Customer Reviews

Green Chimneys: The Music of Thelonious Monk

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

 

 

I loved The Police but I have to admit I was a little skeptical of Andy Summers tackling Monk since he isn't from a true jazz guitar background. But I have to say that overall he did a pretty good job. The sound reminds me of Bill Frisell and although Summers doesn't really knock me out on his soloing his tonal pallette is pleasant and his style is suitable to Monk's music. If you are new to jazz guitar I would check out guys like Wes Montgomery, Tal Farlow, and Mark Elf for a more mainstream look at jazz guitar; or something a little more rock-edged also there's John Scofield & Mike Stern & Paul Bollenback.

Not a great jazz album, but a good one. Andy Summers doesn't have the melodic brilliance of a more hardcore jazz guitarist (even though it's all he's done for the last several years). What he DOES have is an ear for pleasing pop production and arrangement. The recording and production quality is far more polished than usual for a jazz album, and the arrangements are creative. From a pure production point, it'd be good smooth jazz. But Monk's tunes are too jagged for smooth jazz, the sometimes aggressive arrangements are too rocking for straight-ahead, and the swing too overtly jazzy for the rock fans. So it's an album that fails to please three different markets.

Still, it's a good effort, with particularly nice performances by some of the sidemen (Peter Erskine on drums). But when it gets down to it, if i want Summers i'll put on a Police record, and if i want Monk i'll put on a Monk record. Nobody but nobody tops the master!

when i listen to music, it's either soundgarden, or pearl jam. however, when i visited barnes and nobles the other day, i came across an album done by andy summers entitled "green chimneys". i was a fan of andy's when he was with the police, so decided to sample this album. "green chimneys" is a great album. tracks 2, 5, 6, 7, 9, and 10 are great medleys that stay in your head. summers has really evolved into a jazz musician. the horn line featured in this album are impressive, while summers' guitar play is smooth and tranquile.

when i listen to music, it's either soundgarden, or pearl jam. however, when i visited barnes and nobles the other day, i came across an album done by andy summers entitled "green chimneys". i was a fan of andy's when he was with the police, so decided to sample this album. "green chimneys" is a great album. tracks 2, 5, 6, 7, 9, and 10 are great medleys that stay in your head. summers has really evolved into a jazz musician. the horn line featured in this album are impressive, while summers' guitar play is smooth and tranquile.

Who knew? Andy Summers is a jazzer, a bebopper, a Monk admirer?

These songs are the greatest tunes from a master of bop.

I can find no flaws in the interpretations. At times the tunes swing as in Bemsha.
Boo-boo's birthday has guitar sound and style of Steve Khan, whom I love.
Brilliant Corners is experimental tango style with vast understatement.
Evidence is brilliant in that the timing is extremely difficult to play with an ensemble. The flow and swing later are wonderful. Not unlike how Sco would play the solo either (many choruses performed flawlessly by Msr. Summers). What a great arrangement (this tune is worth the price of the album).
Green Chimney is mellow, simple and intriguing. Tune is as simple as Miles in 1984 playing baby theme. The solo swings however with only bass and drums as accompaniment.
Hackensack with horns behind and out front is one of those hummable bop tunes that you will wake up singing. Strutting through the changes in a Scofield crazy way, Andy goes to straight swing style. Trumpet solo follows in a nowhere beat until the 60s Jimmy Smith style organ solo swings with delight all over the keyboard. Sing this tune regularly and your joy will overflow into the universe and make all happy somehow.
Monk's Dream flows like fine wine. Scatting along the guitar sounds growl and snarl. Then the solo smoothly descends in an intuitive lull and swing to and fro.
Round Midnight finds Sting singing with Andy in mostly a duo until bass and traps ballad this classic quite nicely.
Ruby My Dear is an acoustic solo that if you close your eyes you could hear Larry Coryell playing at his best (but alas it is Andy again).
Shuffle Boil is as dissonant as this album gets with guitar foils, trumpet and band strikes the melody with crazy sound effects. T Monk might have dug this off the cuff arrangement. It is heaven for a jazz rocker!
Think of One slowly struts in a crusty way with augmented 9ths and all. Monk could write such strange melodies to match his weird harmonies, but the result is cool music and improvisations.
Ugly Beauty is perfect melody and harmony in a Monk bop kind of way in a trio setting. Do listen to this work of art by an unknown jazzer to me. WHAT A SURPRISE!

