment, at the very least.) The other two tracks on the album are Monk compositions "Work" and "Nutty" played with Percy Heath, and Art Blakey--this a fine trio and perhaps the most congenial for Monk's work. Blakey is superb--as always he is the metronome that lives--listen to the solo on "Work." Percy Heath is the solid bassist in these great trio tracks. And Monk--oh how he plays that piano!!
21 internautes sur 21 ont trouvé ce commentaire utile 
HASH(0x91e48660) étoiles sur 5 This one can make you fall in love...with jazz 6 juillet 2002
Par William E. Adams - Publié sur Amazon.com
Format: CD
Don't let the fact that this compact disc is only 34 minutes long dissuade you from buying it. This is an addictive 34 minutes, a listening experience you will want to repeat again and again. Overall, it's as good as the more famous disc in this reissue series, "Thelonious Monk with John Coltrane" and that is high praise, indeed. In fact, the two discs share one Monk composition, "Nutty." It's a great tune. On this disc, Rollins is not part of that performance. The song is performed by Monk, Percy Heath on bass, and Art Blakey on drums. On the Coltrane/Monk recording, the song is about 75 seconds longer and features 'Trane on saxophone. Comparing the two versions is interesting and rewarding. This release offers tracks laid down in various studios in 1953 and '54, but gosh, they sound as if they were created earlier today. What Rollins and Monk do to the standards "The Way You Look Tonight" and "I Want to Be Happy" ought to be done to every American pop song in the catalogues of all the great writers. Once you start liking this kind of jazz, whether you are 17 or 57 like I am, you can't stop. It's too good for background, too swinging to read a book by...it needs to be savored for the artistry of its creators with full listener attention. You'll find it's a half-hour you won't regret.
16 internautes sur 16 ont trouvé ce commentaire utile 
HASH(0x91e48a98) étoiles sur 5 A Must Own CD 30 mai 2002
Par Tim Smith - Publié sur Amazon.com
Format: CD
Rollins had (and still has) monster chops. He completely devours 'The Way You Look Tonight' and 'I Want to be Happy'. The other tracks are excellent, too, but I absolutely love 'Friday the 13th'. It is the one track you could play over and over again without ever growing bored.
I don't have a large Monk collection and I have not heard this song on other discs. Given Monk's habit of recycling material (a habit of which I approve!), I'm sure it is on several, but I can't imagine a better version exists than this one. Who but Monk would think of the French horn as a jazz instrument? Julius Watkins' contributions here are no mere novelty, either. They are integral to the entire piece.
This session was recorded on Friday, November 13, 1953. On the way to the studio, Monk and Rollin's taxi was involved in a fender bender, making them late for the session. A few other problems threatened to make the session a disaster (read the liner notes). The tension may have actually helped these guys in their playing - not that their talent wasn't enough, but they seem to really be releasing some emotions here.
This excellent disc will never disappoint and will continue to provide many, many joyous discoveries even after 1,000 playings. Monk's music is so wonderful, please do yourself a favor and enjoy this offering. Highly recommended!
12 internautes sur 12 ont trouvé ce commentaire utile 
HASH(0x91e48e64) étoiles sur 5 Rollins should not be compared to Coltrane 28 mai 2005
Par NLGL - Publié sur Amazon.com
Format: CD
An earlier reviewer wrote that Rollins was a great player until he was eclipsed by John Coltrane--this is nonsense! Think of Coltrane or Rollins on their own terms; I happen to prefer listening to Rollins which is not to say Coltrane is a lesser musician. Was Billie Holiday eclipsed by Ella Fitzgerald? Was Louis Armstrong eclipsed by Miles Davis? No and no. These two are great musicians working at the top of their form.
3 internautes sur 3 ont trouvé ce commentaire utile 
HASH(0x91e48f48) étoiles sur 5 Classic Monk and Rollins 29 juin 2014
Par Blake Lucas - Publié sur Amazon.com
Format: CD
Reading through the reviews today, I already made two comments but thought I'd write my own review mainly for one reason. Though the reviews here are generally glowing, as this record deserves, there seems to be some confusion for some about why there are three different sessions represented.

All of Monk's Prestige recordings as well as those of Rollins through 1954 were not made for LP--the later ones were made for 10" LP of the time, which will contain only about half the music of LPs like this, and the sessions were made accordingly. So the three Monk LPs under his own name (and Rollins' "Moving Out" which has the remaining quartet besides the two he leads that are on this record) are necessarily made up of sessions not made for LPs of this length. That's why in each case sessions are broken up (mostly) and combined. The first two Monk trios were done in 1952, even before 10", and were easily included together on LP, but that album would not have been long enough without trios from the present "Work" and "Nutty" session in 1954 so "Blue Monk" and solo "Just a Gigolo" were included there and the remaining two are on this record. A 1954 Monk quintet with Frank Foster on tenor does make up one side of one of the other records, while the other side has the remaining quintets from the "Friday the Thirteenth" session.

So I hope that explains why there are three sessions represented here, and as someone who has had these records most of my life, I've always felt Prestige did a good job in the way they combined tracks from different sessions for these LPs. It is good to hear them as complete sessions too, at times, so I have the Monk box set of Prestige (also has famous date with Miles that he plays on) where each session is put back together and they appear in chronological order.

Although the present record was the last released of three bearing Monk's name, it would be a mistake to think the better tracks were chosen for the others. I don't think that's the case at all, because "Work" (which Monk never rerecorded) is one of his masterpieces and very precious, and "Nutty" (which he recorded in a number of other superb versions) is great here too, with one of the most delightful Blakey solos ever. For me, the long "Friday the Thirteenth" which closes is one of the greatest of all Monk recordings (the circumstances of how it came to be are irrelevant to the result), with great horn solos and a solo by Monk that is awesome--there are times no one can touch Monk and this is one of them. The two Rollins quartets that open are also fetching--"The Way You Look Tonight" especially is as exhilarating as any later Rollins. With this date too, it's just the way it falls that the third number was left off--and I think the right two were chosen for this record. On that last track, the ballad "More Than You Know" (which closes Rollins' "Moving Out" released later), Monk plays another of his most beautiful solos.

Incidentally, the rest of "Moving Out" is a great quintet date on which Rollins plays with Kenny Dorham and Elmo Hope--the latter was a dazzling, still underrated pianist and also someone who, like Bud Powell, was personally close to Monk. That album holds together well too.

This review is kind of long, I know, but I hope informative for some. My feeling is strong about this record right now because it happens to be the last Monk I got back to and was as much of a joy as ever. I could just go on and on about Monk. And Rollins, too. They are likely my two favorite jazz musicians, though would always want to name Miles as a third.
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