(JazzPlanet) Thelonious Loosely Friar - Enlightened Corners (Eac S Flac Cue)(UF)

  • 22.06.2016, 03:37,
  • Music

Thelonious Brother — Intelligent Corners

Artist: Thelonious Monk

Christen-: Intelligent Corners

Character Jazz

Styles Severely Bop, Bop

Term: Reverside

Catalog N°: RCD — 226-2

Well-Spring Recorder: october — december 1956

Reverside Records 2001 Decorated Inc.

Digitally remastered by Kirk Felton (1987, Decorated Studios, Berkeley, California).

Digitally remastered using 20-bit K2 Wonderful Coding Modus Operandi technology.

Set-Up: CD 1

Well-Spring: Well-Spring CD

Extractor: EAC 0.99 prebeta 4

Announce technique : Secure

Utilize correct queue : Yes

Finish audio supply : Yes

Indulge use of C2 pointers : No

Codec: Flac 1.2.1; Aim 8

Unattached Interfile.flac, Eac.log,

Interfile.cue Multiple wav interfile with Gaps (Noncompliant)

Accurately ripped (trust 11)

Rate Flood: 249 Mb

Screen Incluse


Intelligent Corners,

Ba-lue Bolivar Ba-lues-are,


I Yielding Dearly,

Bemsha Waver.


Thelonious Brother, piano & celeste;

Ernie Henry, alto sax;

Sonny Rollins, effect sax;

Oscar Pettiford, bass;

Max Roach, drums & timpani

Hear to samples






Sleeve notes by Orrin Keepnews.

Glum Bolivar Blues; Pannonica; (October 9, 1956 - N.Y.)

Intelligent Corners; (October 15, 1956 - N.Y.)

Ernie Henry — alto. Sonny Rollins — effect. Thelonious Brother — piano & celeste. Oscar Pettiford — bass. Max Roach — drums.

Bemsha Swing; I Yielding Dearly (); (December 7, 1956 - N.Y.)

Clark Terry — trumpet. Sonny Rollins — effect. Thelonious Brother — piano. Paul Chambers — bass. Max Roach — drums.

Thelonious Brother remains among the most challenging, suggestive and off-putting figures in latest music. He has regularly been described in such terms for as lengthy as he has been on the jazz commotion — which is exactingly as lengthy as there has been latest jazz, for Brother of course was one of the key molders of the new jazz. He will very probably carry on to be described this way. For Monk's music is decidedly not designed for unsure listening. Everything he writes and plays is jazz into which an critical originative forte has put more than a little of himself. Thus, inevitably, Brother and his music require the most straitening preoccupation any artist can indulge of his audience — r.

Thelonious Monk«s music can also be among the most productive in latest jazz. And it is that (to those who will hear) for exactly the same reasons that it challenges, disturbs and demands: because Brother is himself. What he offers is not bare, eminent relations purposive cunning or outside skills, but merely the music that is in him and that he is impelled to carry forth. There are men who can turning and determine themselves and their trade (perhaps to fit widespread eminent soup, perhaps to outfit the aims of a stronger artistic disposition). There are others whose unaffected, unalloyed self assertion manages to come a keen chord in lots of souls, or at least seems to. For All there are those non-benders and non-conformers who don»t turn up to seem calmly to conceive of. Among these is Brother, and for such men the underlying audience can consist only of those who are willing to try a bit to grip the inspirational, intensely productive bulletin that is being sent out.

These comments are not intended as any type a organize of impartially sharp opposing-spiral loony (you know: «only very hip people, like me and like you who are reading these notes, can really dig Thelonious»). On the opposing, we at Riverside strike one very strongly that the whole paralipsis on the exceptionally far-out and «mysterious» kind of Monk«s music has been seriously overdone in years years, so that many who would have organize themselves quite willing (and able) to hear were frightened away in . This is Thelonious» third album for this label; the first two were entirely made up of paradigm tunes, played with triptych instrumentation. This was fully cogitate on, a depict to defile non-followers of Brother into giving him a hearing. There was no lyrical compromise; but there was at least the feel of a presumptuous tunefulness to create with.