Foi o amigo JoFlavio, conspícuo membro do dilucidante blog Charuto Jazz, quem veio com a estória de que Thelonious Monk não sabia tocar piano. São dele as seguintes linhas: "Acompanho a carreira do Monk desde o início da década de 60. Não só como pianista, mas principalmente como compositor. Monk chegou a ser considerado um "pianista menor", talvez pela técnica pobre, que até o impossibilitava de tocar em "up tempo" - se comparado, por exemplo, a um Oscar Peterson, Herbie Hancock, Chick Corea, etc. Era nítido o esforço dele em tocar. Sim, como consolo, foi criativo harmonicamente. O grande legado de Monk está nos temas que compôs, de certo modo revolucionários para a época. Como pianista, em minha opinião, não fez escola." Ora, ora. Não demorou um minuto, estava desencadeada uma das maiores polêmicas já suscitadas aqui no Jazzseen, alvoroço geral, acusações gratuitas, ataques de hackers, celeuma, cizânia e crise. Convocamos, às pressas, eu e Reinaldo Santos Neves, Reunião Extraordinária do Clube das Terças, onde o sócio André, especialista em Monk, fora convocado a falar. Um silêncio incômodo sentou-se à mesa do Clube, enquanto todos aguardavam aflitos a definitiva sentença. André disse: "A ênfase no bebop é a improvisação, sendo rara a presença marcante de compositores, caso de Thelonious Monk. Suas melodias nada ortodoxas, repletas de progressões complexas de acorde, costumavam intimidar até mesmo os mais ágeis instrumentistas e não resta dúvida de que seu estilo influenciou uma série de pianistas importantes do bebop e do post bop, entre eles Bud Powell, Mal Waldron, Andrew Hill, Dollar Brand, Randy Weston, Herbie Nichols, Cecil Taylor, Misja Mengelberg, Anthony Davis, Karl Berger, Chick Corea, Geri Allen, todos eles réus confessos, no sentido de que, além de reconhecerem a influência de Monk, refletem ou refletiram em alguma fase de suas carreiras nítida inspiração na abordagem pianística monkiana - o iniciante deverá começar suas pesquisas por Mal Waldron. Sem falar de tantos outros músicos que lhe dedicaram tributos entusiasmados (veja lista abaixo) e diversos grupos que nasceram sob a condição primária de lhe revisitar a obra.

As composições de Monk apresentam lógica própria, não-aristotélica, elaboradas com grande precisão estrutural e concisão, fato incomum nas demais composições do bebop. Mestre em acentuações inesperadas e desordenadas - veja, por exemplo, Rhythm-n-ing - causava sérias dificuldades a quem pretendesse executar suas obras, mesmo aos mais hábeis virtuoses do piano. Tal característica transparece sobremodo no final das frases, onde quase sempre a nota tocada era absolutamente inesperada pelo ouvinte que, paradoxalmente, ao continuar ouvindo a composição, terminava por suplicar que a frase terminasse com a tal "nota errada" - ouça, por exemplo, Off Minor. E tudo isso partindo de uma melodia singela, um tema simples, muitas vezes construído sobre um acorde do bom e velho blues de doze compassos, mas com um profundo efeito final. E, para quem conhece a trajetória de Monk como pianista, sabe de suas intervenções especulativas. Ele passeou pelo stride de um Fats Waller, pelo trumpet-piano de um Earl Hines, pelo piano soturno e percussivo de um Duke Ellington, pelo comping style de um Count Basie, onde discretos acordes davam suporte ao solista. Ao contrário de Bud Powell, que na evolução do comping style praticamente abandonou a mão esquerda, que na prática apenas acompanhava sua velocíssima mão direita, Monk seguiu um caminho distinto, que poderíamos chamar de "evocativo", porque os acordes de sua mão esquerda assumiam papel fundamentalmente percussivo e nunca eram longos em permanência: em várias passagens podemos observar que Monk simplesmente parava de tocar, deixando que baixo e bateria acudissem o saxofonista ou o trompetista em seus solos. Tanta originalidade fez com que, antes de ser reconhecido como o improvisador genial que foi, Monk fosse considerado um "pianista menor" e impossível de ser classificado: ele não tocava swing, ele não tocava bebop. Que diabos ele tocava?

Monk, com suas composições "desafinadas", era capaz de fazer um piano desafinado soar afinado. Cheias de contornos imprevisíveis aos ouvidos da classe média, suas composições apresentam escalas inteiras totalmente incompatíveis umas com as outras, com tonalidades inimigas. Combinadas com um estilo rítmico absolutamente inovador, estas características harmônicas causavam um imenso rebuliço nos ouvidos mais educados. E, por último, mas igualmente genial: a utilização do silêncio em Monk é tão importante quanto a utilização do som. Quando o observamos tocar, temos a clara certeza de que ele nunca sabe qual nota vai tocar. Vacilante, ele parece sofrer terrivelmente, a cada segundo, para se decidir em qual tecla levará seu dedo. E, não raro, quando se decide, bate, bate, bate, como se estivesse batendo em nossa porta. E entra.



