- LES LIAISONS DANGEREUSES THELONIOUS MONK MOVIE
- LES LIAISONS DANGEREUSES THELONIOUS MONK FULL
- LES LIAISONS DANGEREUSES THELONIOUS MONK PLUS
There’s two alternate takes, two masters for a 45 Single and two unedited session reels: a longer version of “Well You Needn’t” and a fly-on-the-wall version of “Light Blue” where you can hear the band working out the song live in the studio. The second disc is largely devoted to gathering up odd ends. Equally compelling are the two versions of “Pannonica,” each of which have a similar hazy mood, yet are distinct – and come apart with crashing chords, then back together with a finely tunes phrase or two. It’s most effective when he pauses, juts and moves on to another phrase, leaving the past behind in a flash. His solo reading of “Six In One,” stutters and stops, lurching from phrase to phrase and sounding almost equally unresolved, angry and introspective. But by and large, it’s Thelonious Monk’s show, as any of his sessions are. Meanwhile, the rhythm section is on it’s game, especially on the swaggering “Light Blue,” which stops and lurches forward, propelling Monk’s piano along like a conveyer belt. On “Well You Needn’t,” the sax solo leaps out of the rhythm section with an urgent quality, while on “Rhythm-A-Ning,” it gives the music a pulsing, nervous edge. Wilen’s something of a wild card: he played with Davis on Ascenseur, and would soon after spent some time in Art Blakey’s band, but largely this French player is overlooked the Penguin Guide to Jazz only has less than half a dozen of his records, all on small labels.īut here, the two players give Monk’s band a boost, a sort of duelling voices. For this 1959 session, Thelonious Monk brought in his working band, essentially the same one from 5 By Monk By 5: Charlie Rouse (saxophone), Sam Jones (bass) and Art Taylor (drums), with the addition of Barney Wilen on tenor saxophone. In performance, Monk took apart and rearranged his own material, but was not a solo improviser of the Keith Jarrett/Chick Corea school. Whereas Davis’ approach was minimal – a few sketched chords and improvisations based around a screening of the film – Monk brought a singular approach to finished compositions. With Thelonious Monk, Les Liaisons Dangereuses‘ director Roger Vadim was getting a musical genius and one of the most interesting figures in jazz, but one of a very different sort from Davis. This mostly improvised album is often seen as a forerunner not only for Kind of Blue, but for the next decade of Davis’ music it’s an overlooked gem on it’s own.
LES LIAISONS DANGEREUSES THELONIOUS MONK MOVIE
Not too long before, Miles Davis was called upon for the soundtrack to Ascenseur pour l’échafaud – aka Elevator to the Gallows - by French New Wave director Louis Malle, giving the movie a heightened sense of tension and emotion.
LES LIAISONS DANGEREUSES THELONIOUS MONK FULL
57th., New York, N.Y., July 27, 1959.Ģ017 celebrates the centennial of one of jazz’s greatest composers & pianists.įirst official release with the full permission and cooperation of the Thelonious Monk Estate.In 1959, Thelonious Monk went into the studio to attempt something he’d never done before and would never do again: record a soundtrack for the French thriller Les Liaisons Dangereuses.Īn inspired idea, certainly, but one with some precedent. Recorded at Nola Penthouse Sound Studio, 111 W.
LES LIAISONS DANGEREUSES THELONIOUS MONK PLUS
Monk’s only film soundtrack, for Roger Vadim’s famed French film Les Liaisons Dangereuses 1960.įeatures Monk’s 1959 all-star working band of Charlie Rouse, Sam Jones & Art Taylor, plus special guest French Saxophonist Barney Wilen. Never-before released Thelonious Monk 1959 studio recording. LP includes double photo insert Mastered from the original master tapes. Mastered by Kevin Gray at Cohearent Audio Plated and pressed at Quality Record Pressings! You simply cannot go wrong with any of these LPs!! Monk 5/5 lpreviews - Sam Records and they never fail to deliver amazing sound, packaging, and quality. * Bonus: The final track has Monk coaching Taylor through the drum part on 'Light Blue,' a fine illustration of the complexities of Monk’s music and how it comes out when the musicians get it down." - Fred Kaplan Monk’s piano work is drenched with playful energy, and the band-Charlie Rouse and Barney Wilen on tenor saxes, Sam Jones on bass, Art Taylor on drums-is in top form. "This long-lost soundtrack to Roger Vadim’s film of the same title (spread out on two CDs, with alternate takes) isn’t the best Monk album from the period, but it’s not a mere novelty either. The Absolute Sound Super Disc List TAS Harry Pearson Super LP List Mastered by Kevin Gray - Limited Edition - Pressed at QRP Sam Records - 180 Gram Virgin Vinyl - AAA 100% Analogue
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