What Jazz are you listening to now?

[George]

Wonderful.

Umm Hmm. 

On the way to work:

[king ubu]

More great Columbia jazz.

Riverdide - which offered/pushed Monk more ... Columbia and its big budget could have done more I guess, but I love all Monk. But this one, "Misterioso", is one of my personal favourites.

[Tom 1960]

Paul Togawa Quartet


Alto sax player Gabe Baltazar who plays on this session is the reason to hear this. Some superb playing here. Fine date.

[San Antone]

Riverdide - which offered/pushed Monk more ... Columbia and its big budget could have done more I guess, but I love all Monk. But this one, "Misterioso", is one of my personal favourites.

Ah, you're right, it was on Riverside.  The cover through me off, it looked like Columbia's style.

[San Antone]

Louis Armstrong & Ella Fitzgerald : Porgy & Bess

[Tom 1960]

[Alek Hidell]

Over the last couple of days ...

   

   

[San Antone]

Some classic Bird -



Complete Live Performances on Savoy: Sept. 29, 1947-Oct. 25, 1950

[SimonNZ]

Oscar Moore - Presenting Oscar Moore (1957)
Nancy Wilson and Cannonball Adderley - s/t (1962)

[San Antone]

Nancy Wilson and Cannonball Adderley - s/t (1962)

That one is super fantastic.

[Mirror Image]

Riverdide - which offered/pushed Monk more ... Columbia and its big budget could have done more I guess, but I love all Monk. But this one, "Misterioso", is one of my personal favourites.

I agree, although I do love Monk's Blue Note and Prestige recordings, too. His work on Columbia was good, but not outstanding IMHO. I kind of got tired of hearing Charlie Rouse.

[SimonNZ]

Lee Morgan - Take Twelve (1962)

[Spineur]

At lunch break: Gerry Mulligan/ Ben Webster

[asin]B0000047A9[/asin]

[king ubu]

I agree, although I do love Monk's Blue Note and Prestige recordings, too. His work on Columbia was good, but not outstanding IMHO. I kind of got tired of hearing Charlie Rouse.

I love those Monk albums on Columbia just the same ... but usually I take them one at the time. But make no mistake, "Monk's Dream" is one of his very best (and "Criss Cross" just a tiny bit behind). Anyway, Keepnews really did a lot: from solo to trio to quartets to quintets to guests (Mulligan, but Monk also guested w/Blakey on a fine Atlantic album at that time) to larger groups (Monk's Music, At Town Hall) ... but then I think quite possibly in his Columbia years, Monk himself might not have been into experimenting much, any more. "Big Band and Quartet in Concert" is the big exception, and then there was the quite good 1967 Tentet tour, which Columbia failed to document (music from the sets in Rotterdam has recently been released, there's also a probably better Paris recording that has been out in various incarnations for a while).

As for Prestige, I love those a lot, too - they often are forgotten between the BNs and the Riversides ... but most of the sessions are up to the standard Lion set and Keepnews kept.

[San Antone]

I think from Monk's stand point, his years at Columbia were the best, but not necessarily for band performances.  Columbia paid for a week of rehearsals and recording prior to each session, and generally put more money into promoting the recordings, as well as paying a higher rate to side men. 

Monk kept recycling the same material throughout his career and each band had its own take.  I hear people say they don't like Charlie Rouse, but I consider him the horn player who knew Monk's music the best since he played with him so many years.  I didn't think Johnny Griffin was a good match with Monk, and the Coltrane sides were great, but totally unique.  I would have liked to have more of Monk with Sonny Rollins.

As has been pointed out, there are great records on each label

[San Antone]

Monk in Tokyo (live)
Thelonious Monk – piano
Charlie Rouse - tenor saxophone
Butch Warren – bass
Frankie Dunlop – drums

On Columbia. I like this band, especially the rhythm section.  Rouse plays well, and the recorded quality is very good.

[San Antone]

Up to "Dolores" on this one

[Karl Henning]

I think from Monk's stand point, his years at Columbia were the best, but not necessarily for band performances.  Columbia paid for a week of rehearsals and recording prior to each session, and generally put more money into promoting the recordings, as well as paying a higher rate to side men. 

Monk kept recycling the same material throughout his career and each band had its own take.  I hear people say they don't like Charlie Rouse, but I consider him the horn player who knew Monk's music the best since he played with him so many years.  I didn't think Johnny Griffin was a good match with Monk, and the Coltrane sides were great, but totally unique.  I would have liked to have more of Monk with Sonny Rollins.

As has been pointed out, there are great records on each label

I do really enjoy the Rouse/Monk collaboration.

[bwv 1080]

I do really enjoy the Rouse/Monk collaboration.

Yes, Rouse got Monk better than any of his other collaborators - Coltrane was too strong and different of a musical personality.  Monk's music needs some space and you need to bring out the angularity , it does not work as welk with the constant streams of notes like Rollins or Coltrane tended to do.

[Karl Henning]

Yes, Rouse got Monk better than any of his other collaborators - Coltrane was too strong and different of a musical personality.  Monk's music needs some space and you need to bring out the angularity , it does not work as welk with the constant streams of notes like Rollins or Coltrane tended to do.

Very well put.