Alon Nechushtan

Alon Nechushtan (piano)

Words Beyond (Buckyball Records)

Dan Weiss (drums)

Francois Moutin (bass)

I became aware of Alon Nechushtan from his work with what I would call "avant garde klezmer" outfit Talat and was extremely excited about what Nechushtan would do as leader. He is a talent and in-demand musician who has worked all over the globe with festivals and musicians as diverse as Roy Campbell, Chris Speed, Marc Dresser among others.

The work he has done on his debut, Words Beyond (Buckyball Records) is simple. He has deliver an album of real invention, originality and clarity that should catch the ear of most jazz listeners as this record gets out to more people. With the obvious influences circling this session, Monk, Jarrett, Bley, etc. I tend to notice Uri Caine more in the flexibility of the compositions and Nechushtan's own performance on Words Beyond.

There is a playful nature between the trio on the first two tracks "Muppet Shock" and its successor, "Different Kind Of Morning". Both display an elegant, joyful and quick witted Nechushtan creating some intense patterns as the excellent Weiss and Moutin follow with a deep one, two's of improvised moments. Lovely interplay especially throughout "Different Kind Of Morning." On my current favourite track on the album "Dr. Masterplan", Nechushtan illustrates some complex arrangements but his play is so high-paced that you are immediately sucked into the rhythm and a journey that is buoyant and accessible.

The complexity and cleverness of Alon Nechushtan's writing does remind me of the earlier straight ahead jazz albums of Uri Caine (or his Moloch record for the Tzadik label). They can be complex in composition but yet still mesmerize even the newest of jazz fans. I feel this way on "Spring Soul Song" and "Heartbreakthrough". The first having more of an upbeat and sometimes staccato moments but overall moves the listener with a sense of adventure. The latter is a more a traditional ballad in which Weiss and Moutin both are raised to forefront with superb performances. Weiss adds a gentle wash to discussion while Nechushtan and Moutin both give real emotional impact with their interchanges.

Words Beyond is a stellar debut from a composer and musician who is reaching new heights with every recording session and performance. If you haven't listened to Alon Nechushtan already, I highly suggest you start now. Highly Recommended.

Be Lee...Alon Nechushtan from JMJProductions on Vimeo.

ASA Trio

ASA Trio (group; formed 2005)

Plays The Music of Thelonious Monk (self produced; 2011)

Anders Thor (guitar)

Scott McLemore (drums)

Agnar Mar Magnusson (organ)

It's a funky kind of weekend. I thought it might be appropriate to wait till now to spring this killer new record on everybody. I'm really glad the group and I stumbled upon each other in cyberspace here. I got a copy of ASA Trio's latest album, Plays The Music Of Thelonious Monk and was very intrigued by the idea of an organ based trio doing Monk tunes. I have fallen in love with this Icelandic band over the last few weeks and I think everybody seriously needs to check them out.

Now dedicated organ trios are nothing new in the jazz history. What makes ASA Trio standout is they stick to what makes organ trios so satisfying--a deep attention to and understanding of basic instrumentation, blues, funk and jazz harmonics.

ASA Trio are led by Agnar Mar Magnusson (organ) - who's style resembles the great Larry Young -  Anders Thor (guitar), and Scott McLemore (drums). The band started almost by accident. During the Reykjavik Jazz Festival in 2005 there was a band cancellation and this thrust Anders into the spotlight to create a band to perform that day. His two bandmates had performed only briefly in separate incarnations but this performance went off supremely well. And shortly after the band become ASA Trio. The group have recorded two digital only albums previously - A live album, and what is becoming an underground classic, a complete recording of John Coltrane's A Love Supreme. Both albums are available on the band's website and you must check them out. But today our focus is on Plays The Music Of Thelonious Monk.

While there have been plenty of artists that have done Monk inspired albums (Fred Hersch, Wynton Marsalis, Anthony Braxton, Paul Motian, E.S.T., Alexander von Schlippenbach) I don't think any of them would have envisioned a whole album performed by an organ dominated group. Nor would you or they have envisioned it being this exciting, inventive, well played and all around a pleasure to listen to again and again. With most albums of this nature you will see the usual Monk standards "Well You Needn't," "Nutty," and "Epistrophy". But Asa Trio have decided to go in a slightly different direction with minimal Monk standards "Bemsha Swing" and "Straight No Chaser" mixed in with many lesser covered Monk gems.