1957 - Vários - Round Midnight - Milestone M9144
1958 - Steve Lacy - Reflections: Steve Lacy plays Thelonious Monk - New Jazz OJCCD-063-2
1960 - John Lewis Presents Jazz Abstractions - Atlantic 1365
1961 - Bud Powell - A Portrait of Thelonious - Columbia CK 65187
1961 - Johnny Griffin - Lookin' at Monk - Jazzland JLP 939S
1963 - Bill Evans: Conversations with Myself - Verve 521-409-2
1963 - Steve Lacy - School Days - Emanem 3316
1967 - Enrique Villegas Trio - Tributo a Monk - Trova TL12
1969 - Steve Lacy plays Monk - Affinity AFF 43
1978 - Heiner Stadler - A Tribute to Monk and Bird - Tomato TOM-2-9002
1981 - Chick Corea - Trio Music - ECM-2-1232
1981 - Interpretations of Monk - Volume 1 - KOCH Jazz - KOC CD-7838 - Disc 1 - Muhal Richard Abrams set - Disc 2 - Barry Harris set.
1981 - Interpretations of Monk - Volume 2 - KOCH Jazz - KOC CD-7839 - Disc 1 - Anthony Davis set - Disc 2 - Mal Waldron set.
1981 - Bennie Wallace Plays Monk - Enja ENJ-30912
1982 - Milt Jackson - Memories of Thelonious Sphere Monk - Pablo OJCCD 851-2
1982 - Sphere - Four in One - Elektra Musician 7599-60166-1 7599-60166-1 - Excelente tributo, gravado no dia em que Monk morreu, 17 de fevereiro de 1982
1982 - Tommy Flanagan - Thelonica - Enja CD 4052-14
1984 - Kronos Quartet - Monk Suite: Kronos Quartet plays music of Thelonious Monk - Landmark CD LLP-1505
1984 - Vários - That's The Way I Feel Now: A Tribute to Thelonious Monk - A & M SP-6600
1985 - Steve Lacy - Only Monk - Soul Note SN 1160
1986 - Woody Shaw - Bemsha Swing - Blue Note 7243-8-29029-2-8
1987 - Anthony Braxton - Six Monk's Compositions - Black Saint 120 116-2
1987 - Walter Davis, Jr. - In Walked Thelonious - Jazz Heritage MHS 512631H
1988 - Carmen McRae - Carmen sings Monk - RCA Novus - 3086-2
1988 - Charlie Rouse - Epistrophy - 32 Jazz CD-32029
1988 - Stan Tracey Quartet - Tribute to Duke, Monk, and Bird - Emanem 3604
1989 - Randy Weston - Portraits of Thelonious Monk - Verve 841313-2
1989 - Steve Lacy - More Monk - Soul Note 121210
1990 - Marcus Roberts - Alone with Three Giants - BMG 3109-4-N
1990 - Mel Martin - Bebop & Beyond plays Thelonious Monk - Blue Moon CD R2 79154
1990 - Tete Montoliu - The Music I Like to Play Vol. 3 - Let's Call This - Soul Note 121230
1992 - Steve Lacy - We See - Hat Art CD 6127
1992 - Steve Lacy and Mal Waldron - I Remember Thelonious - Nel Jazz NLJ0959-2
1993 - Riverside Reunion Band - Mostly Monk - Milestone MCD-9216-2
1994 - Sonny Fortune - Four in One - Blue Note CDP 7243-8-28243-2-9
1994 - Steve Duke - Monk by 2 - Columbia CK 66975
1994 - Wynton Marsalis - Standard Time Vol.4: Marsalis Plays Monk - Columbia CK67503
1995 - Knut Kristiansen - Monk Moods - ODIN NJ 4051-2
1996 - Danilo Perez - Panamonk - Impulse CD IMPD-190
1996 - Vários - Round Midnight: Hommage à Thelonious Monk - Columbia COL 481331
1997 - Esbjörn Svensson Trio - EST Plays Monk - ACT 9010-2
1997 - The Bill Holman Band - Brilliant Corners: The Music of Thelonious Monk - JVC Classics CD 2066
1997 - Jessica Williams - In The Key Of Monk - Jazz Focus CD JFCD029
1997 - Fred Hersch plays Thelonious Monk - Nonesuch CD 79456-2
1997 - Miya Masaoka - Monk's Japanese Folk Song - Dizim Records 4104
1997 - Steve Slagle Plays Monk - Steeplechase SCCD 31446
1997 - T.S.Monk - Monk on Monk - N2KE-10017
1997 - Vários - It's Monk's Tune - Jazzfest 3-2203-2
1997 - Vários - For the Love of Monk - 32JAZZ 32008
1998 - Mike Melillo Trio - Bopcentric - Red Records RR123279
1998 - Andy Summers - Green Chimneys - RCA Victor-63472
1999 - The Dave Liebman Trio - Monks Mood - Double Time Records 154
1999 - Per Henrik Wallin Trio - 9.9.99 - Stunt Records STUCD 00202
1999 - Larry Coryell - Monk, Trane, Miles & Me - High Note HCD 7028
1999 - Vários - Blue Monk: Blue Note plays Monk's Music - Blue Note 8-35471-2
2000 - Vários - For Monk: a tribute to the music of Thelonious Monk - BMG D116733
2003 - Jessica Williams - More For Monk - Red & Blue
2004 - Thelonious Moog - Yes We Didn't - GrownUp Records 62988
2004 - Alexander von Schlippenbach - Light Blue: Schlippenbach plays Monk - Enja CD 9104-2

