Mulligan Meets Monk
| Mulligan Meets Monk | ||||
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| Studio album by Thelonious Monk & Gerry Mulligan | ||||
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Publication |
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| Label (s) | Riverside Records | |||
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Format (s) |
LP, CD |
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Title (number) |
9 |
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running time |
50:01 |
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Studio (s) |
Reeves Sound Studios, New York |
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Mulligan Meets Monk is an album by Gerry Mulligan and Thelonious Monk . The recordings, which were made in Reeves Sound Studios in New York City on August 12 and 13, 1957, were released as a long-playing record on Riverside Records in 1957 and, expanded by four titles, in 2003 as a compact disc . The graphic designer Paul Bacon created the cover of the LP .
background
Monk's use of dissonant notes and odd rhythms helped him build the structure of his compositions. He felt most comfortable alone or in a small group. Monk has always had a mysterious quality and is considered a leading proponent of the bebop movement, wrote David Bowling. Mulligan's approach, however, was more melodic; he felt very comfortable in larger groups and even in orchestras. Mulligan was associated with the cool jazz movement and was at the height of its popularity in the mid-1950s. What they had in common was a real friendship and talent as two of the better musicians in jazz history . This allowed them to overcome the musical tensions that permeate some of the tracks. There are four alternative takes that were not part of the original album.
The sessions that made Mulligan Meets Monk came about by chance, as John Coltrane , with whom Monk had performed at the time, was the originally scheduled saxophonist for the riverside session. Coltrane was not available, however, which is why producer Orrin Keepnews decided to have Mulligan participate.
The recording sessions took place over two days in August 1957. The original tracklist includes four Monk numbers, a mulligan composition and a cover version of Russ Columbo's 1930s hit "Sweet and Lovely".
Track list
Original LP
- Thelonious Monk and Gerry Mulligan - Mulligan Meets Monk (Riverside Records - RLP 12-247)
A1 'Round Midnight (Hanighen, Williams, Monk) 8:26
A2 Rhythm-A-Ning (Monk) 5:17
A3 Sweet and Lovely ( Gus Arnheim , Harry Tobias , Jules Lemare ) 7:17
B1 Decidedly (Mulligan) 6:36
B2 Straight No Chaser (Monk) 7:00
B3 I Mean You (Monk) 6:55
CD edition
- Thelonious Monk and Gerry Mulligan - Mulligan Meets Monk (Riverside Records - RCD-1106-2)
- 'Round Midnight (Hanighen, Williams, Monk) 8:30
- Rhythm-A-Ning (Monk) 5:18
- Sweet and Lovely (Arnheim, Tobias, Lemare) 7:17
- Decidedly (Take 4) (Mulligan) 5:55
- Straight, No Chaser (Take 3) (Monk) 7:00
- I Mean You (Take 4) (Monk) 6:53
- Decidedly (Take 5) (Mulligan) 6:39
- Straight, No Chaser (Take 1) (Monk) 5:30
- I Mean You (Take 1) (Monk) 6:25
- I Mean You (Take 2) (Monk) 6:31
reception
Anthony Tognazzin awarded the album four stars in Allmusic, writing, “While the pairing seems unlikely, are baritone saxophonist Gerry Mulligan - whose cool West Coast style combines dexterity with relaxed grace - and Thelonious Monk - with his radical, angular piano playing and his through and through modern compositions blueprints for the possibilities of the bop - sound remarkable together. In fact, it's the contrast between the styles of play that gives this game its balance and appeal. ”Mulligan admirably studied the Monk classics“ Round Midnight ”,“ Rhythm-a-Ning ”and“ Straight, No Chaser ” and unfold its gentle tone through its zigzag melodies and ambitious scale architecture. Mulligan's “Decidedly”, a brilliant bop number, goes perfectly with Monk's music, especially thanks to Monk's fancy, accented comping .
In Thomas Fitterling's view, contemporary critics were not particularly impressed by this encounter. But "the undeniable attraction of this album lies in the fact that the two individuals remain true to themselves and that no half-hearted jam session compromises are made." Mulligan deserves credit for the council with which he subordinates himself to the leadership of the ten-year-old pianist. And so the pianist is even ready to accept a "boldly simplistic theme variation - especially in the B part - from Mulligan with a wink of the eye" with "Rhythm-a-Ning".
David Bowling wrote that what was unique about the Monk-Mulligan collaboration was how different they were in terms of temperament, cultural background, and approach to music. The result may not be the best jazz album ever produced, but it was certainly one of the most interesting. Throughout the album, it's usually Mulligan trying to adjust and give Monk room to play. Often the tension is waiting for Monk to step in at the right time. The music was recorded as a quartet with bassist Wilbur Ware and drummer Shadow Wilson, who were also in Monk's comfort zone.
According to John Bergstrom (Pop Matters), Mulligan Meets Monk has its shortcomings technically. Occasionally notes are flashed and Mulligan's and Monk's approaches didn't always go smoothly together. In purely musical terms, however, this is an incredibly entertaining album, on which you can hear some excellent compositions, which are played compassionately and passionately by excellent musicians. Mulligan shines in the Monk standards " 'Round Midnight " and " Straight No Chaser ". Although he has no idea about notes, he doesn't play too much either and seems to work effortlessly between the rhythms of Monk. When Mulligan Monk briefly doubles up on the subject of "Straight, No Chaser" before starting his solo game, it is a special moment. For his part, Monk's delivery sounds as sharp and energetic as ever.
Michael Bailey highlighted in All About Jazz that Monk's contribution to 'Round Midnight expands the dimension of the event. This is Monk in all his strange glory, who plays on his wobbly stride style on the piano and demonstrates how he has harmoniously changed the hot style of bebop . The two takes of "Straight, No Chaser" and the three of "I Mean You" give Mulligan plenty of time to warm up and blow. Melodically demanding, Mulligan's arranging skills shape his ensemble and his solo playing by giving them a conscious path through improvisation.
Also in All About Jazz, David Rickert said that although the songbook was from Monk, it was clearly Mulligan's session, and Mulligan Plays Monk might have been a more accurate title. Although the pianist plays a few solos, he seems to be content with staying in the background as an accompanist or completely indulging in putting his personal stamp on Mulligan's “decidedly”, which sounds like another Monk melody. Monk veterans Wilbur Ware and Shadow Wilson performed well, according to the author. This album will probably appeal to mulligan fans more than Monk fans because it's a great mulligan album and just a good Monk album. Still, it's worth picking up just to experience what was going on that day.
Individual evidence
- ↑ a b David Bowling: Thelonious Monk / Gerry Mulligan: Mulligan Meets Monk. Blog Critics, August 13, 2013, accessed February 12, 2020 .
- ^ A b c John Bergstrom: Thelonious Monk / Gerry Mulligan: Mulligan Meets Monk. Pop Matters, October 10, 2013, accessed February 13, 2020 .
- ↑ Thelonious Monk and Gerry Mulligan - Mulligan Meets Monk (LP) at Discogs
- ↑ Thelonious Monk and Gerry Mulligan - Mulligan Meets Monk (CD) at Discogs
- ^ Review of the album at Allmusic (English). Accessed February 1, 2020.
- ↑ Thomas Fitterling: Thelonious Monk. His life, his music, his records. Oreos, Waakirchen 1987, ISBN 3-923657-14-5 .
- ↑ Michael Bailey: Thelonious Monk / Gerry Mulligan: Mulligan Meets Monk. All About Jazz, July 21, 2013, accessed February 13, 2020 .
- ↑ Thelonious Monk / Gerry Mulligan: Mulligan Meets Monk. All About Jazz, December 12, 2003, accessed February 13, 2020 .