"Bemsha Swings" opens the album (this was also one of the tracks they first performed at the festival in 2005) beautifully, showing a group that plays within the groove as well as demonstrating a consistent unity among the three. You can feel each instrument throughout this piece. Magnusson's organ never overwhelms the others. This is a hard bop trio utilizing its ability to groove but also staying within tradition. "Raise Four" is both bluesy and funky. Thor's melody is smokin' and free-wheeling like Grant Green or early George Benson. McLemore shows the versatility of a young Billy Higgins throughout this session. His ability to shift in time and rhythm adds an element of surprise with each track.

On "Green Chimneys" Thor picks up Charlie Rouse's chords masterfully. It's not as striking as you would think and the patterns blend harmonically with Magnusson playing the Monk extremely subtle allowing the focus clearing on Thor and McLemore. It's a great example of this collectives creativity in re imagining what could well be a difficult piece. McLemore's solo is bit more fierce than Ben Riely's original but it clearly suites this highly imaginative version.

The beauty of such Monk ballads as "Ugly Beauty" and "Ask Me Know" illustrate another aspect of ASA Trio that I love--they are constantly challenging themselves throughout this recording. It's hard enough to tackle Monk compositions that others don't usually look to work with. It's another thing to challenge yourself with both his uptempo, multi-layered pieces and his intricate ballad material. "Ugly Beauty" in particular, while staying in line with Monk's original intent, shows Magnusson applying delicate pressure on the Hammond which in turn give the piece a bit more emotional punch.

I guess you really couldn't close this session with an unknown Monk piece but what better way to do it than with the universal "Straight No Chaser". Thor really dominates as a replacement for the sax (which would have been Sahib Shihab on the original). Magnusson delivers a pulsating solo that you could imagine Keith Jarrett doing early in his career. Great stuff.

ASA Trio have carved a nice niche for themselves in their native Iceland but I think soon the rest of the world will definitely start talking about this trio. With Plays The Music Of Thelonious Monk, ASA Trio have delivered a document that is all together absorbing, challenging, fun and different than some of the material that's out at the moment. In addition, to the Monk album you should also check out their Live At Domo and A Love Supreme: Live At Cafe Cultura digital only album. Highly Recommended stuff. Enjoy.

Fred Hersch: At The Vanguard

Fred Hersch (piano;b. 1955)
Alone At The Vanguard (Palmetto Records)


Fred Hersch has always been one of my favourite pianist. His style is elegant, emotional and intelligent. Hersch has been prolific in various settings including duo, trio, quartet, quintet and orchestral. But the one setting that many (including myself) love the most, is his solo outings. Hersch is someone who takes a tune and transforms it into more than just melodies. He creates stories.


Fred Hersch's latest story is taken from a series of sold out nights at the legendary Village Vanguard in New York City. For once I was smart enough to get my arse downtown to see him solo. I have since him in duo and quartet settings but never solo; until this particular week of shows. I only went to the second night and as usual it was mesmerizing.


Alone At The Vanguard documents the final evening of that series of performances. The intimacy and beauty of this evening is what will really grab you when you listening to a track like "Echoes", an original piece Hersch piece. It's a rich, lush piece that finds Hersch moving up and down the scales in a calm but exalted manner. A nice signature moment of Hersch's quality. After listening "Echoes" you will realize how important Fred Hersch is to jazz music.


"Memories Of You", one of my favourite standards is more intimate than ever in the masterful hands of Hersch. It's heartfelt and he basically opens the door for you to see and hear the detail of each note. A clear perception and tone that is unlike many other pianist of his generation. Monk has definitely been an influence on Hersch (he has already recorded an album of just Monk covers). But there are probably only two musicians who can really re-imagine a Monk tune--Jason Moran and of course Fred Hersch. On "Work", a song Hersch has already covered on the three disc set, Songs Without Words (Nonesuch; 2001), he again takes the Sonny Rollins/Thelonious Monk piece and energizes it with playful confidence.


