Underground by Thelonious Monk
Columbia
1968
Jazz / Bop / Hard Bop / Post-Bop / Piano Jazz
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Members : Don’t Git Weary.
Max Roach.
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An Album a Day 2024: Day 49
Feb. 18, 2024
Wayne Shorter - Speak No Evil (1966)
Jazz, Post bop, Instrumental
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Jazz Song of the Day 4/23/23
“Giant Steps” by John Coltrane. Giant Steps (1960).
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It should be more widely recognised as a jazz classic. Groovy, avant, gentle and fabulous!
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This short, tranquil, and superb four-tracker from Gondwana Records comes filled with evocative spiritual jazz vibes, dreamy soul-jazz, and hints of post-bop anchored by Chip Wickham’s crisp flute notes. Press play and let Wickham serenade you with his dreamy jazz sounds.
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In A Sentimental Mood - Milestone Jazzstars
Milestone Jazzstars is a trio consisting of Ron Carter, Sonny Rollins, and McCoy Tyner
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Miles Davis - Filles de Kilimanjaro
Man I was on a hot streak of loving pretty much everything that davis did since round about midnight (maybe not quiet nights) but this album ended it sadly. I am not the greatest at describing my love for jazz but what I liked about his prior records was the excitement and energy that he had to offer. And even it was a more chill album like kind of blue it still was packed with content. This album on the other hand had in my opinion very little to offer. And I often was wondering where the direction of the song was going because there just wasn't happening a lot. Like there were some nice moments here and there but the lenght was absolutely not justified (In a silent way is next tho I am very excited!)
Rating: 5-6/10
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Things We Like by Jack Bruce
Atco / Polydor
1970
Jazz / Post-Bop / Free Jazz / Jazz Fusion
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Larry Young „Unity”
I was blown away by this album on several levels.
First - the organ sound. If you’re a fan of Hammond sound it’s a must. If you don’t like Hammond it’s a must too 🙂 as I’ve never heard Hammond organ sounding quite like this. I would say they sound restraint but in a good way - showing the deeper and more diverse sound palette than usual.
2. Second - the drums. Omg, the drums on this album! Elvin Jones plays like he is having a solo all the time. He is always super busy and always comes up with something new and yet his playing has all the musical qualities to not overwhelm the listener and he manages to leave enough room for other musicians.
Third - bass. I was a bit purplexed as I thought I remembered the players, but couldn’t recall the name of the basist. whoom I could clearly hear playing, with a great feeling and skill. Moreover I had a feeling something was not right as I knew there were four players involved and I knew who had played which instrument, and there seemed to be no place for a bass. Did they use uncredited basist for some reason? Anyway, I’d decided to enjoy the album (bass included) and clarify it later. To my astonishment, it came out the skillful „basist” whoose style and tone I loved so much, was Larry Young himself, using bass pedals on his Hammond B3 organ. I had to listen the whole album again just to admire his footwork combined with his hands - amazing!
Fourth - sax and trumpet interplay. Both, Henderson and Shaw, are the jazz royalty, each in his own right, but what they achieved here together is just a pure perfection. There is a moment, just after the beginning of the first track, when they share the note ping-ponging it (is it even a word?😅) smoothly from one channel to another. Beautiful!
Fifth - their take on Monk’s classic „Monk’s Dream”. It is done by duo: Young/Jones but their play is so dense you can hardly notice anyone’s missing. As one reviewer put it: each one of them plays like five men 😁
So, the whole album goes straight to the strict top of my favourite Blue Note „out there” list, Along with Dolphy’s „Out to lunch”, Moncur III’s „Evolution”, McLean’s „Destination…out!” And Andrew Hill’s „Black fire”.
Oh, and the cover is as iconic as it gets🥰
A masterpiece ⭐️✨⭐️
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