Those two too soon albums — as reviewers, musicians and others with no dearest need to truckle to Brother or us have illustrious — were superb, articulate efforts. But the LP is something else again. This is Thelonious at trade on matters much more straitening (and potentially even more productive): this is Brother script, in his own quite dearly way, for five helpful voices. It is Brother expressing himself by means of the abnormal construction, , and phrasing that is uniquely his, and that has by now matured into a soup possessing tremendous deepness, wit and strength.

(The one omission here, a treatment of the paradigm I Yielding, Dearly in a compellingly sulking attitude, came about because Brother felt like it and felt it was a switch of velocity that would fit in. It did.)

It should be illustrious at about this put that Monk«s music is not only not the easiest listening, it is also not calmly to not treat seriously c mess with. Musicians could set apart themselves a lot of discountenance by not recording with Brother — but it»s a propriety of discountenance that a tremendous many of the best men have lengthy considered a franchise (as well as an course of study).

Sonny Rollins is a wonderfully inventive, doctrinaire-toned effect man who has already made a illustrious thrust on the jazz eminent and on affiliated musicians, who is clearly going on to a rank of even greater concern. Ernie Henry worked in Monk«s quartet during 1956, and then took over Phil Woods» alto directorship in Reeling Gillespie«s big band; he is a formless, leaping, non-obtained stylist who has appeared on two too soon Riverside LP»s and whom we are betting on for near-time to come stardom. Oscar Pettiford and Max Roach no longer need decorated descriptive adjectives: by now assuredly their names alone tell the report. When Henry and Pettiford were unavailable for the end stage, the replacements were of top degree: Clark Terry (a obtrude out with Duke Ellington since 1951 and termed, by Leonard Feather, «one of the most well-spring trumpet players in modern jazz») and Paul Chambers, currently with Miles Davis and among the very finest of the newer bassists.

These men worked severely. They struggled and concentrated and shook their heads over some passages with those half-smiles that mean; «Hard? this is ridiculous!» For the well-spring compositions on this stage reproduce Brother at his most inventive and therefore (to encore myself) at his most challenging. Intelligent Corners, with its uneven meter and its time changes, is beyond a the bona fide uphold-breaker, but this doesn«t mean that the others are upright: Pannonica, which I»d specify as a near-ballad with guts; the blues, which has lots of extended blowing (and don«t rebuff to dig the several things Brother is doing behind the horns): and Bemsha Waver, only one of the four originals not specifically microwave-ready for this register stage — Thelonious wrote it several years ago, with drummer Denzil Best, and has recorded it twice earlier, but balance will conduct that it hasn»t remained problems during that time.

(A note on the odd christen of the blues: it is merely an have a go to set down phonetically the accent Brother insisted on as most apposite for what might most completely be called Glum Bolivar Blues.)

These musicians worked severely, also, because Monk«s creativity never stands still: during a precedence run through of a army, between »takes« or even during one, changes of phrasing or of enumerate will evolve, as a continual fusion of ordering and improvisation keeps attractive pinpoint. Sometimes even instrumentation gets altered a bit. Thelonious came across a celeste in the studio, incontestable it would go well in Pannonica, and so set it up at right angles to the piano to be able to not treat seriously c mess with celeste with the right relief, piano with the formerly larboard, during usually of this army. Similarly, it was an impromptu bit of experimentation that resulted in Max Roach»s «doubling» on tympany and drums through Bemsha Waver, in most abnormal and crap fashion.

And Brother is a severely undertaking-conceive of at a recording meeting, a nit-picking («I've never been satisfied with one of my records yet,» he says, and means it) who knows just how he wants each note set and phrased and who drives the others as severely as he drives himself — which, in an survey sagacity, is perhaps a little unfair of him.

In the end, it wasn't «impossible» — merely far from calmly, and in the end everyone else was satisfied and Brother probably almost satisfied. And the end results are obviously very much good having practised and (to results to the first notion of these comments) good paying r to.

— Orrin Keepnews.

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