By Gabriel Solis
In early 2005, an engineer on the Library of Congress unintentionally came across, in an unmarked field, the recording of Thelonious Monk's and John Coltrane's functionality at a 1957 gain live performance at Carnegie corridor. lengthy certainly one of an important musical conferences in glossy jazz, Monk's and Coltrane's interact in the course of a scant few months in 1957 had, until eventually this discovery, been considered virtually solely undocumented.
In this booklet, Gabriel Solis offers an historic, cultural, and analytical examine of this landmark recording, which used to be published by means of Blue notice files later in 2005. Taking a wide-ranging method of the recording, Solis addresses problems with "liveness," jazz instructing and studying, enculturation, and historiography. simply because approximately a part century handed among whilst the recording used to be made and its public free up, it's a quite attention-grabbing lens during which to view jazz either as a ancient culture and as a latest cultural shape. most significantly Solis money owed for the song itself. supplying extensive analytical discussions of every composition, in addition to Monk's and Coltrane's improvisational performances he offers perception into Monk's influence on Coltrane as he built his signature "sheets of sound" type, in addition to into the impression of a powerful side-man, like Coltrane, on Monk at his artistic top. the 1st research of 1 of the main major jazz releases of the twenty-first century, Thelonious Monk Quartet with John Coltrane at Carnegie corridor is crucial analyzing for all jazz students, scholars, musicians, and fans.
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Extra resources for Thelonious Monk Quartet with John Coltrane at Carnegie Hall (Oxford Studies in Recorded Jazz)
Possibly crucial similarity to Monk’s method is that Coltrane tended to want blues chord progressions with out the ii–V substitutions that grew to become universal in bebop within the Forties. not like Monk, who tended to jot down and (3:22) nine B b Eb b four & b four ≈ œ œ œ œ œ bœ œ œ œ œ œ Œ œ Bb three three bœ œ nœ bœ œ œ œ nœ bœ œ b & b ‰ œJ œ œ œ œ b œ œ œ œ œ œ ‰ ‰ œ œ œ b œ b œ n œ œ œ œ œ A œ œ œ b œ three determine 6. 6. 136 three “Blue Monk,” John Coltrane’s Solo, 9th refrain, mm. 1–4 thelonious monk quartet with john coltrane play major-key blues, Coltrane was once keen on minor blues, as may be heard in such items as “Blue teach” and “Equinox,” between others. it isn't tough to discover blues recordings by means of Coltrane from round this time; he was once relatively busy, commonly as a sideman. in reality, “Blue teach” was once recorded on the subject of months prior to the Carnegie corridor live performance and “Bass Blues,” which used to be published at the album Traneing In, a few month prior to that. curiously, apart from a undeniable sameness of harmonic and rhythmic language, “Blue Monk” is particularly assorted from those . He does stay down-home in a feeling, with Monk, yet he's if something much more down-home within the different settings. The solos on “Blue educate” and “Bass Blues” express Coltrane taking part in extra formulaic fabric, and fabric that extra truly references ordinary blues words. in contrast, in a later recording, like “Equinox,” as Porter notes, Coltrane seems considering extra in regards to the specificity of specific blues items, as he seems to be with Monk. additionally, a minimum of on “Equinox” Coltrane indicates a degree of recognition to the form of the solo as a whole—building steadily in either variety and depth to a climax within the 9th of his ten choruses (185–88). Porter describes how this places Coltrane in the culture, inasmuch as “many jazz artists loved to extend the depth at the beginning of every succeeding refrain of a blues,” however it additionally exhibits the influence of specific artists he labored with, particularly Monk and Miles Davis (185). Monk performs accompaniment components all through Coltrane’s solo, in a fashion that used to be a little strange for him on the time. instead of wake up from the piano, or just lay out whereas Coltrane performed the center 4 or 5 choruses, Monk continues to be engaged, comping roughly actively the entire time (Fig. 6. 7). His point of job will be tied on to Coltrane’s formal good judgment, defined above, however it turns into such a lot outstanding within the ultimate part. at first of the 9th refrain, while Coltrane performs little causes that spotlight the chord roots, Monk responds with chord hits that toughen Coltrane’s suggestion. As Coltrane increases the strength in spite of everything of the 9th refrain and during the 10th, Monk performs his so much lively fabric of the complete solo, an intensely dissonant determine in 16th notes that bears at the very least a passing resemblance to the melody of his blues composition “Raise 4” (a connection with the figure’s tritone melody). Monk contains this determine via bar 10 of the ultimate refrain of Coltrane’s solo, transposing it to slot the chord alterations, after which he rests in the course of mm.