Requisites
Mulligan Meets Monk ~ Thelonious Monk and Gerry Mulligan | By Eddie Carter
This morning’s record from the library, Mulligan Meets Monk (Riverside RLP 12-247/RLP 1106), is an excellent quartet date that brings together two giants, Gerry Mulligan and Thelonious Monk, for their only collaborative album. Their influence on bop and cool jazz is immeasurable. It hit the stores in 1957, and the personnel are Gerry Mulligan on baritone sax, Thelonious Monk on piano, Wilbur Ware on bass and Shadow Wilson on drums. My copy is the 1975 Victor Musical Industries Japanese Stereo reissue (Riverside SMJ-6107).
‘Round Midnight by Thelonious Monk, Cootie Williams, and Bennie Hanighen is one of The Great American Songbook’s most beautiful and recorded jazz tunes. It opens the first side with the quartet’s elegantly tender theme. Gerry delivers a mesmerizing first solo. Thelonious is next and gives a beautifully constructed reading ahead of the theme’s reprise and climax. Thelonious Monk’s Rhythm-a-ning picks up the pace with a lively introduction by Wilson segueing into the foursome’s spirited melody. Mulligan is up first with a statement of dynamic energy; then Monk speaks assertively in the second reading. Gerry returns with an excellent improvisation ahead of the theme’s restatement.
The group’s unique and refreshing approach to Sweet and Lovely by Gus Arnheim, Jules LeMare, and Harry Tobias starts with Gerry and Thelonious’ delicately graceful theme. Monk shows a considerable amount of respect in the opening solo. Mulligan’s exquisite softness in the closer precedes a gorgeous conclusion. Decidedly by Gerry Mulligan begins Side Two with a two-instrument dialogue between Gerry and Shadow, extending into the quartet’s brisk theme. Mulligan functions most effectively in the opening statement. Monk unwraps a pleasant surprise next. Wilbur takes a short, impressive walk, Gerry takes over briefly, and Shadow wraps things up before the close.
Straight, No Chaser is one of Thelonious Monk’s perfectly structured originals. The foursome’s bluesy theme sets up Gerry’s inspired opening statement. Wilbur’s bass goes to work next in a short reading, and then the pianist sums everything up nicely before the closing chorus and finale. I Mean You by Thelonious Monk and Coleman Hawkins begins with the pianist’s introduction, leading to the ensemble’s opening chorus. Monk steps into the spotlight first, cruising comfortably, and then Mulligan puts together a few good ideas in the second solo. Ware rounds out things with a breezy walk before the group reassembles to take the song out.
Mulligan Meets Monk was produced by Orrin Keepnews and recorded by Jack Higgins. The album’s sound quality is top-notch, with a superb soundstage that makes it feel like the quartet is performing right before you. Whether you’re a bop or cool jazz fan or new to the music of Gerry Mulligan and Thelonious Monk, Mulligan Meets Monk is a must-listen on your next record-shopping trip. It’s a delightful addition to both musicians’ discographies, showcasing their talents in a way that might make it a favorite in your library!
~ ‘Round Midnight, Straight, No Chaser, Sweet and Lovely – Source: JazzStandards.com
© 2024 by Edward Thomas Carter
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Daily Dose Of Jazz…
Joseph Bowie was born October 17, 1953 in St. Louis, Missouri and was greatly influenced by his older brothers, saxophonist Byron and trumpeter Lester. His first international tour was with Oliver Lake of the Black Artists Group in 1971. During this time in Paris, France he worked with Alan Silva, Frank Wright, and Bobby Few. He also worked with Dr. John in Montreux, Switzerland in 1973.
Moving to New York City, and with the help of Off Broadway Theater impresario Ellen Stewart he established La Mama children’s theater. He performed with Cecil Taylor, Human Arts Ensemble, Nona Hendryx, Leroy Jenkins, Vernon Reid, Stanley Cowell, Sam Rivers, Philippe Gaillot, Dominique Gaumont and Ornette Coleman.
