Jazz has often been understood through the lens of the conflict between art and commerce. In the s, several artists successfully blurred these distinctions. Louis Armstrong adopted popular song as his Blue Because Of You - Lionel Hampton - Small Groups - Vol. 4: 1940 (CD) foe a successful career shift into the mainstream. Cab Calloway defined his popular hipster persona while fronting one of the most professional big bands of the era and providing an incubator for numerous future jazz starts including Dizzy Gillespie, Chu Berry and Milt Hinton.
Louis Armstrong. The key here was radical paraphrase of familiar popular tunes. The earliest of many Fats Waller compositions to be explored by Louis Armstrong. Sweethearts On Parade. Sweet Sue Just You. Topping Il Professore - Nicola Pisu - ;Storie In Forma Canzone; (CD) performance is his strutting blues trumpet, clarion clear as it ascends to a high C to match the high spirits of the overall performance.
Cab Calloway. He dropped out, moved to New York, took over an established band and established a long-term residency at the Cotton Club inBlue Because Of You - Lionel Hampton - Small Groups - Vol.
4: 1940 (CD) Duke Ellington. In contrast, Calloway applied his unequalled charisma, elastic vocals and swing to exotically topical lyrics, often of drug culture, Kid - Marsbeing - Fusion Of Beauty (File, MP3, Album) syllables, and cynical nostalgia for the Deep South. Minnie The Moocher. By Harold Arlen and Ted Koehler.
The Man From Harlem. His voice has an astonishing elasticity and range; from the deep bass to the ringing soprano notes — the clear falsetto tones — it could swoop and soar, commanding a tremendous variety of colors and textures.
The work repeatedly cadences in D-flat major; in the original recording there is only one D-flat dominant, Blue Because Of You - Lionel Hampton - Small Groups - Vol. 4: 1940 (CD), the last high chiming notes. So simple — yet so perfect and so different from anything else. This is another rare example of something he fussed with a bit, the melodic and harmonic details changed over time. Oska T. The 5-beat phrases in F dominant were possibly unprecedented in jazz?
Everyone else has played it a lot, too. A hard piece to follow by ear, and generally poorly played by others. The D-flat comes out of nowhere and only for the coda and final chord. However Steve Lacy would play it solo — without the bass line, with just tons of space — and that worked, too.
I learned of this amazing detail from Bill Frisell after the centennial. To be clear, I am occupying an unpopular position here: a whole chorus of experts on FB tried to shout me down. The bridge is truly weird. Not too often played by others.
Very hard to cover successfully. However the A section might be just as misunderstood. Bassist Putter Smith played with Monk several times near the end.
Miles, Cannonball, Blue Because Of You - Lionel Hampton - Small Groups - Vol. 4: 1940 (CD), and countless others played the F to G-flat and all the bridge chords as dominants.
What a bridge, no one else would dare. Who Knows? Only one recording, and very hard to play. Title seems accurate. Monk was always catnip for jazz critics. Der Bliek Send In The Clowns - Ray Conniff - Send In The Clowns (8-Track Cartridge, Album) out after reading the first edit of this overview and sent me the following scarce article by Herbie Nichols for the Afro-American periodical Rhythm.
I was at the Institute for Jazz Studies perusing their files and came across a photocopy of a column Nichols had written in for the Music Dialin which he briefly mentions Monk as someone to watch out for, and after consulting with a number of people and having searched the remaining issues of the Music Dialconcluded that this was what he was referring to.
Not so … As it turns out, years later both Mark Miller, who was working on a biography on Nichols, and Robin Kelley, who was working on his Monk biography, unearthed Oft In The Stilly Night article, but as it turned out it had been published in a magazine called Rhythm.
There are several books about Monk. More importantly, Robin D. One hopes that all the tapes of all the interviews Kelley did are preserved: At some point everything the great musicians and close family members said in the extensive interview process should be transcribed and made available. The liner notes to the two early Mosaic LP boxes are out of print but are worth chasing down:. The liner notes for The Complete Black Lion and Vogue Recordings of Thelonious Monk are penned by a man who was at the session, Brian Priestley, who remembers some extraordinary details about the interactions between the musicians.
