Podcasts about shadow wilson

M

Great band straddling swing, bop and R&B, all featuring the Texas tenor, Illinois Jacquet with his brother Russell and Joe Newman on trumpets, J.J. Johnson and Henry Coker on trombones, Ray Perry on alto, Leo Parker and Maurice Simon on baritones, John Lewis and Sir Charles Thompson on piano, John Collins on guitar, Al Lucas on bass and Shadow Wilson on drums --- Support this podcast: https://podcasters.spotify.com/pod/show/john-clark49/support

M

Con T.Monk & J.Coltrane, Yvonne Walter, Benny Golson y Paco Charlín entre otros. Primera edición de este mes que recién acaba de comenzar que nos sirve para, en tiempo de estrenos estatales, presentar una nueva entrega discográfica producida por el vibrafonista Arturo Serra que en esta ocasión tiene por protagonista la voz de la cantante holandesa Yvonne Walter. Ya en capítulo internacional presentamos "The many moods of Benny Golson", compilatorio con el que redescubrir la esencia del saxofonista junto a maestros como Mulgrew Miller o Art Farmer. El "Estándar" de la semana es "Trinkle tinkle", de Monk en grabación mítica junto a Coltrane, Wilbur Ware y Shadow Wilson y "Next One", del sensacional contrabajista Paco Charlín en su "Ultimate Jazz Earth-Tet II", el "Favorito". Ahora Jazz, Ed. 2188. Con Javier del Barco.

Con T.Monk & J.Coltrane, Yvonne Walter, Benny Golson y Paco Charlín entre otros. Primera edición de este mes que recién acaba de comenzar que nos sirve para, en tiempo de estrenos estatales, presentar una nueva entrega discográfica producida por el vibrafonista Arturo Serra que en esta ocasión tiene por protagonista la voz de la cantante holandesa Yvonne Walter. Ya en capítulo internacional presentamos "The many moods of Benny Golson", compilatorio con el que redescubrir la esencia del saxofonista junto a maestros como Mulgrew Miller o Art Farmer. El "Estándar" de la semana es "Trinkle tinkle", de Monk en grabación mítica junto a Coltrane, Wilbur Ware y Shadow Wilson y "Next One", del sensacional contrabajista Paco Charlín en su "Ultimate Jazz Earth-Tet II", el "Favorito". Ahora Jazz, Ed. 2188. Con Javier del Barco.

M

M

M

MULLIGAN MEETS MONK – New York, August 12 & 13, 1957 Round midnight, Rhythm-a-ning, I mean you Gerry Mulligan (bar) Thelonious Monk (p) Wilbur Ware (b) Shadow Wilson (d) AHMAD JAMAL – MARSEILLE – Malakoff, France, July, 2016 Marseille, Sometimes I feel like a motherless child, I came back to see you/You were not there […]

En la discografía de Gerry Mulligan hay varias grabaciones tituladas genéricamente Gerry Mulligan Meets. En HDO 224 del domingo 22 de enero de 2017, en el segundo programa especial dedicado a Gerry Mulligan, nos detenemos en tres de esas grabaciones: Mulligan Meets Monk (1957), Gerry Mulligan Meets Ben Webster (1959) y Gerry Mulligan Meets Johnny Hodges (1960). © Pachi Tapiz, 2017 HDO es un podcast editado, presentado y producido por Pachi Tapiz. Thelonious Monk And Gerry Mulligan: Mulligan Meets Monk (Riverside Records, 1957) Gerry Mulligan, Wilbur Ware, Shadow Wilson,Thelonious Monk Gerry Mulligan: Gerry Mulligan Meets Ben Webster (Verve, 1959) Gerry Mulligan, Leroy Vinnegar, Mel Lewis, Jimmy Rowles, Ben Webster Gerry Mulligan: Gerry Mulligan Meets Johnny Hodges (Verve, 1960) Johnny Hodges, Gerry Mulligan, Buddy Clark, Mel Lewis, Claude Williamson Toda la información de HDO 224 en http://www.tomajazz.com/web/?p=28861. Toda la información de HDO en http://www.tomajazz.com/web/?cat=13298