In 1976 Joseph relocated to Chicago, Illinois where he led bands for Tyrone Davis and other R&B artists. Returning to New York City in 1978 he began singing with punk and funk musician James Chance and the Contortions. Defunkt was born during that time and over the next 25 years, Defunkt recorded 15 albums.
Bowie has collaborated with Jean-Paul Bourelly and Jamaaladeen Tacuma. He has performed “big band funk” arrangements with Ed Partyka at Music School Lucerne, Barbary Coast Ensemble at Dartmouth College, JazzArt Orchestra, and the HR Frankfurt Radio Big Band. The first Defunkt Big Band debuted in 1999 in New York City at the Texaco Jazz Festival sponsored by the Knitting Factory.
In 2003, he moved to the Netherlands where he met Hans Dulfer and was introduced to the Dutch music scene. He has performed with Hans, Candy Dulfer, Saskia Laroo Band, Naked Ears, Monsieur Dubois, Emergency Room, Funkateer, Seven Eleven, and Almost Three.
In 2014 he produced Sax Pistols Allergy for the U.S (ZIP Records) with lyricist Hilarius Hofstede. The album Defunkt Mastervolt was released in 2015 on ZIP Records. Robin van Erven Dorens directed the documentary In Groove We Trust about Bowie’s life.
Trombonist and vocalist Joseph Bowie continues to perform and record.
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Requisites
The Modern Touch ~ Benny Golson Sextet | By Eddie Carter
The jazz world mourned the loss of an icon when Benny Golson passed away on September 21, 2024. His departure left a void that can never be filled. Benny was an excellent musician, arranger and composer. He co-founded the Jazztet with Art Farmer. His extensive discography as a leader and his collaborations with elite jazz musicians as a sideman are a testament to his unique talent. My mother was a fan of his, and her love for his music inspired this morning’s discussion. The Modern Touch (Riverside RLP 12-256), released in 1958, is his second album as a leader and first for the label. He’s joined by Kenny Dorham on trumpet, J.J. Johnson on trombone, Wynton Kelly on piano, Paul Chambers on bass, and Max Roach on drums. My copy is the 1974 Victor Musical Industries Japanese Mono reissue (Riverside SMJ-6070M).
Out of The Past by Benny Golson opens the album with the sextet’s leisurely melody, setting the mood for the saxophonist’s relaxing opening solo. Kenny steps into the spotlight next. He is followed by J.J., who expresses his thoughts in the following statement. Wynton gives a captivating interpretation; then Paul walks with a steady beat. Max adds the finishing touches with a short solo ahead of the reprise. Reunion by Gigi Gryce begins with the front line’s introduction to the ensemble’s upbeat melody. Golson gets right to work first and wails. Johnson takes over and is especially impressive in an inspired interpretation. Dorham follows with a superb solo, ahead of a brief comment by Roach that gives way to Chambers telling a fascinating story. Kelly sustains the excitement in the following reading, and the drummer has an exchange with the front line into the closing chorus that slowly dissolves into nothingness.
Venetian Breeze by Benny Golson takes us on a musical journey inspired by the saxophonist’s travels over the Venetian Causeway from Miami to Miami Beach. The tempo shifts to mid-tempo for the three horns in unison to drive the sextet’s theme. J.J. takes the first solo and moves with ease into a fine groove. Kenny takes over like a refreshing drink on a hot day to give a relaxing performance. Benny swings straight from the heart next, and then Wynton holds our attention leading to the theme’s restatement. Hymn To The Orient by Gigi Gryce is a happy-blowing vehicle. It starts the second side with the sextet’s upbeat theme. Kelly takes the opening chorus and gives an energetic reading. Golson is at his most effective on the subsequent interpretation. Johnson has an outstanding solo next; then Roach gives his drums a short workout before the song’s conclusion.
The pace slows down for a beautiful rendition of Namely You by Gene DePaul and Johnny Mercer. The group sets the mood with a lovely introduction, segueing into Benny’s gentle, deeply emotional melody. In the solo showcase, the saxophonist applies a little tenderness and romantic beauty before the sextet reappears for a soft summation. Blues on Down by Benny Golson is a blues affording everyone a solo opportunity. It brings the album to a close, beginning with the sextet’s leisurely melody. Dorham begins the blowing with an easy-going solo. Golson continues to communicate a laid-back feeling in the following reading. Johnson steps into the spotlight next with a breezy interpretation; then Kelly offers a mellow flow of ideas in the fourth statement. Chambers gets the nod and takes a soulful walk, and Roach takes us home in the finale, ahead of the theme.