The Sonny Rollins standard "Doxy" closes out what must have been a perfect evening for the audience. The forceful yet emotional and sometimes blues-inflected tone Hersch adds is another example of his creative interpretation. Alone At The Vanguard is another solo masterpiece from a truly great master of the instrument. Live is always the best way to see Fred Hersch, but if you can't make this is the best document to be a part of the experience. Highly Recommend.

Celebrating Thelonious Monk

Thelonious Monk (piano; b. Oct. 10, 1917 - d. Feb. 17, 1982)

Yesterday was Thelonious Monk's birthday. Now if you have been reading this blog for awhile you know I've written about Monk on numerous occasions. He is one of my favourite artists of all-time. So I won't go into much detail today (you can read previous entries). Today I wanted to celebrate his birthday by discussing three great compilations that give a very complete overview of his genius.

Each compilation covers a specific period and all are fairly inexpensive. You could easily get all the Monk you wanted in one shopping trip. That's not too say that albums like Brilliant Corners (Riverside Records), Criss Cross (Columbia) or It's Monk Time (Columbia) should not be purchased but in a environment where individual albums are becoming harder to find, some of you should at least know about the best collections that would served the purpose well.

The Best Of The Blue Note Years (Blue Note)

This album is also known as 'Round Midnight (in some countries) as well as a couple of other different titles. The track listings vary slight and the covers are definitely different but the history remains the same. These are recordings from '47 - '52 and feature Monk in sessions with Art Blakey, Coleman Hawkins among others. Consider it "the artists as a young man" period. This is Monk delivering some of great skill on standards like "Nice Work If You Can Get It" and "April In Paris" in addition to early versions of his classics (known standards) "Epistrophy," "'Round Midnight," and "In Walked Bud". At first listen it may seems slightly non-descript but once you have submersed yourself in the other two collections you will come back to these recordings with a sense of amazement.

The Definitive Thelonious Monk on Prestige and Riverside (Concord Records; 2CDs)

This recently released compilation is prime material from '52 - '60. It features a host of legends in sessions with Monk, including John Coltrane, Miles Davis, Max Roach, Gigi Gryce, Sonny Rollins are more. It's two discs at an exteremely affordable price (at most places) and includes a large chunk of the classic Monk pieces, "Brilliant Corners," "Trinkle, Trinkle," "Nutty," and "Staight No Chaser". Monk's playing at this point was incredible. This is Monk developing into a very distinct voice on the scene and his compositions becoming more and more potent. His personality was emerging and everyone audiences and critics alike were taking notice.

The Essential Thelonious Monk (Columbia Records, 2CDs)

This technically covers the important works Monk recorded between '62 - '68. It also features some of Monk's finest groups (Charlie Rouse, Frank Dunlop, Butch Warren, Ben Riley) in phenomenal form. The collection includes live recordings, solo work and Monk's adventures into large ensembles. The Essential Thelonious Monk also includes versions of my favourite Monk pieces "Well You Needn't." and "Straight No Chaser". Monk was "on top of the world" at this point but also critically scrutinized. I guess that's part of genius and success. At this point Monk was on the cover of Time magazine and producing records of real quality and distinction (the aforementioned Criss Cross and It's Monk Time).

Many of you may already have one or two of these collections but for those who don't these three compilations would probably give you the best overview of Thelonious Monk you could have (outside of the individual albums and expensive boxed sets). But don't forget there are a treasure trove of live albums which highlight Monk's ability as entertainer, leader and great thinker that are worth seeking out. We have written about on the blog before as well. I hope that you get a chance to purchase any of the above records. You won't be disappointed. And here's to the live of one the great musicians ever. Happy Birthday Monk!

