Customer Reviews

Mulligan Meets Monk

5 star:		(2)
4 star:		(6)
3 star:		(0)
2 star:		(0)
1 star:		(0)

 

 

This disc combines Monk & his rhythm-section of the time--Wilbur Ware & Shadow Wilson--with the baritonist Gerry Mulligan, a stylistically unusual pairing that works out very well. Monk's skeletal chording & frequent preference to have his sidemen "stroll" (play without piano accompaniment) make a natural common ground with Mulligan, who had developed the pianoless quartet in his 1950s groups with Baker & Brookmeyer. Though this session was an informal blowing session, & thus doesn't feature any of Mulligan's sophisticated arrangements, he nonetheless frequently plays quiet counterlines to Monk like he did with Chet--it's an interesting sound, & I've never heard anyone else do this with Monk.

The album is a bit uneven, but what pushes it into the first rank is the version of "Round Midnight", which is probably the single best group reading of the tune I've heard by Monk. Certainly it's the best version he did for Riverside except for the solo version on _Thelonious by Himself_. As usual with Monk in this period, his flow of compositions was slowing down, & there's only one new tune on the disc, "Rhythm-a-Ning" (first recorded by Monk for Atlantic a few months before on his collaboration with Art Blakey). The version here is very different from Monk's later recordings of the tune: it has a double-length bridge which seems to give Mulligan a little trouble (he goofs up a little at the end of the bridge on his first chorus); the performance isn't quite together, but nonetheless has lots of meat in the solos & a good vibe, which is I presume why they didn't do retakes. I'm not sure why "I Mean You" needed 3 complete takes, as they all sound pretty good to me--but I certainly won't complain about getting the bonus tracks. "Decidedly" is Mulligan's variant on Shavers' "Undecided", & features a stoptime solo by Mulligan & some of Ware's most intriguing playing--check out his very offbeat solo on the master take, in particular. "Sweet and Lovely" is a favourite tune of mine, & despite Monk's covering it in other places I would again name this as the best group reading Monk gave it.

A fine disc. Originally it was intended that the album be split between quartet tracks & a big band arranged by Mulligan, but because the 1st recording session went so well the producer & the band decided to go back into the studio the next day to complete the album with just the quartet. I think that was the right decision. This remains one of the high points of Monk's Riverside tenure.

This is another album I avoided in my youth but now own and cherish. While it is a bit uneven - you can tell that they got together to just blow as opposed to arrange and rehearse - I truly appreciate the sounds. I find myself grabbing this one often to take in the car. The minor technical grievances by both Mulligan and Monk do not really detract that much. Both of these jazz giants had better days - but not together. Monk's rhythm section was great here.

I suppose it was the assumed clash between styles that I feared most when I was learning the sax and acquiring a jazz library. Somehow it comes down to the fact that Bop meeting Cool still = Jazz. DownBeat magazine had it about right at 4.5 stars when it first came out. Most fans of combo jazz will appreciate this recording. The alternate takes in the CD reissue prove quite interesting.

Real intimate playing between M&M. I listen to Round Midnight constantly. (I play tenor sax and I am learning the licks) All the tunes are great, and there are alternate takes of Decidedly, Straight-No Chaser and I mean you. Some were previously unissued. The bass drum on Rhythm-A-Ning will shake your guts. (That's a Good thing) I just love to crank this up because I enjoy the presence of this high quality recording and I am a big fan of M and M.

This album is not in the class of, say, 'Kind of Blue', but that is not to say that it isn't good, with a fabulous version of 'Round Midnight' being the highlight. Mulligan delivers some stylish sounds, although, having Monk's version of 'I mean you' with John Coltrane, I was left slightly disappointed by that track (mind you, who could compare to Trane?!) There's good support from Wilbur Ware and Shadow Wilson, and the great playing you'd expect from Monk. The selection of tunes is mostly Monk, although there's a Mulligan original, 'Decidedly', given the Monk treatment.

Critics tend to dismiss this one as a fluke, but it is worth hearing and owning. The title cut and the version of "Bemsha Swing" sound great.

There were two days in Jazz history when these two greats recorded together. Thery are on this CD. East meets west, Bob meets Cool. These two friends and each part of the beginining of two of the biggest movements in modern jazz, colloborate for some greatness. A must have for the collection.

This album is not in the class of, say, 'Kind of Blue', but that is not to say that it isn't good, with a fabulous version of 'Round Midnight' being the highlight. Mulligan delivers some stylish sounds, although, having Monk's version of 'I mean you' with John Coltrane, I was left slightly disappointed by that track (mind you, who could compare to Trane?!) There's good support from Wilbur Ware and Shadow Wilson, and the great playing you'd expect from Monk. The selection of tunes is mostly Monk, although there's a Mulligan original, 'Decidedly', given the Monk treatment.

This album is not in the class of, say, 'Kind of Blue', but that is not to say that it isn't good, with a fabulous version of 'Round Midnight' being the highlight. Mulligan delivers some stylish sounds, although, having Monk's version of 'I mean you' with John Coltrane, I was left slightly disappointed by that track (mind you, who could compare to Trane?!) There's good support from Wilbur Ware and Shadow Wilson, and the great playing you'd expect from Monk. The selection of tunes is mostly Monk, although there's a Mulligan original, 'Decidedly', given the Monk treatment.