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Jazz - Uscito il 19 maggio 2017 | Sam Records

Hi-Res Libretto Riconoscimenti Choc de Classica - Indispensable JAZZ NEWS - Jazzwise Five-star review
Any occasion for unreleased Thelonious Monk recordings is one for celebration. The discovery of his excellent soundtrack sessions for Roger Vadim's film Les Liaisons Dangereuses 1960, an adaptation of Pierre Choderlos de Laclos' 18th century novel, happened by accident. Producers Zev Feldman, François Le Xuan, and Frederic Thomas found these tapes while searching French saxophonist Barney Wilen's manager's archives in search of unreleased material. What they found were the original soundtrack and full sessions cut in New York during a single day in 1959 -- the same fertile year that yielded the Monk's At Town Hall; 5 by Monk by 5, and Thelonious Alone in San Francisco. Like these recordings, this soundtrack showcases Monk at the very top of his game. For various reasons including health issues and legal troubles, Monk had no time to travel or compose original music for the film. For this session he brought along tunes from his repertoire -- as was his wont throughout his career -- and reinvented them for the film with his working quartet of saxophonist Charlie Rouse, drummer Art Taylor, and bassist Sam Jones, with the addition of Wilen (who should be far better known to American jazz fans). The album is one of the only occasions in the pianist's discography where he employed two tenor players: the other was Thelonious Monk at the Blackhawk, with Harold Land alongside Rouse. The first of these two discs includes the actual soundtrack music as used in sequence, but never released. "Rhythm-a-Ning" is followed by "Crepuscule with Nellie" (his wife was in the studio), "Six in One," and "Well You Needn't," all of which are sprightly and at times even hot. There are two solo takes of "Pannonica" also used along with a quintet version. It is notable to note that Baroness Pannonica de Koenigswarter, Monk's friend and patron, was also present. "Ba-Lue-Bolivar Ba-Lues-Are" is followed by a brief "Light Blue" and the short gospel hymn "By and By," which makes its first-ever appearance here. Disc two contains alternate takes, a pair of masters for a 45 rpm single, an edited version of "Well You Needn't," and the jewel: a 14-minute in-process recording of "Light Blue" complete with studio dialogue. It's a cousin to the making of "'Round Midnight" with Gerry Mulligan that showed up in the '80s: A one-of-a-kind revelatory document. This music was not only professionally recorded, but preserved with archival standards, making for an excellent fidelity reproduction. This handsome package contains a plethora of liner essays including one by Robin D.G. Kelley, author of Thelonious Monk: The Life and Times of an American Original. There are loads of photos in black-and white and color; all are intimate, and as revelatory as the music. This was made available during the centennial anniversary of Monk's birth; and given its quality, it makes for one of the most important jazz discoveries in recent years. © Thom Jurek /TiVo
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Jazz - Uscito il 01 gennaio 1987 | Riverside

Riconoscimenti La discoteca ideale Qobuz - Le top 6 JAZZ NEWS - The Qobuz Standard
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Jazz - Uscito il 29 settembre 2017 | Legacy Recordings

Riconoscimenti 4F de Télérama - Indispensable JAZZ NEWS
Thelonious Monk ha 34 anni quando attraversa per la prima volta l’Atlantico. In quel 1954, il pianista americano, già considerato un grande innovatore del suo tempo, è ospite al Salon du Jazz che si tiene alla Salle Pleyel di Parigi, dove si esibirà con il batterista Jean-Louis Viale e il contrabbassista Jean-Marie Ingrand. Quest’album che appare nel 2017, anno del centenario di Monk, propone sì l’ascolto di cinque tracce di quella performance, ma il suo vero pregio è un altro: l’assolo di Thelonious Monk al pianoforte, che il produttore André Francis ebbe la saggia idea di registrare. Tanto più saggia in quanto il musicista non aveva mai registrato da solo fino ad allora. Inutile dire che è esplosivo! Ascoltare una musica del genere, in cui si fondono caos e passione, humour e intelligenza, è come guardare un funambulo in procinto di cadere ma che ovviamente non cade mai. Senza parlare del genio delle composizioni! Già si avverte tutta l’arte di Monk in quel soggiorno parigino del 1954 che suona sempre così moderno a distanza di tanti decenni… © MZ/Qobuz
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Jazz - Uscito il 01 luglio 2014 | CM BLUE NOTE (A92)