Fred Hersch: Whirl

Fred Hersch (piano; b. 1955)

Whirl (Palmetto Records)

Eric McPherson (drums)
John Hebert (bass)

Fred Hersch has been on the scene for more than two decades. He has become one of the most prolific and consistently creative musicians around. He is not only a great performer he is an unmatched composer and interpreter of the jazz standard songbook. He has recorded material from Thelonious Monk, Bill Evans, Bill Strayhorn, Antonio Jobim and more. He has recorded with such greats as Joe Henderson (sax) and Stan Getz (sax) among others. He is consistently compared to the great Bill Evans, which is justifiable. Hersch's has a intricate and emotional ability to connect with the listen and the utmost level that you are truly moved by just one piece.

Fred Hersch was diagnosed with HIV in the early '90s and has been a great advocate against the illness. But he is also a symbol for us all on how to cope with adversity. Recently he has recovered from a coma and has come back amazingly strong with his most recent release Whirl (Palmetto Records).

Whirl is about as perfect a piano trio as you'll find. There is something very smooth and free-wheeling about Whirl that hasn't been apparent is his most recent recordings. Tracks like "Skipping" and "Mandevilla" are beautiful and intricately balanced showing a rich upbeat Hersch with superb work from John Hebert and Eric McPherson. The title track "Whirl" jumps with vibrancy and creativity that will surely make new listeners of Hersch stand up and take notice.

Whirl is by far one of my favourite Fred Hersch records. Fred Hersch is still touring (not consistently but he is out there) so if you see his name on the bill at your local jazz club I highly advise you to go. It is a must! Along with Jason Moran's Ten, its definitely one of the best albums by a pianist this year. Fred Hersch continues to paint a beautiful picture of jazz repertoire and standards that will be a monumental legacy for others to follow.

Geri Allen: The Year of Perfection

Geri Allen (piano, b. 1957)

It's been awhile seen I last listen to Geri Allen, the Detroit native with I would call the female equivalent to Keith Jarrett, Thelonious Monk or Bud Powell. While some might say the obvious comparison might the great Mary Lou Williams, whom was an incredible pianist in her own right, Allen has shown a deep capacity for far ranging themes and ideas with each recording.

Allen has worked with a wide array of the best jazz musicians on the planet. Arguably her most famous association is a series of albums she did with the trio of Charlie Haden (bass) and Paul Motain (drums). If you stumble across any of these albums you should definitely pick them up. They are becoming rare (even though they have been reissued in the last 10 years) so I would highly recommend them as excellent documents of what a real trio can do at the peak of its powers.

Geri Allen has recorded over 16 albums over the last 25 years. Her albums are challenging in their concepts (gospel, spirituality, legendary tributes, Afro-American themes and more) but always deliver in a subtle manner that listeners can enjoy the experience while sometimes taking on journey through American culture.

It has been four years since Geri Allen's last record Timeless (Telarc). She has done a bit of session work during that time most notably an avant garde date with Trio 3 (Reggie Workman, Oliver Lake and Andrew Cyrile). But in 2010 she has released two albums in quick succession. Both are welcomed additions to the best albums of the year.

Flying Toward The Sound (Motema Music) is a solo piano suite inspired by some of her influences; Herbie Hancock, Cecil Taylor and McCoy Tyner. Flying Toward The Sound is beauty improvisational work that brims with creativity track after track. "Red Velvet In Winter" dedicated to Herbie Hancock but sounding nothing like. It is deep and wide in scope--almost classical--but important in vision. This a mastery of the piano at its finest. The manner in which Allen scales the keys here is astounding. The epic piece "God's Ancient Sky", obviously spiritual but powerful in its beauty and structure. There are very few jazz pianist who can make a stretch a piece like this through various emotional passages and still leave you wanting more. Flying Toward The Sound is by far one the best and comprehensive Geri Allen albums in years. If you enjoy solo piano works this is well worth your time.

Geri Allen's second album this year is a live quartet recording. Geri Allen & Timeline Live (Motema Music) is Geri's first full length live album and it delivers something completely opposite to the solo Flying Toward The Sound--Geri Allen as band leader. Live demonstrates Allen's ability to craft and guide a group through her complex recordings and incorporating something most people will have no knowledge of on record at least---tap percussion. The quartet consists of Maurice Chestnut (tap percussion), Kassa Overall (drums) and Kenny Davis (bass). Chestnut's tap (yes tap dance) percussion on the vibrant and powerful opener "Philly Joe" and its successor "Four by Five" are unique and powerful introductions to the evening.


