For this week’s HFLS, we return to 1963, a year of profound achievement for Jazz. This is the second part of three sessions dedicated to this incredible year.
“Monk’s Dream” is Thelonius Monk’s debut release for Columbia Records and features the newly formed Thelonius Monk Quartet. Unparalleled in tightness, this new quartet boasts a near-telepathic sync between its members and Monk’s angular, percussive piano-playing style finds itself complimented perfectly by the accompaniment of Charlie Rouse (Tenor Sax), John Ore (Bass), and Frankie Dunlop (Drums). Despite this album seeming like a rehash of older work –– a glance at the tracklist reveals many titles already issued on Riverside –– “Monk’s Dream” demands a worthy listen especially for fans of Bebop.
Similarly, “Page One” is a noteworthy first for Tenor man Joe Henderson. “Page One” features the talents of Kenny Dorham (Trumpet), McCoy Tyner (Piano), Butch Warren (Bass), and Pete La Roca (Drums). Together, Henderson and this quintet craft an album that’s part-Hard Bop and part-Bossa Nova, perhaps to ride on the success of the easy listening Brazilian trend on the rise at the time. “Page One” became an undeniable hit, turning the tracks “Blue Bossa” and “Recorda Me” into bonafide Jazz standards, and launching the long-storied career of the bright, young Henderson.
On Duke Ellington’s “Money Jungle”, we see the veteran pianist team up with Charles Mingus (Bass) and Max Roach (Drums). Many remarked on this cast as peculiar and noted Ellington’s significant 20-year age gap. Were there generational differences that manifested during the recording of this album? Perhaps, and maybe those same differences contributed to a one-of-a-kind recording in Ellington’s immense back catalog. The titular opener is thundering and cacophonous – a blues that ersts somewhere between post-bop and the avant-garde – and hints at the presence of an unusual dissonance in Ellington’s piano throughout the rest of the album. No matter how one feels about the peculiarities of this work, there’s no denying that “Money Jungle” is a sensational session of some of Jazz’s finest talents.
Lauded as one of the best Jazz albums of all time, Kenny Burrell’s “Midnight Blue” is a shining gem in Blue Note’s extensive discography and one of the finest examples of masterful Jazz guitar. “Midnight Blue” is the sound of an evening in its deepest hue; restrained and mellow with a slight Latin touch owed largely to Ray Baretto’s conga. Alongside Burrell and Baretto are Stanley Turrentine (Tenor Sax), Major Holley (Bass), and Bill English (Drums) and together the band finds the perfect balance between efficiently groovy and pleasantly atmospheric. Cool as ice. “Midnight Blue” is late night music, par excellence.
The Listening Session will begin at 8pm. Please arrive early if you’d like to secure a table on the floor. Low-speaking voices are highly encouraged.