Ce qu'il faut retenir de l'interview de Franck Ribéry (Bayern Munich) accordée à L'Equipe
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FashionUnited does not offer the possibility for online commenting at this time. Thelonious Sphere Monk was born in in New York [sic] into a family where no other members are musicians. Monk began experimenting with harmony and rhythm in a quartet that would have Keg Purnell for its drummer; this was in Despite the importance Monk has been given by the New School of Jazz and its musicians in particular , he has not the fame of a Parker or a Gillespie.
This is probably because his qualities as a performer are not on the same scale as his boundless imagination. There are reports, also, of his proverbial modesty, and a way of life that is incompatible with the exigencies to which a star is submitted: it is said that he can do without sleep for a week, even if it means sleeping three days and three nights when he succeeds in tearing himself away from the keyboard. The piano solos are rare and you will find the review of these titles in the French part of this issue. So now I come to the series of recordings that Blue Note has released under Thelonious Monk's own name, and which finally allow us to hear him under good conditions.
These records show us a musician who is original to the extreme, firstly by his arrhythmia, more marked than with any other pianist, and then by his seemingly constant concern to astonish the listener; this search for the unexpected that is dear to the Be Bop style is pushed to the extreme in his playing. Monk seems to take an elegant pleasure in hesitating, both in the rhythm and in the harmony; his solos exude an unhealthy impression. The systematic use of harmonics far from the fundamental results in agreeable, often inspired findings, but this sometimes takes him into a melodic deadlock.
Thanks to his rhythmical variations he manages to keep his footing while waiting for a way out that is often no more than a timely return to a more traditional piano style, as is the case on "Thelonious. Instead of a single note, he sometimes chooses little motifs that he repeats to varying degrees "In Walked Bud". His playing is simple, his style sober and sparing; he makes very little use of chords and concentrates his full attention on a right-hand style that is a single melodic line.
Despite his audacity in this, Monk uses harmonic structures that are absolutely logical, relatively simple hypotheses, and the whole tone system dear to Debussy, which he applies with pertinence. Most of these pieces are Monk compositions while the label attributes the paternity of "In Walked Bud" to him, one easily recognizes "Blue Skies". He is the author [sic] of several well-known pieces—namely "Emanon" an anagram of No Name , "52nd Street Theme" another of Dizzy's recordings — and he wrote the harmonies of "Dynamo A.
It is difficult to measure the contribution that Thelonious Monk has made to the New School of Jazz; he obviously relates to it by favouring the new, but his imagination seems to have taken him further than other adepts of the "new sound. The years to come will allow us to judge whether these records will have influence, as Monk says he hopes; he and the young American musicians will attract new disciples.
It's been said that in recording Monk, Alfred Lion was committing financial suicide. I really hope there's no truth in that, and I salute the valorous and enterprising Alfred, who has shown no hesitation in playing a card that is certainly not very commercial, but oh, how thrilling for jazz fans.
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In a previous "Jazz-Hot" we were told many things about the weird and fantastic Thelonious and his music; these records constitute an excellent illustration of the article in question. The different soloists around him are not great stars but we'd be wrong to underestimate the work of Idrees Sulieman on trumpet and Danny Quebec on alto. On all these sides, Blakey and Gene Ramey, the bassist, provide very meaty support, although it is sometimes a little noisy. I like the theme and the Surrealist title of "Suburban Eyes", and the solo by Monk, who moves away from it in a manner that is really stupefying, and also his solo on the other side, where Monk constructs his whole solo around one note that he reaches in a hundred different ways, and then moves away from it before coming back to it, leaving his left hand to take care of supplying its colour.
Pleasant ballads, given a lift by the intriguing accompaniment of Monk's quartet, into which Milt Jackson throws a clear note. Monk's solo on "Should" has an amiable ingenuity. Allen Eager, sans doute. The trumpeter indeed seems to be Navarro, but the second tenor is more difficult to identify. Probably Allen Eager. No matter, as the solos are good and the accompaniment of Kenny Clarke particularly brilliant.
Monk's playing, swaying along with bizarrely struck chords here and there, with harmonies that are prodigiously disconcerting, is interesting enough, but rather hard to swallow. The visual representation of Monk's music gives you the impression of walking into a painting by de Chirico. This is one anthology that would do well to be in every modern jazz fan's record library. We've already talked about these recordings in this same column, issued as 78rpm records.
Let's take advantage of their reissue on LP to emphasize the considerable interest that they represent. Monk, whose technical possibilities are strongly limited, has created a style for himself whose attraction lies entirely in the intriguing harmonic modifications, the tonal subtleties, the unexpected articulation of his phrasing, and the general line of his improvising.