Live is Geri at her most fierce. Her work her is killer and the rhythm section support and follow her with amazing ease. It is as if she has had this band for decades not a few years. The groups performances throughout are raw and infectious. On "Embraceable You/Loverman", Allen deploys her softer touch to the keys, allow the listener to become enveloped sound and emotion. The band join along with Chestnut's tap percussion join in midway, turning it into a lovely number by candlelight. We've had to wait 25 years for a live Geri Allen album and its been well worth it. I almost wanted to cry after listening to this. Highly Recommended.


Geri Allen is one of the few pianist today (Jason Moran for me would be the other) that continue to come up with new and challenge ideas. I hope they continue and hope you will get a chance to follow along. Geri Allen is definitely required listening.

Bruce Barth

Bruce Barth (piano; b. 1955)

Very accomplished yet unassuming Bruce Barth has developed out a reflective post bop style that is bold as it is subtle. You really get this feeling more when you see him live. Bruce Barth is technically brilliant and highly effective with his compositions and interpretations. I have enjoyed his music for years now. Bruce Barth is one of those under-rated musicians of his generation. If someone doesn't tell you about him or you don't stumble across a live show in your city you may never know about him.

I first discovered him at a live show at the now legendary Smoke Jazz Club in New York City about seven years ago (maybe) not actually realizing years later that I actually met him once with Terence Blanchard as he was the primary piano player in Terrance's band during the early nineties (he also performed on a number soundtracks that Terence scored including Malcolm X). Bruce Barth has recorded 10 albums (and one DVD) as leader. All are quite rewarding and possibly owe a good deal to Chick Corea, Herbie Hancock and than Thelonious Monk and Duke Ellington (although Monk composition appear on quite a few albums).

In addition to working in Terrance Blanchard's band, Barth has also worked with Branford Marsalis, Wynton Marsalis, Joshua Redman, Tony Bennett, Karrin Allyson and Roy Hargrove to name a few. The years of work in Blanchard's group serve Barth well on his first few recordings including Morning Call (Enja), his second album as leader. This is highlighted by a great sextet including Leon Parker (drums), Steve Wilson (sax), Scott Wendholt (trumpet) and Larry Grenadier (bass). Morning Call is awash of Barth originals that show sophistication and beauty that I fell in love with after one listen.

Another standout album for me is the 2002 recording, Live At The Village Vanguard (MaxJazz) which is solid live recording (and the most widely available) mixed with spirited originals and elegant standards. A romantic yet smokin' live session that makes you feel like you're right there in the audience. It jumps, grooves and floats that you almost forget that its only a trio performing on the date.

Bruce Barth's latest album, Home (We'll Always Swing Music) is a live album with longtime colaborator Steve Wilson on saxophone. Home is an intimate performance and you can immediately tell that the two musicians have played with each other for years (since 1987). They are performing in front of just over 60 people at the home of a jazz supporter of the organization We'll Always Swing. Harmonically it might be two instruments but their interplay is so beautiful it sounds like one person. Barth again has written most of material for this evening including the compelling "The Ways Of The West" and rigorous "Blues Interruptus" which highlight Barth's considerable strengths as composer. There are only two standards played during this date, "All Through The Night" and "Sweet And Lovely". Both magnificently done and played with a loose combination of adventure and poetry. Home serves as an nice and long overdue follow up to Live At The Village Vanguard but I'm glad it's arrived.

I have a feeling many of you may not have heard Bruce Barth so I'm hoping I've convinced some of you that he is worth a listen. A good amount of his albums are available for download so that might be the best way to find him. He doesn't tour that often but if you should lookout for his name on the bill at your local jazz club. When he does show up--go. You won't regret it.

Bud Powell: When Bebop Took Shape

Bud Powell (piano; b. 1924 - d. 1966)

Bud Powell is arguably one of the top five jazz greatest pianists of all time. His style while influenced by Theonious Monk and Art Tatum in his early years would become very distinctive very quickly. He developed great agility on the piano and his ability to rip of chord changes at a blistering pace was something other musicians had not seen at the time. But Powell wasn't just an amazing improviser he also had subtle rhythmic tones that made his mid period work standout far and above many of his contemporaries.