>Orrin Keepnews produced The Modern Touch, and Jack Higgins was the recording engineer behind the dials. The album has an excellent sound and is beautifully engineered. The listener will feel like the musicians are playing for them in their listening room. Benny Golson was one of the significant contributors to hard bop jazz as an arranger, composer and musician. I had the pleasure of seeing him perform live and meeting him during the nineties when he was the leader and musical director of The Jazz Messengers during a concert in Cleveland, Ohio. He couldn’t have been more gracious and down to earth. We talked for quite a while after the group’s performance, and I consider it a highlight of my life. His career lasted just over seven decades; he was ninety-five when he died.
Anyone who’s already a fan of Benny Golson and in the mood for an excellent hard-bop album should consider The Modern Touch on your next record-shopping trip. It’s a terrific release that offers a glimpse into one of the best multi-talented jazz musicians, and a record I happily recommend for a spot in your library!
Postscript: The Modern Touch was reissued in 1962 as Reunion on Jazzland (AM 85/AS 985).
© 2024 by Edward Thomas Carter
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Daily Dose Of Jazz…
Yoshiaki Miyanoue was born in Setagaya, Tokyo, Japan on October 7, 1953. At the age of 10 he took up the guitar. In his last year of junior high school he heard a record by Wes Montgomery and became interested in jazz. During his years at Musashino High School he formed a band and after graduating he joined the New Group Trio with organist Joe Davis and drummer Jerry Eddy. They landed a residency at the N.C.O Club at Yokota Air Base in Yokosuka, Japan for three years. At the same time, he had his own quartet and played at jazz night clubs and bars in Tokyo.
1977 saw him traveling to New York City to develop his artistic strength and maturity. After returning home, Yoshiaki made his national debut, releasing the album Song for Wes for King Record, with Philly Joe Jones as a guest drummer, who was in country with Bill Evans. Thereafter he has released one album after another totalling seventeen to date. Among the guest performers were Jimmy Smith, Dr. Lonnie Smith, and Andrew Simpkins.
In 1981 Miyanoue put together his own group and named it Smokin’. To this day the group has played at night clubs in Tokyo and toured all over the nation. They have appeared on several television and radio music programs while playing at jazz concerts and festivals overseas.
Guitarist Yoshiaki Miyanoue, who was influenced by Wes Montgomery and plucks the strings with his thumb, continues to perform and record.
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Daily Dose Of Jazz…
Celia Malheiros was born on October 2, 1960 in Rio de Janeiro, Brazil and from early childhood she was immersed inthe world of Candomblé, an Afro-Brazilian religion. She was introduced to the schools of samba, bossa nova, choro, baião, frevo and indigenous music, as well as Tropicália and political revolutionary movements.
By 18 she was completely supporting herself through music she composed, playing at festivals, theatrical productions, nightclubs, radio and TV shows. She scored films, taught music and led bands to perform her music.
Moving to the U.S. she settled in San Francisco, California where she performed and competed in street carnaval, winning numerous awards. Malheiros spent thirteen years as the music director, arranger and performer with the Brazilian All Star Big Band with Elza Soares, Emilinha Borba and Walter Wanderley. She went on to tour the U.S. opening for the likes of Tony Benett, the Modern Jazz Quartet, Santana and Ray Charles.
Touring internationally as a solo artist and leading her band tRIO, she has accepted commissions by the Wheaton College Choir and the Akat Dance Company. Celia lectures, holds clinics and master classes around the world. She has been a composer in residence at the OMI International Music Program in New York City and artist in residence twice at Massachusetts’ Wheaton College.
Ever vigilant about bringing awareness to the plight of the Amazon’s indigenous and forest, her latest album is also a one woman show. She has more than 50 musicians on each of her albums. Vocalist Celia Malheiros is writing her memoirs.
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