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Thelonious Monk - At The Blackhawk [Analogue Prod 180g; LP 7 of 7 LP-Box "The Riverside Tenor Sessions"] 24/96 & 16/44.1
Posted By :
aksman
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Date :
02 Sep 2010 21:51:22
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Comments :
16
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Thelonious Monk Quartet plus Two - At The Blackhawk
LP 7 of 7 LP-Box Thelonious Monk - The Riverside Tenor Sessions
Analogue Productions AAPJ 037; Mastered by Kevin Gray
Vinyl rip in 24-bit/192kHz (converted to 24/96 & 16/44.1) | FLAC | m3u, cue & Tech Log
Artwork incl. 24 p. Book | 990/2 90 mb incl. recovery | Rapidshare & FileFactory | Jazz | 1960
LP 7 of 7 LP-Box Thelonious Monk - The Riverside Tenor Sessions
Analogue Productions AAPJ 037; Mastered by Kevin Gray
Vinyl rip in 24-bit/192kHz (converted to 24/96 & 16/44.1) | FLAC | m3u, cue & Tech Log
Artwork incl. 24 p. Book | 990/2 90 mb incl. recovery | Rapidshare & FileFactory | Jazz | 1960
Allmusic.com rating: 4.5 / 5
Seventh and therfore the last one of the "Thelonious Monk - The Riverside Tenor Sessions" LP-Box.
Again a milestone in Thelonious' discography and a must have for any Jazz collection. The sound is again superb...
Again a milestone in Thelonious' discography and a must have for any Jazz collection. The sound is again superb...
Thelonious Monk at the Blackhawk is an album by jazz pianist Thelonious Monk. It was originally issued under Riverside label as RLP 1171.
| “ | Review by Lindsay Planer The material used for this title was initially to have been taken from a pre-planned confab between Thelonious Monk (piano) and Shelly Manne (drums) at the Blackhawk in San Francisco circa late April of 1960. Although several selections with the West Coast cool percussionist were documented (located on the 1986 Monk Complete Riverside Recordings box) , for a variety of reasons the performance failed to ignite any real magic. During the second show -- the bulk of which is located here -- Manne was replaced by Billy Higgins (drums) and the revamped combo also included Monk regulars Charlie Rouse (tenor sax) and John Ore (bass). Completing the bandstand are Harold Land (tenor sax) and one-time Manne accompanist Joe Gordon (trumpet). The results are uniformly fulfilling and feature familiar favorites, standards, and a Monk composition worked up presumably for the occasion called "San Francisco Holiday" aka "Worry Later." A spry and workmanlike "Let's Call This" gets things started with Gordon, Land, Rouse, and of course, Monk, all trading the reigns. The pianist's counterpoint is particularly satisfying within his solos as they reveal the playful interaction Monk is best known for. That musical mischief spills over as "Four in One" bops and swings solidly from tip to tail. Once again the brass truly stands out -- especially Gordon, whose powerful lead is neatly tucked away between the two tenors. All parties are right on the money as they embellish and execute with equal measures of passion and precision. Monk always brings something special to his cover of "I'm Getting Sentimental Over You," and this upbeat update is certainly no exception. Gordon's role cannot be overstated throughout. However, here he lifts the proceedings to another level. In fact, the effect is clear on Monk as his solos are amongst the artist's most inspired on the project. The full-length "Epistrophy" is a real find as it was rarely ever performed in this context, although Monk often used an abbreviated rendering of the song's theme to signal the end of his live sets. Taking their time, the instrumentalists adeptly navigate as they guide and are guided by the choruses' haunting, yet scintillating Latin-tinged backbeats. The second half of the album is classic Monk, kicking off with a rousing reading of "Evidence." Granted, it lumbers a bit during the off-kilter sequence at the top, but rapidly ascends into a thoroughly swinging and utterly engaging affair. In particular, the union that binds Monk with Higgins is not to be missed. And speaking of the percussionist, he jumpstarts the newest arrival into the bandleader's songbook, "San Francisco Holiday." Producer Orrin Keepnews relates -- in his extensive liner notes accompanying the aforementioned Complete Riverside Recordings anthology -- that it was Keepnews who mistakenly named the selection "Worry Later" when that was Monk's reply at a rehearsal when asked what the name of the song should be. So, in Monkspeak, the artist meant that he would "Worry Later" about what the proper moniker should be. Despite that bit of trivia, the melody itself is full of the twists and turns one would expect, with Rouse immediately taking on the task of setting the pace for the rest. Leaving the best for last, "'Round Midnight" is a flawless gem. On a purely emotive level, the version captured here may well be the best from his latter Riverside era. Wrapping up Thelonious Monk Quartet Plus Two at the Blackhawk (1960) is the typical closing reprise of "Epistrophy." As heard in its compact form, it represents the way Monk used the number at the conclusion of his programs. | ” |
Track listing
All pieces by Thelonious Monk unless otherwise noted.
