Customer Reviews

At the Blackhawk

5 star:		(7)
4 star:		(2)
3 star:		(1)
2 star:		(1)
1 star:		(0)

 

 

This album was recorded in San Francisco's legendary Blackhawk jazz club. It turned out to be a last-minute project, as originally Monk was to perform with west coast drummer Shelly Manne, but the sound was not there. A last-ditch, one night only effort by the producer added trumpeter Joe Gordon and sax player Harold Land. The result was a very creative piece of work done in a very intimate setting. Monk, known for his "odd times" and "strange keys", sounded as if he had much more than just the one day of rehearsal prior to that night. It was recorded live in a club, and the full accompanyment of sounds heard in intimate jazz clubs of the day are prevalent. Cross talk, phones ringing, dinnerware and cash registers chinging can be heard faintly in the background, but that is part of what makes this album special. If you have the right sound system, you will actually feel as if you're in the Blackhawk with Monk on that night in 1960.

Of about twenty Monk records in my collection, this is the one I listen to most often. In fact, out of hundreds or thousands of recordings across many genres, this is one of those I listen to again and again. It hasn't gotten filed away for years. I can't tell you why in analytical terms, but that fact alone has to count for something. I was inspired to comment here because a previous reviewer referred to "some guys talking during the bonus tracks". True, a nearly-comprehensible conversation among members of the audience is captured on one of those tracks, but I have always thought that the annoyance was interesting since one of the voices sounds unmistakably like Orrin Keepnews, the record's producer and founder of Riverside Records. I guess its a fluke that I know what his voice sounds like to begin with - I've heard him speak occasionally at jazz shows and festivals around the Bay Area. Anyway, that's not a reason to buy the record, its just not a reason not to. I guess I like "At The Blackhawk" because it documents Thelonious and his associates on a typically oustanding night on the road in a small club in San Francisco in 1960.

A previous reviewer describes this performance as "a hurried attempt to salvage a failed session.." and goes on to direct you to other albums instead. DO NOT BE MISLEAD!

If you've an ear for music, if you love music, you will find every sense filled, every want satisfied with this wonderful album. Like the reviewer above, I am not going to tell you about the mood or health of the musicians present, or quote info out of context - these 'snippets' are generally misleading.

This is without any doubt, one of the best Monk albums out there. This is great jazz, great music, even if some of the anoraks don't see it!

In the latter part of his career, Monk favored the tenor 4tet format. Notwithstanding a few recording sessions with larger groups, his audience discovered his music via the 4tet and the solos (rare in concert). This is why the 5tet in SF is so appreciated. The rhythm section comprises Monk's regular bassist at the time, the very melodic John Ore, and LA-NYC stalwart Billy Higgins, who gives a bounce and an incredibly relaxed energy to Monk's music that few if any drummers before or after were able to give him. The addition of 2 hornmen gives wings to Charlie Rouse, very much the lead in ensemble and solo. Joe Gordon, dispaying a gorgeous bebop-brass tone, and the brilliant and emotional Herb Land quickly rise to the occasion and Monk's demands: make the pianist's tunes sing. Higgins never again recorded with Monk, but it could be said that having recorded the session, Billy had made his mark with this music, because here he defined a Monkian drumming comparable to none. It sounds like he was born to this music, as though he'd played it all his life.
Of course a few of the ensembles are a little ragged - guaranteed to infuriate Monk - but these are some very happy people, "deep in a dream of Monk".

that illustrates how Monk's genius both melded with and inspired so many other great musicians. Both Land and Gordon sound great siding with Monk on this album. It's always an intriguing musical adventure to hear how Monk combines with different sideman outside his regular quartet with Rouse. Of course, Rouse was great with Monk, but I really dig the albums with Coltrane and Rollins. And this session with Land and Gordon just shows another aspect of Monks ability to boost anyone who flies by his side. Monk's energy and inspiration were contagious and Land and Gordon caught it here. The live audience does not detract.

This recording transports me back to the golden era of jazz. I am there - as it's happening with one of the geniuses of jazz with an incredible group.

Great cd in great shape send to me in short time. Almost as good as new they said and that's the truth. I'm happy!

If you are a follower of jazz pianists, Thelonious Monk's recordings are required listening. Thelonious Monk Quartet Plus Two At the Blackhawk captures one amazing night at the legendary Blackhawk club in San Francisco in 1960. Apparently, this grouping of musicians including Joe Gordon on trumpet; Charlie Rouse and Harold Land on tenor saxophones; John Ore on bass and Billy Higgins, drums -- was thrown together at the last minute. While Land and Gordon, brought in from Los Angeles for the evening, were new additions to Monk's core band, you wouldn't know it by the outstanding, magical chemistry of this outfit through this 60 minute set. Monk plays with his usual, angular, ragged, at times slightly dis-harmonic approach to the music. The band colours the sound with wonderful blowing and playing. The fact that you can hear the sounds of the club, with glasses clinking and occasional chatter from the audience, somehow makes this album all the more intimate and special. This is indeed great jazz!

In the latter part of his career, Monk favored the tenor 4tet format. Notwithstanding a few recording sessions with larger groups, his audience discovered his music via the 4tet and the solos (rare in concert). This is why the 6tet in SF is so appreciated. The rhythm section comprises Monk's regular bassist at the time, the very melodic John Ore, and LA-NYC stalwart Billy Higgins, who gives a bounce and an incredibly relaxed energy to Monk's music that few if any drummers before or after were able to give him. The 2 added hornmen give wings to Charlie Rouse, very much the lead in ensemble and solo. Joe Gordon, dispaying a gorgeous bebop-brass tone, and the brilliant and emotional Harold Land quickly rise to the occasion and Monk's demands: make the pianist's tunes sing. Higgins never again recorded with Monk, but it could be said that having recorded the session, Billy had made his mark with this music, because here he defined a Monkian drumming comparable to none. It sounds like he was born to this music, as though he'd played it all his life.
Of course a few of the ensembles are a little ragged - guaranteed to infuriate Monk - but these are some very happy people, "deep in a dream of Monk".

This album was recorded in April 1960 as a hurried attempt to salvage a failed session co-led by Monk & the West Coast drummer Shelly Manne (who simply never hit it off after 2 days of recording). This album's interest lies in the combination of several West-Coast players (Joe Gordon, Harold Land & Billy Higgins) with Monk & his stalwarts Charlie Rouse & John Ore. It's one of Monk's least celebrated Riverside dates, & listening to it I can't really see any strong reason to place it higher in the pantheon: it's a solid but unremarkable date. The tracks are all played at more or less the same midtempo Monk favoured in this period (shortly thereafter, Monk's music became rather more briskly paced due to the eager, propulsive drumming of Frankie Dunlop); understandably, the two extra horns are kept in very much a secondary role: they don't always state the heads of tunes & the leadoff solo spot is given to Rouse each time. Land acquits himself typically well, though Gordon is rather shaky--his solo on "Four in One" is full of awkward turns & fluffs. The leader is playing well & seems to be in a genial mood, despite suffering from a bad cold at the time of recording; his standout solo is on "Four in One", which avid Monk listeners will recognize as the source of a bravura horn arrangement in the version of the tune on the Columbia _Big Band & Quartet_ album. Still, this album is one of Monk's lesser efforts; I'd instead direct the listener to the final two live albums on Riverside, _Monk in Italy_ & _Monk in France_, which are equally little-known but are considerably more engaging performances.