Hi-Res Libretto Riconoscimenti La discoteca ideale Qobuz
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Jazz - Uscito il 23 settembre 2002 | Columbia - Legacy

Riconoscimenti La discoteca ideale Qobuz
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Jazz - Uscito il 03 marzo 2003 | CM BLUE NOTE (A92)

Hi-Res Libretto Riconoscimenti La discoteca ideale Qobuz
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Jazz - Uscito il 03 marzo 2003 | Blue Note Records

Hi-Res Libretto Riconoscimenti La discoteca ideale Qobuz
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Jazz - Uscito il 01 gennaio 1987 | Original Jazz Classics

Riconoscimenti Le top 6 JAZZ NEWS
With the robust ambience of Fugazi Hall in San Francisco at his disposal, Thelonious Monk recorded ten unaccompanied tracks over two days to create a long-awaited sequel to his immensely endearing Thelonious Himself long-player. As had become somewhat customary for Monk, he brought with him a healthy sampling from his voluminous back catalog, cover tunes, as well as a few new compositions. What is most immediately striking about these recordings is the rich and accurate sound stage at Fugazi Hall. The overtones are rich and thoughtful in their ability to animate Monk's recreations of some of his most endearing works, such as the pair that opens this set. "Blue Monk" still retains the proud stride and walking blues heritage of previous renderings. Adding a bit of off-tempo improvisation, Monk propels and emphasizes the rhythmic swing even harder. He is obviously also enjoying what he is hearing. The audible maturity guiding Monk through the familiar, albeit offbeat, chord progressions of "Ruby, My Dear" is striking. His nimble reflexes and split-second timing render this version superior. Again, the sound of the hall offers even more to enjoy from this performance. It is unfortunate that the playful solitude of "Round Lights" was never revisited. This freeform composition is framed within a blues structure, yet reveals all of the slightly askew freedom of a Monk original. The recreation of an old 1920s hit, "There's Danger in Your Eyes, Cherie," is another of the highlights from Thelonious Alone in San Francisco that was never recorded again by Monk. The noir qualities are immeasurably enhanced by Monk's oblique phrasings as well as the eerie resonance of the Fugazi. This is an absolute must-own recording -- Monk enthusiast or not. © Lindsay Planer /TiVo
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Jazz - Uscito il 23 settembre 2002 | Columbia - Legacy

Riconoscimenti Discografia insolita Qobuz
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Jazz - Uscito il 01 gennaio 2013 | Blue Note (BLU)

Riconoscimenti The Qobuz Standard
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Jazz - Uscito il 18 settembre 2020 | Legacy Recordings

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Jazz - Uscito il 27 agosto 1996 | Columbia - Legacy

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Jazz - Uscito il 15 aprile 1968 | Columbia

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Jazz - Uscito il 01 gennaio 1961 | Jazzland

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Jazz - Uscito il 19 agosto 2003 | Columbia - Legacy

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Jazz - Uscito il 15 dicembre 2017 | Prestige

