Mr Monk Composer of the week, all week...

[BLUESNIK'S REVOX]

Good start to the week in company of Brian Priestly.

Booting little version of "Rhythm a Ning from 1959 with Rouse, Le Barney, Sam Jones and Art Taylor from Vadim's 'Laisons Dangereuses" with Jeanne Moreau on tuba.

[Bryn]

Good to have Mr Monk as Composer of the Week, though he was pipped to the post by Ms. Monk.

[BLUESNIK'S REVOX]

Confession of the ignorant, but I thought Meredith was a "he". But as she records for ECM that's an allowable error...in my backyard.

[Bryn]

Confession of the ignorant, but I thought Meredith was a "he". But as she records for ECM that's an allowable error...in my backyard.

Having received the 2014 National Medal of Arts from President Obama

[Serial_Apologist]

Excellent start under Donald's aegis, playing tracks, such as that one, new to me, from the revelatory Minton's sessions with Joe Guy* which elsewhere featured Charlie Christian if I'm not mistaken, showing as always with this programe what Radio 3 can and should be about, clearly illuminating and contextualising its subjects of choice; but er, have I been misinformed by people who, one might expect, should know if Cootie Williams was the actual composer of Round Midnight? Has that been put to bed, then?

*Off topic, but was this the same Joe Guy as the one who turned up in a less favourable light in Billie Holiday's life?

[Jazzrook]

Good start to the week in company of Brian Priestly.

Booting little version of "Rhythm a Ning from 1959 with Rouse, Le Barney, Sam Jones and Art Taylor from Vadim's 'Laisons Dangereuses" with Jeanne Moreau on tuba.

That was one of the best versions of 'Rhythm-A-Ning' I've heard.
Will have to acquire that 'Les liaisons dangereuses' CD.
Good to hear Brian Priestley who's always a perceptive and knowledgable jazz broadcaster.
He would greatly enhance JLU!

JR

[BLUESNIK'S REVOX]

" Well darling its night again. After I got thru [through] my work today I just couldn’t write. I cried for the first time. Oh darling I love you so much I am so sorry you have to stay there in Phila. It must be awfully hot. Yes baby I gained nine pounds and I am getting biger all the time gee you wont love me fat (smile) But you must look wonderful. Youer [you are] so tall and you needed some weight. So thank heavens for that and what ever happens at your trial sweetheart keep your chin up don’t let nothing get you down. It won’t be long before were together agian [again]. My lights has been out every [ever] since I last saw you. But they will go on agian for us all over the world. Write to me Joe as soon as you can. Ill always love you as ever your Lady Billie Holiday" - Billie to Joe Guy 1947, when he was on in prison on remand for a heroin bust.

[Serial_Apologist]

" Well darling its night again. After I got thru [through] my work today I just couldn’t write. I cried for the first time. Oh darling I love you so much I am so sorry you have to stay there in Phila. It must be awfully hot. Yes baby I gained nine pounds and I am getting biger all the time gee you wont love me fat (smile) But you must look wonderful. Youer [you are] so tall and you needed some weight. So thank heavens for that and what ever happens at your trial sweetheart keep your chin up don’t let nothing get you down. It won’t be long before were together agian [again]. My lights has been out every [ever] since I last saw you. But they will go on agian for us all over the world. Write to me Joe as soon as you can. Ill always love you as ever your Lady Billie Holiday" - Billie to Joe Guy 1947, when he was on in prison on remand for a heroin bust.

[Ian Thumwood]

I don't know much about Joe Guy in addition to the above other than the fact he played in Chick Webb's band and, I think, in the short-lived big band that Coleman Hawkins led around 30/40.

I love Monk's music but have been extremely disappointed with the Monkestra that has been getting some serious attention over the last few years. To my ear, the band sounds like the kind of thing that Gordon Goodwin's Big Phat Band produces. I can admire the musicianship of both yet stylistically their music leaves me cold in both instances. The odd thing about Monk's music is that it sounds better when people approach the music from a more radical, outside perspective. Any attempts to lavish the music with sophisticated chords or odd meters just renders the music toothless. There are players like Kenny Barron, Fred Hersch, Misha Migelberg and Steve Lacy who can nail the music yet the host of centenary celebration records issued this year seem quite uninspired. I have yet to hear the solo Leo Wadada Smith album but he is the kind of player you would hope would get it right. I would love to hear someone like Josh Berman, Jason Adasiewizc or Jeb Bishop tackle this repertoire.

[Alyn_Shipton]

There was a segment on the Monkestra on the 9 oct Jazz Now with the set from Thelonious with Steve Cardenas. I did not feel the tracks played were in any way Goodwin-esque...

[BLUESNIK'S REVOX]

Really good series of programs, well presented, useful background, no hype. Ta.

BN.

[Serial_Apologist]

Really good series of programs, well presented, useful background, no hype. Ta.

BN.

The assertion in the last programme that Monk only recorded one track in 3/4 time, which was played, was incorrect, the eccentric version of "Carolina Moon", albeit in a lopsided 3/4, having been recorded back in 1952. Otherwise, hats off all round to COTW!

[BLUESNIK'S REVOX]

"Dave Oliphant·1996 · Music

With Monk's arrangement of Carolina Moon in six-eight waltz time, Dorham's ensemble work is again crucial, and he performs ably..."

And then there's Monk's "Straight no Pedant...

[Jazzrook]

Really good series of programs, well presented, useful background, no hype. Ta.

BN.

Agreed, and I was glad to have recorded the series.
It's a pity Brian Priestley doesn't present a regular jazz programme on Radio 3.

JR

[Serial_Apologist]

"Dave Oliphant·1996 · Music

With Monk's arrangement of Carolina Moon in six-eight waltz time, Dorham's ensemble work is again crucial, and he performs ably..."

And then there's Monk's "Straight no Pedant...

"Monk's refashioning of Carolina Moon into a 6/4 waltz was perhaps the most celebrated number from the session when it came out on 78 and Roach was no small help in the realization of the concept" - Ira Gitler, liner notes to Thelonious Monk The Complete Genius (Blue Note).

I stand corrected, and will now submit to my six of the best. The "waltz" reference was what must have stuck in my memory.