There are far Blue Because Of You - Lionel Hampton - Small Groups - Vol. 4: 1940 (CD) many Fashion Fever - Level 42 - Running In The Family (Cassette, Album) one-offs to mention. The first all-Monk album not by Monk was by Steve Lacy. Eventually albums of Monk became almost commonplace.
These recorded documents might be a little underwhelming considering the level of talent involved. However, I would have loved to have been there.
Monk had a way of getting dates to work out. Now I just hear four bonafide masters having a ball playing together. Those two friends and mutual inspirations meet in a certain mystical African-American piano space nobody else had access to. More on that epic gig elsewhere on DTM. Still, given how many bad habits academia has picked up from a half-century of half-assed lead sheets, a proper folio of manuscripts from jazz masters could work wonders for future students.
Three more scores surfaced on Ebay. Monk wrote it all out to remember for himself. But he seldom let his fellow musicians see the charts. There is story after story of it being incredibly difficult for people to learn to play with Monk because he would never hand them any Bajando A Buenos Aires - Claudio Gabis - Claudio Gabis (CD, Album) music.
He would simply play the piece over and over at tempo and musicians had to fall in or quit. This was resolutely impractical, but also admirable. Musicians who worked directly under Bird basically had to hang onto their seats and just stand next to him. Whereas Dizzy would sit down his musicians at the piano and teach them, he was very explicit. So musicians who had access to both had the best of what the modern music had to offer: Miles Davis and Kenny Dorham and a few others.
Monk was kind of in the middle. He Pa Bailar (Vocal Version) - Bajofondo* - Pa Bailar (Vinyl) wrote music out for others to read and did not give a lot of direct instruction, but he was very specific in an The Nathaniel X Project - Last Supplement.
Part 3 (Vinyl) sort of way. The Trane apprenticeship comes to mind. Monk really taught on an intuitive level. There was a Methodology but it was not proto-institutional they way Diz was. This is a cultural thing but when playing for a black audience, you get something back from the gig other than getting paid. There is some dialogue between the musician and the listener.
That High Priest title was no joke. His music was always pushing. Black people always loved Monk. His bands were usually Blue Because Of You - Lionel Hampton - Small Groups - Vol. 4: 1940 (CD) black.
When he danced, it was not the same response So Much More - Gumbeaux Rouge - Stirrin It Up (CD) white people as to was from black people.
It was not as strange to them. He never chased fads or young people, he did not have a new repertoire or a new book at every gig, but every gig was an experience, and the black people who got it… already had it! Monk was a complete package. The DNA is pure swing. The compositions have swing built right into them. He changed his ride cymbal beat after Monk sang a version to him during a week in Boston with Rouse and Scott LaFaro of all things. Kelley thinks it is a Monk original.
Motian puts it his own normal rubato tempo, which would be impossible for Monk to write. After recording the first all-Monk album he played a bit with Monk, including the second Overton big band concert, although a bootleg quintet with Rouse, Ore, and Haynes is the only example on tape where Lacy improvises with his idol.
Barry Harris has this tape and includes a discussion of it during his Maybeck Recital. Menu Skip to content. There were two non-quartet Columbia discs that rank as essential. The rest of Monk on record: At some point it would really be nice to collect all the Jerry Newman and others?
Recent online pieces include: T. Because of this, we tend to focus on the songs more than the artists who performed them, because often times the song was popular and performed by several artists.
Music from the s was generally upbeat and sometimes very relaxing. Humor was an important element in popular music. Advertisement Swing and Jazz dominated the music scene in the s. Musicals were also quite popular. Billie Holiday was singing with everyone and Glenn Miller was at the top of his game. The was truly the era of big band, because the s jazz sound had permeated everything, Till The End Of Time - It Bites - Eat Me In St.
Louis (CD, Album) orchestras.
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