While his studio recording career was brief (roughly 20 years) he left a legacy that shines bright throughout jazz history. He suffered from mental trauma in the prime of his career due to a police beating that occurred in '45 but that didn't really stop his recording but it did make his life activities erratic until he passed away in 1966.

It's commonly recommended that The Amazing Bud Powell Vol. 1 and 2 (Blue Note) (both sold separately) are the core records for your collection. I would tend to agree with any of my fellow jazz friends who would say this. The Amazing Bud Powell Vol. 1 recorded in 1951, includes songs that would later become standards in jazz songbook. Songs like "Un Poco Loco" "Bouncing With Bud," "Dance Of The Infidels," on Vol. 1 sparkle with dynamism of Bud's interaction with Sonny Rollins (sax), Fats Navarro (trumpet), Roy Haynes and Max Roach (drums on separate numbers) and the rest of the band. "Dance Of The Infidels" is the perfect example of Bud Powell's gift at the piano. It is a very complicated number which he incorporates an series of cord changes that at first listen don't sound like they go together at all but he somehow turns it into real melodic beauty. A few years after this session and before the second Amazing release, Bud would work on another legendary and contensious session with his friends, Charlie Parker, Dizzy Gillespie, Charles Mingus and Max Roach entitled Live At Massey Hall.

The Amazing Bud Powell Vol. 2, recorded in 1955, features a trio lineup on George Duvivier (bass) and the truly under-rated Arthur Taylor (drums). This album is surrounded by covers and only two Powell originals but it is still a beautiful session. Bud and company shift through classics "Autumn In New York," "I've Got You Under My Skin," and Bud's original, "Glass Encounter". This is bebop at its finest and definitely deserves in anyone music fans collection. One of my personal favourites is "Reets And I", a killer number were the trio really let loose and you can feel each musician challenging each other. On "Polka Dots And Moonbeams" the trio (mainly Powell) turns this into a dark, dense introspective piece that really brings you closer to the pianist than ever before.

The Amazing Bud Powell Vol. 1 and 2 are great documents of a legend. But if you want a slightly comfortable overview (at an affordable price) you might want to look at The Definitive Bud Powell (Blue Note/Verve). It is by now means "definitive" but it covers the essential records from both labels and for that generation that might want it simple for the mp3 player, this is the one to get. Don't get me wrong--there's absolutely nothing wrong with this collection. It's brief, concise and to the point. If you don't own any Bud Powell this should suite you just fine. If you want to dig deep I suggest the aforementioned The Amazing Bud Powell Vol. 1 and 2.

You can also check two compilations The Best Of Bud Powell on Verve and The Best Of Bud Powell on Blue Note. These separate disc will give you a full overview of each labels materials with very little overlap. They are both a little hard to find but worth picking up when you do spot them.

One way or another you should put Bud Powell on your shopping list. If you want a true lesson into the origins of bebop, outside of Charlie Parker--Bud Powell is a great place to start.

Kronos Quartet

Kronos Quartet (group; formed 1973)
Monk Suite: Kronos Quartet Plays Music Of Thelonious Monk (Landmark, 1984)

For some, you may not know the name Kronos Quartet. I hope that isn't the case but its possible. Kronos Quartet are a classical ensemble that has been together over 3 decades now. You could say they are single-handily responsible for bringing a "punk" ethic to genre and expanding it to younger generation. The "punk" ethic that I'm referring to is Kronos Quartet's choices of daring repertoire. They have performed the music of John Zorn, Jimi Hendrix, David Grisman, Ornette Coleman as well the more avant garde classical composers like Philip Glass and Alfred Schnitke.

They have recorded over 40 albums so it does become a daunting task for someone to find the right album to start with. For me, it was Monk Suite (Landmark Records). I first heard it in of all places--a record store! I thought it was the coolest thing I heard to that point. For a few minutes I couldn't place the songs. And then I realized it was Thelonious Monk, but I couldn't understand who would turn this songs into classical music. Was this some sort of joke? Like when Devo did their Muzak album? (I hope some of you get that reference. Please tell me you did?).

