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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 | Date : 02 Sep 2010 21:51:22 | 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

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...



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


Dynamic Range analyzis

----------------------------------------------------------------------------------------------
Analyzed folder: D:\Thelonious Monk - At The Blackhawk (1960) [flac] {Analogue Productions 180g; 16-44}\
----------------------------------------------------------------------------------------------
DR Peak RMS Filename
----------------------------------------------------------------------------------------------

DR14 -0.62 dB -17.93 dB A1 - Let's Call This.wav
DR13 -1.48 dB -18.60 dB A2 - Four in One.wav
DR13 -0.91 dB -18.60 dB A3 - I'm Getting Sentimental Over You.wav
DR13 -0.52 dB -17.69 dB B1 - San Francisco Holiday (Worry Later).wav
DR14 -2.04 dB -20.48 dB B2 - 'Round Midnight.wav
DR12 -1.09 dB -17.55 dB B3 - Epistrophy.wav
----------------------------------------------------------------------------------------------

Number of files: 6
Official DR value: DR13

==============================================================================================


Technical Log

RCM Hannl 'limited' with "Rotating Brush"
Music Hall MMF 9.1 Turntable
Tonearm: Pro-Ject 9cc evo with Pure Silver Wires
Cartridge: Nagaoka MP-500
Brocksieper Phonomax (Tube Phono PreAmp)
E-MU 0404 external USB 2.0 Audiointerface
Interconnections : Silent Wire NF5
WaveLab 6 recording software
iZotope RX Advanced 1.21 for resampling and dithering

Vacuum cleaning > TT > Brocksieper Phonomax > E-MU 0404 > WaveLab 6 (24/192) > manual click removal >
analyze (no clipping, no DC Bias offset) > converted to 24/96 (16/44.1) with iZotope RX Advanced 1.21
> split into individual Tracks > FLAC encoded (Vers. 1.21)

No silence been removed, please burn gapless to match original tracklayout.


Personal Note

With my vinyl transfers, I try to catch the whole beauty of vinyl records; therefore I don't use any post-processing or any sound improvement. What you get is a clear and flat transfer. For getting a clear sound, I'll do an extended washing of each record with my RCM, which can take up to 30 minutes brushing on each side. Resistant ticks and clicks I try to remove as good as possible, but the priority is not to lose any musical information in the process. Surface noises, as long they are not too high, are left in place. Only on bad pressings or on records recorded at extremely low levels do I use a fade in-/-out. As John Peel said, "Life is full of surface noises." In some cases this means that I have to make a compromise.... The result has to pass my personal quality criteria, which is IMO quite high.







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!!!


Check my blog for more audiophile stuff.

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Posted By: bh80231 Date: 02 Sep 2010 21:54:21
Once again... thank you! Amazing stuff!!!
Posted By: Dreasy Date: 02 Sep 2010 22:12:10
Huge thanks for the whole box-set, aksman
Posted By: Equalizer23 Date: 02 Sep 2010 22:14:59
Thanks for the whole Boxset
Amazing stuff
Posted By: d'Avignon Date: 02 Sep 2010 23:24:26
Yes, this is quite something. Thank you very much, alsman
Posted By: buggly Date: 02 Sep 2010 23:27:00
Thanks aksman!! Very much appreciate all your quality rips!
Posted By: herbie nichols Date: 03 Sep 2010 03:39:05
Thank you for the whole set.
Posted By: JoJoPurdie Date: 03 Sep 2010 07:07:43
Great work aks, thank you for the box !
Posted By: nedjo Date: 03 Sep 2010 09:16:39
Thanks aksman,
Posted By: kobaha Date: 04 Sep 2010 07:13:57
thanks great shera.
Posted By: lordyboy Date: 04 Sep 2010 07:26:43
Thanks, this was a special share
Posted By: chtimixeur Date: 04 Sep 2010 07:44:44
Thanks man, much appreciated
Posted By: kobaha Date: 04 Sep 2010 11:43:18
thanks a lot.
Posted By: cheredov Date: 05 Sep 2010 12:47:02
Thank You!
Posted By: blue note Date: 06 Sep 2010 13:31:47
many thanks again aksman.
happy end of a great box. :)
Posted By: jazzever Date: 02 Mar 2011 20:16:45
Other terrific post,many thanks..!!
Posted By: mertin Date: 26 Aug 2011 13:39:56
All links still working!
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?
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