Customer Reviews

Modern Jazz Giants

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4 star:		(3)
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1 star:		(1)

 

 

This lp consists of the rest of the tunes recorded during the "Bags Groove" sessions in 1954, with Milt Jackson on vibes,, Thelonious Monk, piano, Percy Heath, bass, and Kenny Clarke, drums.... the exception to this is track 3, "Round About Midnight," which is Miles with Red Garland, John Coltrane, Paul Chambers, and Philly Joe Jones, which was recorded on 26 October 1956 during the sessions for the "Cookin," and "Workin'" lps.

Despite what internal friction might have existed between Miles and Monk, the quality of play on these tracks are breathtaking, with Miles and Jackson coming to the fore. Monk's playing on his own "Bemsha Swing" is top rate, with his idiosyncratic style fitiing in perfectly with the ensemble.

My only hope is that one day, all of these tracks (minus "Round About Midnight," which is great but clearly out of place on this lp..it should be placed on any of Davis' 4 final Prestige offerings with his 1st great quintet) and those of "Bag's Groove" will be combined on 1 lp to showcase everything these groups did without having to jump from cd to cd to find it all. Despite the obvious money making strategy used here, the listener would be better off having it all in one place (of course, the 8 cd set of Miles' Prestige recordings does infact do all of this).

Great tunes and great groups help make this lp a very nice one indeed.

Fireworks. The session on which Miles and Monk almost came to blows - yet both produced some of their best work of the decade. Miles hated the way Monk comped behind his solos and they argued about it, until Miles told Monk he wanted him to stop playing when he (Miles) soloed. Monk, of course, didn't care for that idea too much. They bickered and some of those vocal exchanges appear right on the recording. But somehow it also inspired them because they play intense, brilliant music at the same time. Unfortunately, the CD doesn't include the whole session: besides the two takes of THE MAN I LOVE, there were two takes of BAGS' GROOVE recorded, neither of which make it on this CD. (You'll find those on the Prestige CD titled BAGS' GROOVE, OJC 245). And ROUND MIDNIGHT isn't from this date at all.

BEMSHA SWING might be the most amazing track here because on it Miles allowed Monk to play behind him. The transition from Miles's solo to Monk's is brilliant, with Miles laying down Monkian phrases which Monk then picks up on. SWING SPRING is one of Davis's earliest modal compositions, a terrific tune. The two takes of THE MAN I LOVE are quite different, with the second take's angry musical exchanges between Miles and Monk, with Miles's desire to be lyrical and Monks's to be experimental, causing a tension for the listener that is almost unbearable - and magnificent. It's amazing to hear these two headstrong, magisterial musicians "fighting" for dominance right before our ears - no holds barred. A fantastic recording date. A must-have CD.

Overall this album is a collection of "bonus track" type material, but it is not without its highlights. Four of the five tracks feature Miles' cool toned trumpet, Thelonious Monk on piano, Percy Heath on bass, Kenny Clarke on drums, and Milt "Bags" Jackson on vibraphone. Miles' and Monk's solo work is typically interesting, but never really rises to the level of inspired. It is really Bags' vibework that shines through with his solo on Monk's "Bemsha Swing", and his sensitive intro and hard swinging solos on both takes of "The Man I Love". With all of the stories of Miles making Monk lay out, or not play, behind his solos, and general studio tension heard on chatter at the head of "The Man I Love take 1" aside, this album is still a solid swinging affair. Track three was recorded two years after the other four and features Miles great quintet of John Coltrane on tenor, Red Gardland on piano, Paul Chambers on bass, and Philly Joe Jones on drums performing a prototype of their take on Monk's "'Round Midnight". This cut does not approach the classic featured on Miles' Columbuia album, but it is interesting for fans to hear this early, and somewhat muddled, take. Overall this album is a good one to pick up if you fan of the personnel or, already own "Bag's Groove" and want to hear more from that session.

To the reviewer below who claims "Thelonious Monk is by far the most overrated musician of all time," you obviously don't get it and are throwing out opinions on subjects of which you know nothing. The "genius" label is reserved for those who truly deserve it, such as people like Mozart, Miles and Monk. I defy you to name a single credible jazz musician that doesn't have a library of Monk tunes they can pull from their head and play from memory. The fact you weren't sure where Monk was coming from or was going to go was an essential part of the genius in his playing itself. I'm also not sure you would call the man who wrote "Round Midnight," "Epistrophy," and "Straight, No Chaser" (if I may be so bold as to include a woefully inadequate list of his classic standards) "overrated". Likewise, were it not for Monk, the man who almost single-handedly invented bebop, we wouldn't know jazz as it stands today.

Lastly, comparing Monk to Oscar Peterson is like comparing a Dodge Viper to a bowl of fruit. To paraphrase Jules from Pulp Fiction: "They ain't no same ballpark. Hell, they ain't even the same sport!".

With all the greats on here, why wouldn't it be great??

This is mostly classic Miles except "Round Midnight." This comes from the next generation with Trane and the Red Garland Trio. On the later Columbia release (same quintet) of "Round Midnight" every nuance is ultimate perfection. But the Prestige performance here sounds more like a first run through. However, don't let this dissuade you from enjoying the balance of this CD.

With all due respect to the genius of Thelonius Monk, I could understand and almost hear Miles frustration with Monk on certain tracks. But all said, the album really comes together; pure Miles, pure Monk, pure genius, and Milt Jackson was the glue that held them together.

A main event anywhere in the world. Yes, and the pair of sessions that produced the album also qualify for this honor.

Perhaps best known for the Miles v Thelonious Monk studio feud that may have turned physical, the album features four cuts from the unit of Milt "Bags" Jackson (v), Monk (p), Percy Heath (b) and Kenny Clarke (d), and - for 'Round Midnight - the new quintet of John Coltrane (s), Philly Joe Jones (d), Red Garland (p) and Paul Chambers (b).

'Round Midnight - recorded on October 26, 1956 - is the standout, with the other tracks - two takes of The Man I Love, Swing Spring, Bemsha Swing - recorded on December 24, 1954. The giants roamed the studio and churned out some solid music...and maybe a bout worthy of airing on Friday Night Fights.

I picked this up because it contained the rest of the session gave us Bags' Groove. The Man I Love is the highlite in my opinion. I love the sound of Miles and Milt together. 'Round Midnight is played by the original Miles Davis Quintet and does not belong in this collection, it's fantastic but it's out of place here. Besides, I already had it on "The Miles Davis Quintet Legendary Prestige Sessions". If you have Bag's Groove then you definitely want to own the rest of the session plus, you get to hear the players muff the first take of "The Man I Love" and the ensuing bickering between Miles and Monk.

Just a comment on the "CD or NOT CD" review. Sir: You are very arrogant to go questioning the chops and abilities of a man like Monk. It's perfectly fine to write "I don't get Monk". I write that sort of thing all the time and in fact, I don't really get Monk overall but I love his writing. Without Monk we wouldn't have "Round Midnight and The Miles Davis Quintet's reading of that chart. That recording is without question one of the great recordings in recorded American music. Anyone who really understands "jazz" and American music knows this is a fact. Monk was a genius whether you and I "get him" or not. Also, comparing one musician to another is just plain dumb. Of course they are different, they are two different souls following the Muse in their own way. Comments like your's really rile me, I've read similar things written about Eric Dolphy, an indisputable genius who's music only the priviledged few ever "get".

this is a classic must have disc.nothing but Giants all over this disc.Richness and Timeless Playing.