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Sorprendente da ascoltare già dagli albori degli anni ’50, Thelonious Monk non era un pianista come gli altri. E nemmeno un musicista come gli altri… Con The Complete Prestige 10-Inch LP Collection, sono i cinque 10-Inch incisi per l’etichetta Prestige che vengono raccolti, ripristinati e rimasterizzati a partire dalle colonne sonore di Joe Tarantino: Thelonious Monk Trio: Thelonious (1952), Thelonious Monk Quintet Blows For LP, Featuring Sonny Rollins (1953), Thelonious Monk Quintet (1954), Thelonious Monk Plays (1954) e Sonny Rollins and Thelonious Monk (1954). Artisticamente Monk è già in stato di grazia nonostante l’epoca non è delle più felici per il musicista, a cui il tribunale ha ritirato la sua licenza professionale, impedendogli così di esibirsi nei club newyorkesi. Ma il contratto fonografico che Bob Weinstock gli ha fatto firmare per Prestige gli permette di farsi notare durante questo periodo negli studi di registrazione. Si avverte allora il musicista visionario più affamato che mai. E anche avventuriero. Per non dire all’avanguardia del jazz del suo tempo- Già su alcune registrazioni per Blue Note effettuate tra la fine degli anni 40 e il 1952, Monk prendeva le strade del jazz in contromano ma senza mai uscire di strada. Qui la questione è ancora più impressionante. Soprattutto nei pezzi con un altro genio, Sonny Rollins, anche lui ben deciso a sconvolgere i codici di un genere musicale che vive così le sue ore più intense e rivoluzionarie. © MD/Qobuz
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Jazz - Uscito il 15 aprile 2019 | RevOla

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Jazz - Uscito il 01 giugno 2006 | Riverside

Hi-Res Libretto
1957. The two giants of jazz often meet at night on the stage of the Five Spot Café. At the start of this avalanche of New York concerts, they hit the studio, where they would record a dozen pieces for trio, quartet and septet. Incredible but true, these sessions with Art Blakey, Wilbur Ware, Coleman Hawkins, Shadow Wilson, Ray Copeland et Gigi Gryce, will be the only ones where Thelonious Monk and John Coltrane ever play together. If this double-act seems too good to be true, it's worth bearing in mind that at the time, the real star was Monk! Coltrane's name was certainly known among jazz specialists of his time, but his fame was nothing like what it would become. "Working with Monk", the saxophonist would later tell the magazine DownBeat, "brought me close to a musical architect of the highest order. I learned from him in every way.". As the name indicates, Complete 1957 Riverside Recordings is a collection of the recordings of these sessions, which were made up of themes almost all written by Monk. Initial recordings, false starts, alternative versions, studio conversation: it's all there! It's a pretty fascinating document, especially for the way that the pianist welcomes all his young colleagues into his unique musical world, so openly and so freely. © MZ/Qobuz
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Jazz - Uscito il 12 agosto 1963 | Columbia - Legacy

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Jazz - Uscito il 01 gennaio 1955 | Prestige

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This disc contains an all-star cast headed up by Thelonious Monk (piano) and includes some collaborative efforts with Sonny Rollins (tenor sax) that go beyond simply inspired and into a realm of musical telepathy. The five tunes included on Work are derived from three separate sessions held between November of 1953 and September of the following year. As is often the case, this likewise means that there are three distinct groups of musicians featured. Whether by design or happenstance, the tracks compiled for this EP present Monk in the favorable confines and settings of smaller combos, ranging from the intimacy of the Percy Heath (bass) and Art Blakey (drums) trio on "Nutty" as well as the equally grooving title track. Both utilize Monk's uncanny and distinct sense of melody and are conspicuous for Blakey's rollicking percussive contributions -- which, at times, become thrust between Monk's disjointed chord work. The larger quartet and quintet settings are equally as inventive, retaining the highly inventive atmosphere. However, the undeniable highlight is the interaction between Monk and Rollins. Leading off the disc is a definitive and freewheeling reading of the pop standard "The Way You Look Tonight." Equally as scintillating is "I Want to Be Happy," both of which are also highlighted by Art Taylor (drums) and Tommy Potter (bass). They provide a supple and unencumbered framework for the soloists to weave their inimitable and often contrasting contributions. The final track is the beautifully dissonant and extended "Friday the Thirteenth," which is ironically the first fortuitous collaboration between the two co-leads. Rollins is able to entwine a sinuous lead throughout Monk's contrasting chord counterpoint. Enthusiasts seeking additional tracks from these and the remainder of Monk's sessions during his brief residency with Prestige should consider the suitably titled four-CD Complete Prestige Recordings compilation. © Lindsay Planer /TiVo