I asked the clerk at front what was playing and she showed me the album. All I could say was--wow! I hadnn't heard of Kronos Quartet to this point. Monk Suite features some very familiar Monk pieces including, "Well You Needn't," "Round Midnight," "Crepuscule With Nelle" among others. The tunes are not that different from the originals but it is honor and spirit to which the recordings are done that makes this so special. The performances have a fun and vibrant quality to them that is both beautiful and endearing. The quartet is also joined by legend jazz musician Ron Carter on bass. Carter's contribution gives these pieces an additional depth and foundation for which the non-classical, non-jazz listener can easily enjoy the experience.

Kronos Quartet also recorded another jazz themed album or Bill Evans material but I believe the Monk Suite is probably the most accessible of all the Kronos releases. Monk Suite may also be a nice way to get yourself into both jazz and classical without feel overwhelmed. If you do pick this up there is also a compilation called Released 1985 - 1995 (Nonseuch) that covers a good majority of their classical repertoire that is well worth owning.

Kronos Quartet have and continue to expand the view of classical music by consistently performing new and challenging material. They unfortunately haven't revisited jazz in the complete context as the Monk and Evans albums but they made an indelible mark with these recordings and set a benchmark for other string quartets and classical ensembles to deconstruct and reinterpret contemporary/modern music with great vision.

Eric Dolphy In Transition

Eric Dolphy (sax, clarinet, flute; b. 1928 d. 1964)

Out There (Prestige, 1960)

The L.A. native, Eric Dolphy, made a number of appearances as sideman before recording his debut Outward Bound (Prestige. 1960), brilliant slice of hard bop with exceptional promise. He had become a multi-instrumentalist, particularly through his improvisational work on the bass clarinet. He worked with both Charles Mingus and John Coltrane whom along with Charlie Parker were huge influences on his compositional work.

Many people, myself included, will site that the ultimate Eric Dolphy album to own is Out To Lunch (Blue Note; 1964) but I also believe that there is an album that marks the origins of what Dolphy would continue to explore for the rest of his career. That album is Out There (Prestige; 1960). Eric Dolphy employed a quartet that was minus a piano player. Instead he chose the legendary Ron Carter (cello), which would result in some of the most memorable interchanges you will ever hear. The quartet also included George Duviveier (bass) and Roy Haynes (drums) whom both add tremendous dimension to the proceedings.

The opening "Out There" is wonderful piece of free jazz in which Dolphy expresses the angular emotion that made his recorded output so unique that he former employer Coltrane would later take note and say that mention that many people missed the beauty in Eric Dolphy's music. A large majority of sessions features Dolphy on clarinet but it is an excellent opportunity for the listener to hear why he was considered one the few musicians to turn the clarinet into an unbelievable improvisational instrument.

On the Charles Mingus penned "Eclipse" Dolphy and Carter connect in one of most hauntingly beautiful ways. The ballad "Sketch Of Melba" illustrates the more melodic bluesier side which Dolphy could turn with ease. The session closes with a drifting and scale jumping "Feathers" in which Carter and Dolphy connect again with an uncanny beauty that would be reminiscent of Monk and Rouse.

Out There is a transitional album--bridging the more standard bop of its predecessor, Outward Bound with the future exploration of free jazz that would later result in the masterpiece of Out To Lunch. The Dali-esque album cover is slightly misleading to the accesible nature of the entire recording. But make no mistake, Out There is an album that stands on its own and should be a must in your music collection. A brilliant album by an artist would be gone all to soon.

