Q

When it comes to music, I’ve always preferred for words to be subordinate. It should enhance, not distract. This is why i’m downright inept when it comes to remembering lyrics, because to me their function is decorative. It is also one of the reasons why jazz appeals to me. Scat singing exemplifies the spirit of music first, words as a complement. Pre-scat bebop usage of words can be quintessentially found in one of my absolute favorites: Dizzy Gillespie’s Salt Peanuts. He literally yells SALT PEANUTS SALT PEANUTS in intervals. The meaning attached to these words become irrelevant, but the vocalizations are sublime paired with the music.

K that was a rather digressive aside.

I’ve been wanting to briefly share some jazz pieces/players here but didn’t know where to start. Justin has given me the perfect opportunity:

In it, The Man I Love (Take 1 and 2) – which i’ve never heard before; Swing Spring, Bemsha Swing. Miles Davis on the trumpet, Monk on the piano, Milt Jackson on the vibraphone, Percy Heath on bass, and Kenny Clarke on drums. It also includes ‘Round Midnight (!!!) which i really like, with Coltrane on the tenor sax, Paul Chambers on bass, Red Chambers on piano and PJJ on the drums. All in all an impressive line up.

My first comment when Justin popped the CD into his player and started The Man I Love was that it doesn’t do Thelonious Monk any justice.

First off and more obviously, he seemed muted throughout the piece. Secondly, even when his sound was discernible in the foreground, it wasn’t the usual charming Monk-spasmodic, but an uncertain-spasmodic. I apologize for my embarrassing lack of technical knowledge lol. Monk always plays lurchingly – and i mean that in the most reverent way possible (i love dissonance in music). It is a deliberate lurching, with characteristic pockets of sudden withdrawal and then a (very pleasing) burst of self-assured playing. In this recording of The Man I Love it sounded more timid than anything.

Percy Heath on bass, though, was great. I love the sound of bass and it’s always what stands out to me in jazz, and it did especially so here. Also, watch out of the vibraphone – whenever it came on it did an excellent job pulling everything (including the sidelined Monk) together.

At home i listened to Take 1 and 2 more closely. Miles Davis’ trumpet solo is much more captivating in Take 2 – harsher, cleaner – with the space more effectively shared with Milt Jackson’s vibes.

Monk comes back with a piano solo in Swing Spring and is par excellence on his usual form, and he doesn’t break the trend in Bemsha Swing. His comping for both trumpet and vibes in Bemsha Swing, particularly, was beauty.

‘Round Midnight features a different set, with Coltrane on sax and Chambers on bass – sans Monk, the original composer. Which i thought worked for this version. Monk with Coltrane did much justice for ‘Round Midnight but with Miles Davis thrown into the mix as well, Monk’s healthy dissonance might be thrown into confusion (Monk coupled with Gillespie, though, did such a breathtaking rendition).

This is a nice mix with classic tracks and beefy solos. My only gripe is that it lacks cohesion. Sometimes within each piece, but more distinctively as a compilation. Some albums give a strong sense of each piece being chapters to a unified whole. Each chapter unique in itself, with nuances in ambiance, but coming together finally so you feel that satisfaction of having finished something truly great. Still, there are enough moments of incredible solos that make this gift very worthy (thank you Justin xo!)

I recommend this album for that time of the night you realize you’ve tripped too far past bed time to be sleeping at all. When fatigue gives up on you and a light-headed, giggly kind of energy starts creeping in. The music here becomes brilliantly suitable, where discordant transitions from piece to piece will match your manic progression throughout the night. It will go down well with a strong, nasty brew of something heady like ginger ale. Slightly uncomfortable but exciting and secretly loved.