- Side A
"Let's Call This" – 8:33
"Four in One" – 8:41
"I'm Getting Sentimental Over You" (George Bassman, Ned Washington) – 6:14
Side B
"San Francisco Holiday (Worry Later)" – 9:10
"'Round Midnight" (Monk, Cootie Williams, Bernie Hanighen) – 12:07
"Epistrophy" – 0:59
Personnel
- Thelonious Monk – piano
John Ore - bass
Harold Land - tenor saxophone
Charlie Rouse - tenor saxophone
Billy Higgins - drums
John Gordon - trumpet
Orrin Keepnews - producer
The 7 LP-Box Thelonious Monk - The Riverside Tenor Sessions contains the following records:
Thelonious Monk - "Brilliant Corners"
Thelonious Monk Septet - "Monk's Music"
Thelonious Monk with John Coltrane
Thelonious Monk Quartet - "Thelonious in Action"
Thelonious Monk Quartet - "Misterioso"
Thelonious Monk Quintet - "Five by Monk by Five"
Thelonious Monk Quartet Plus Two at the Blackhawk
Thelonious Monk - "Brilliant Corners"
Thelonious Monk Septet - "Monk's Music"
Thelonious Monk with John Coltrane
Thelonious Monk Quartet - "Thelonious in Action"
Thelonious Monk Quartet - "Misterioso"
Thelonious Monk Quintet - "Five by Monk by Five"
Thelonious Monk Quartet Plus Two at the Blackhawk
Links: 24-bit/96kHz (File Factory) Part 1 | Part 2 | Part 3 | Part 4 | Part 5
Links: 24-bit/96kHz (RS.com) Part 1 | Part 2 | Part 3 | Part 4 | Part 5
Links: 16-bit/44.1kHz (File Factory) Part 1 | Part 2 -------- (RS.com) Part 1 | Part 2
Links: Artwork (File Factory) Download -------- (RS.com) Download
The files are interchangeable!!!
Pass: pls use my nick
Hope you enjoy!!!
Links: 24-bit/96kHz (RS.com) Part 1 | Part 2 | Part 3 | Part 4 | Part 5
Links: 16-bit/44.1kHz (File Factory) Part 1 | Part 2 -------- (RS.com) Part 1 | Part 2
Links: Artwork (File Factory) Download -------- (RS.com) Download
The files are interchangeable!!!
Pass: pls use my nick
Hope you enjoy!!!
Check my blog for more audiophile stuff.
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Amazing stuff
happy end of a great box. :)
Thanks a million. This may very well be one of the top jazz posts ever!
Ok, now, here's a tough question:
As some may have noticed, this superb set is just a few hundred MB too big to fit nicely in a DVD-R. The simplest way to make them fit is sacrificing one of them down to 16/44 (please don't kill me, hehe). Now, the question would be: which one is the best option in terms of "less sound sacrificed"? I'm leaning towards the john coltrane five spot album, since, despite its historical significance, the recording quality for that venue is not that great to begin with, so my guess is that not much information will be lost listening to the 16/44. Right? Any suggestions?