Thelonious Monk Live In Stockholm 1961

Thelonious Monk
Live In Stockholm 1961 (Dragon Records)
Thelonious Monk (piano)
Charlie Rouse (sax)
John Ore (bass)
Frank Dunlop (drums)

The Thelonious Monk Quartet were in midst of a European tour at the time Live In Stockholm (Dragon Records) was recorded. It is probably one of the favourite Monk concerts I own. The sound quality is excellent (originally from a Swedish radio broadcast). There's nothing new in repertoire for this tour. It takes place just a few months before Monk would sign for Columbia Records and he was really starting to become a household name among jazz lovers. He's band (Rouse, Ore and Dunlop) had been together for two years now were to prime form. The gig kicks off with a great version of the Monk standard "Jackie-ing" with some killing interplay between Rouse and Monk. At this point the two men probably had the same brain they were so in sync. Charlie Rouse really is on fire during this performance especially later on during the set on "Well You Needn't" and "Beshima Swing". Rouse also has an incredible solo on "Round Midnight" that is best heard loud. This quartet was Monk most powerful and prolific.

Monk kept this group together along with selected touring/session members for almost four years before Ben Riely took over on drums from Frank Dunlop. The evening ends with a lovely version of "Body And Soul" as only Monk could do it. While there isn't anything historic about this date it is well worth seeking out for the sound quality and pretty decent packaging. Live In Stockholm is a brilliant snapshot of Monk and his quartet in fabulous form.

Unfortunately I haven't found any footage of this performance or of this quartet together at this time period. The performance below is from the quartet Monk put together shortly after Dunlop and includes Charlie Rouse (sax), Ben Riely (drums) and Larry Gayles (bass). Still a stellar quartet and marvelous work from Monk.

Cedar Walton: Living Legend

Cedar Walton (piano; b. 1934)

Cedar Walton has quietly become one of the most influential and revered musicians in jazz. In my opinion, Cedar Walton along with Wynton Kelly are one of a handful of hard bop pianists who don't get the recognition they so greatly deserve. He was a session player for many years during the '50s and early '60s. Cedar Walton has worked with a wide array of artists including a Benny Golson, Curtis Fuller, Dizzy Gillespie, Art Blakey, Kenny Dorham, Lee Morgan among others. He is widely known as the first piano player for John Coltrane's Giant Steps sessions. But his true shinning moments are his own recordings of which there are many.
 
Walton's style is sophisticated, beautiful and intricate in the similar vein of Thelonious Monk and Bud Powell. His choice of band members is always a sign of the intensity of recording session (especially live). Any album featuring legendary drummer, Billy Higgins is worth buying on the spot. The combination of Walton and Higgins is like Jagger and Richards, Lennon and McCartney or Monk and Rouse--you almost can't see one without the other. Walton's live performances of a thing of beauty. I have seen him countless times and I haven't experience one low-par show ever.
 

While all of his records I could easily recommend there is a highly strong and critically acclaimed period that saw Walton in his most inventive and prolific period. This was from 1975 - 1978 when he formed a band called Eastern Rebellion (named after the Irish rebel movement called Easter Rebellion). The band would also work off and on throughout the 80s and 90s but the majority of the material was during this three year stretch. The band consisted of mainstay Billy Higgins (drums), David Williams, Sam Jones (bass) and rotation of sax players including George Coleman, Bob Berg and Ralph Moore. The band originated out of a European tour that Cedar was headlining and he wanted to give his band an actual name and that's how Eastern Rebellion came about.

 

The albums are mixture of standards and Walton staples ("Bolivia", "Ojos de Rojo" and "The Maestro") with performances of the highest order. Most of the Eastern Rebellion albums were live so its the perfect way to hear Cedar Walton. There is a fantastic three disc set simply titled First Set, Second Set and Third Set (SteepleChase) which are probably the ones to start with. Bizarrely they are listed as The Cedar Walton Quartet records not Eastern Rebellion but that's nit-picky. The albums are a little hard to find but not out of print so they shouldn't cost that much. I have found them online and for download if you chose that route.

 
For those looking for some of Walton's newer material you should check The Promise Land (High Note) which features a host incredibly strong selections that anyone interested in jazz would love. The title track along with "Bermond's Blues" and "Thirty Degrees To The Wind" highlight an album of mostly Walton originals and is a real pleasure to listen to. A pianist with great skill and beauty--if you haven't experienced Cedar Walton you really should.
 
If you have a chance to see him live I highly recommend you buy ticket and see one of the few jazz legends still around and performing regularly. The perfomance below was recorded during one of Eastern Rebellion's European tours in '76.