Nothing explosively wonderful here, but I found it an interesting album. It starts out a little slow with the title track -- showing that Summers does not really retain one's interest on long solos. Hackensack, with the benefit of organ and trumpet and cello and everyone getting a little solo turn, is "creatively destructive" of the tune -- and it is fun to hear everything just a bit off kilter and very loose, like Monk's tunes themselves. Summers seems to have an odd sense of humor, and in view of that, I'd say he and Monk are a good match.

Summers wisely keeps songs down to a comfortable three to five minute length. Summers has a limited bag of tricks as a guitarist, so best not to push his luck. So many jazz artists sound like they are phoning their performance in, and they know they can fall back on different patterns played with little effort or involvement. To me, it sounds like Andy is working, thinking about what he's playing. Even if it isn't always elegant, I appreciate the efforts of someone who plays something simple, with thought, instead of something complicated and difficult that is thrown off automatically with seemingly no feeling. And Andy Summers knows the value of silence in a line, instead of trying to fill every space with notes.

Sting's appearance on Round Midnight is welcome, and even more Andy's slinky solo on that tune. An entire album of Sting singing jazz might be unbearable, but one song is just the ticket here.

Probably you don't even want to listen this album all in one sitting. It is nearly an hour long. But it is good for repeated listenings, at least I have found it to be so, even if I listen to a few songs here, a few there.

Look, this is far better than Summers' "new age" records -- at least the ones I heard. I don't think he did nearly as well with the next record, where he tackled the Mingus catalog. Undoubtedly Summers' forte is in the power trio setting of the Police. Those who admired that work, which defined a whole new sound in rock music, copied and incorporated into so many other guitarists' styles, should also find this diversion worthwhile.

I bought this album after reading a review in a music magazine that gave it a very good rating. I was quite surprised that a music critic would give such a rating to a guitarist with a bias toward the rock/pop style music playing jazz and took a gamble buying it without listening to it. As the title I have chosen for this review suggests, I lost the gamble and regret buying it. Perhaps it's the music of Monk that I'm not too keen on rather than the way Summers plays it. I found the music lacked melody and the chord 'voicings' dissonent as a result of being made up of several instruments. For example the dominant note, that should have been played by the strongest instrument, was played by a less powerful instrument and the chord extensions tended to be played by a more powerful intrument. I suppose it sounded more like an experiment. Saying all of this, it's obvious that there are people out there who like this style music and may not like the music I prefer. As guitarists go I like to listen to people like Martin Taylor, John Mclaughlin, Antonio Forcione, Romane etc. I may get to like it after listening to it a few more times - I hope so, I hate buying CDs I dont like.

'Green Chimneys' has a different feel than some of Mr. Summers' other works. I have been a fan of his open, at-times minimalist guitar since his days with the Police. 'Green Chimneys' once again showcases his ability to transcend the ordinary, the hackneyed in popular music and in jazz. This new album goes places where his most recent solo works ('The Last Dance of Mr. X' and 'Synesthesia', also a great albums) do not venture; 'Chimneys' is more straight-ahead jazz, marinated in the flavors of Thelonius Monk and Mr. Summers. Highlighted tracks include "Shuffle Boil" and "'Round Midnight", featuring vocals by Sting. The line-up on this album is superb.

If you enjoy Monk, you'll enjoy this album. If you enjoy Andy Summers, you'll enjoy this album. If you like the Police, you'll like it too. But if you're looking for the Police, realize that what you'll be getting is not the Police, but the product of a musician who only gave us a glimpse of what he was capable of when he played with Stewart Copeland and Sting. He has evolved.

Well done.

I couldn't wait to get this CD. I met Andy in January and he said it would be out in May. Now it's out and pretty soon the classic jazz stations will be playing it. There are a variety of different moods on this CD, and he closes it with a truly beautiful version of Ruby My Dear. Sting also shines on this CD with a great performance of 'Round Midnight. Do yourself a favor and buy this CD.