Posts tagged jazz
Posts tagged jazz
Thelonious Monk, John Coltrane, Coleman Hawkins in a classic session.
It’s Don Cherry’s birthday today.
Don Cherry, trumpet;
Dewey Redman, tenor saxophone;
Charlie Haden, bass;
Ed Blackwell, drums
What a treasure trove. Right after I post this, I’m going to Kickstarter to support this project.
What an incredible story.
Last Thursday, my phone rang. On the other end was a young woman who hurriedly began telling me a story, adding that a friend had suggested she contact me. The only words that stuck at the time were “photographs,” “Campbell” and “homeless.”
(via JazzWax and Nick Moy)
Trumpeter Ted Curson RIP.
Ted Curson, trumpet,
Eric Dolphy, alto saxophone, bass clarinet
Booker Ervin, tenor saxophone
Charles Mingus, bass, piano
Dannie Richmond, drums.
Recorded at the Antibes Jazz Festival, Juan-les-Pins, 1960.
Dizzy Gillespie, trumpet;
Don Byas, tenor saxophone;
Milt Jackson, vibraphone;
Al Haig, piano;
Ray Brown, bass;
J.C. Heard, drums.
The rock-solid baritone saxophone of Pepper Adams opens this classic. It’s his birthday today.
On the birthday of organist Larry Young.
Composition by Thelonious Monk.
With Elvin Jones on drums
Clifford Brown is on fire here.
On the birthday of John Coltrane, born September 23, 1926.
Naima, recorded July 27, 1965 in Antibes
John Coltrane - Tenor Saxophone
McCoy Tyner - Piano
Jimmy Garrison - Bass
Elvin Jones - Drums
I’ve previously re-blogged a version I like even better: if you haven’t seen it, check it out here.
Thelonious Monk - Crepescule with Nellie (1963)
Monk had started composing a piece for Nellie just when she fell ill. He worked on it throughout the month of May  between home and the Algonquin, and Nica [the Baroness Pannonica de Koenigswarter] captured a “draft” of it on tape during one of Coltrane’s visits. Monk wanted to call it “Twilight with Nellie,” but the Baroness promptly suggested he use the French word for twilight: crepuscule. It became his obsession. He conceived of it as a through-composed piece—there would be no improvisation, no variation, just a concise arrangement. “Crepuscule with Nellie” was to be his concerto and he wanted it to be perfect. Driven to mania, he stayed up many nights wrestling with the song’s middle or bridge. He was desperate to finish the song because he feared he might lose his precious wife.
At the end, listen for producer Teo Macero’s “Yeah! That’s wild!”