His playing, at first sight disconcerting, turns out to be very endearing. The ensembles surrounding him here have merit, particularly in the impeccable manner the rhythms are kept: present here are characters like Art Blakey, Gene Ramey etc. On some pieces Milt Jackson gets along splendidly with Monk: the "common spirit" is in action. The themes, most of them excellent, are all by Monk.
We are happy to announce that the 3rd Salon du Jazz will take place in Paris in May with an entirely new format. Here you will be able to find all the information you want in due course….
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While the season proper is perhaps not on the same scale as its predecessors, on the other hand the shows planned over these eight days, with several American groups participating, will be worthy of previous Jazz Festivals…. Peytavin for his letter. Manifestations artistiques. The 3rd Jazz Fair will stand out from previous editions, as does every industrial and commercial exhibition by the way, due to its exceptional appearance. All the stands will be decorated based on a single theme: the decor is inspired by New Orleans' French Quarter.
The two previous Fairs had proved not only the interest but also the necessity that lies in such an event, both artistically and from an industrial and commercial standpoint. Indeed, it gives an opportunity to musicians, and music professionals whether manufacturers or distributors, to get together to appreciate the latest technical perfections, as well as the most recent new developments in their field. This exhibition of the greatest interest to the amateur or professional musician allows the latter to make his own choice in full knowledge of the facts, since here the entire production is submitted to his judgment.
We all know the prestige that is enjoyed worldwide by instruments made in France. And so all the great brands are present in this Fair.
As for records, which play such an important role in the illustration of jazz music, they are represented brilliantly. All the record companies, whose interest in this music is on the increase, will be there. And some of these labels will even be making a particular effort because fans at the Fair will be able to obtain recordings that have not been released until now. Thanks to its size and spectacular presentation, this exhibition will also attract the public and so contribute to make jazz music better known and, consequently, develop the industries and commerce with which it has ties.
Artistic events. All the events at the 3rd Jazz Fair will take place inside the Salle Pleyel setting. Several French ensembles are also planned.
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The semi-finals of the Amateur Orchestras Tournament will take place on the mornings of June 5 and 6. On weekdays, films will be screened in the morning. After the concerts have finished a large club will allow fans to hear the musicians in a different atmosphere. This means they will not have to run all over Paris in search of problematic jam sessions. Numerous group-visits, made easier by the Whitsun holidays, have been organized, with visitors coming from abroad as well as the provinces. Details of the definitive list of the American, European and French artists called on to take part in the different manifestations planned, as well as the days and times of their appearances, will be given later in the press, particularly in: Le Figaro and in Jazz-Hot in May In this context a special issue of J.
The Organising Committee reserves the right to modify the order of the various manifestations all changes will appear in the press in due course.
Johnson, C. Tous vous diront quelle admiration enthousiaste ils ont pour lui. Ne prenons pour exemple que le cas de Clifford Brown. Le style de Monk est anti-commercial, disions-nous. Mais, sous les doigts de Monk, elles restent neuves. Prisonniers de quelques formules, ils deviennent rapidement lassants.
Jerry Newman, the man known for the "Charlie Christian Memorial Albums", has this document in his possession, a recording that would be worth publishing given how astounding it is to hear everything that hundreds of musicians would put to use a few years later: the way the left hand played, the sequences, melodic variations, rhythmic findings That night, Thelonious Monk was no doubt visited by the creative spirit, as he liked his chorus so much that he would always ask Jerry Newman if he could listen to it again, having never yet, he said, "heard anyone play piano like that.
Did Monk suspect at the time how important his finds were? Probably not, no more than drummer Kenny Clarke, who was assisting him every night in Joe Guy's group. Both of them, however, launched the revival in rhythm and harmony that jazz music experienced in On that subject, it's hair-raising to hear the contributions of Kenny and Thelonious in the midst of those jam sessions where they found themselves in the company of people like Joe Guy or Al Sears Monk began playing the piano at the age of 11, learning alone without the help of a teacher.
A little while later he became the organist in a church for two years. Thelonious points out that he doesn't know if that helped him with the piano or the contrary And, he says, "I was so tired of the whole chords in church music that I needed to hear something else.
That's why I invented new melodies with chords nobody had heard before, with rhythms that just came freely without me thinking about it We know what the result of that was. And, in around , Monk taught a lot of things to Dizzy Gillespie, who transmitted them later to his first young partners such as George Wallington, Milt Jackson, etc.
It's also a known fact that all the young jazzmen were crowding into Minton's in the years to hear the pioneers of modern music who were there.https://tirgaadepriku.tk
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The latter would also go over to Monk's house every day, and Thelonious says that, "If Bud was more talkative he could tell us everything he learned there. Ask all the modern musicians, whatever their ages and styles. Ask Gillespie or B. They'll all tell you how much enthusiasm and admiration they have for him.
So why isn't the name of Monk more widespread among the public?