On November 29, 1957, Dizzy Gillespie, Billie Holliday, Zoot Sims, Chet Baker, Sonny Rollins, and a multi-talented young R&B player who played jazz that night, Ray Charles, and others played a benefit concert for the Morningside Recreation Center at Carnegie Hall. Almost a half a century later, these recordings, intended to be played on radio Voice of America, were found in the Library of Congress. The aforementioned artists' performances were never made available and yet, one set from that night was released, featuring a quartet with pianist Thelonious Monk, saxophonist John Coltrane with Shadow Wilson on drums and Abdul-Ahmed Malik on bass. That recording, on Blue Note records, released in 2005, was a critical and commercial sensation. Monk and Coltrane had played more than 100 shows together the previous five months at the Five Spot Club in New York City and, as Gabriel Solis writes in his thought-provoking multi-disciplinary analysis of their program, that Carnegie Hall concert was “a compendium of what was possible in the jazz conventions of the day and a glimpse of how these jazz conventions could be pushed forward.” The Monk/Coltrane concert set featured two great icons in the history of jazz at different points in their career. Monk had already established himself as a unique, eccentric and groundbreaking composer and performer and bandleader, too (as Solis points out in our interview). John Coltrane was still evolving into one of the most multi-perspectived yet focused and revered players in American jazz. It was, as Solis documents, in many ways a golden age of jazz: besides new recording technologies that afforded the possibility of longer recordings with greater listening fidelity, it was an age of “legendary intensity” when players such as Miles Davis, Sonny Rollins, Sonny Stitt, Art Blakey, Horace Silver, Max Roach, Benny Golson, Dizzy Gillispie, MJQ, Hank Mobly, Hank Jones, Milt Jackson, Lennie Tristano, and Gerry Mulligan “wrote and played and recorded songs and albums that would challenge their contemporaries and become standards in time.” And, jazz had not “separated” from pop music. People went to clubs to hear live jazz; they went in great numbers to jazz concerts/benefits – and, at the same jazz recordings were being brought into the country's living rooms to larger and larger audiences. Gabriel Solis, an Associate Professor in Music, African-American studies and Anthropology at the University of Illinois, has written a fascinating volume about the cultural significance of the concert, contextual insights about the serendipitous yet important collaborative bond between Monk and Coltrane, “close reading” musical analyses as to how each piece on their set “played out” with respect to the members of the quartet, and a retrospective look at the significance of the public's and critical responses to the CD's release by Blue Note Records in 2005. In Thelonious Monk Quartet with John Coltrane at Carnegie Hall (Oxford UP, 2013) Solis discusses whether the popularity of the CD after its release in 2005 is evidence of nostalgic reverence for an era gone by, or a validation that jazz is alive-and-well and more appreciated than ever. Of course, Solis knows it's far more complicated than that, but he improvises riffs and ruminations that stimulate the reader into pleasing new ponderings about the meaning of “nostalgia,” the “is jazz dead?” question (which Solis notes going back as least as far as 1964), the decline of the jazz clubs, the ascendency of jazz studies in the Academy, and interesting perspectives on Monk's and Coltrane's musical development ... Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-american-studies

On November 29, 1957, Dizzy Gillespie, Billie Holliday, Zoot Sims, Chet Baker, Sonny Rollins, and a multi-talented young R&B player who played jazz that night, Ray Charles, and others played a benefit concert for the Morningside Recreation Center at Carnegie Hall. Almost a half a century later, these recordings, intended to be played on radio Voice of America, were found in the Library of Congress. The aforementioned artists' performances were never made available and yet, one set from that night was released, featuring a quartet with pianist Thelonious Monk, saxophonist John Coltrane with Shadow Wilson on drums and Abdul-Ahmed Malik on bass. That recording, on Blue Note records, released in 2005, was a critical and commercial sensation. Monk and Coltrane had played more than 100 shows together the previous five months at the Five Spot Club in New York City and, as Gabriel Solis writes in his thought-provoking multi-disciplinary analysis of their program, that Carnegie Hall concert was “a compendium of what was possible in the jazz conventions of the day and a glimpse of how these jazz conventions could be pushed forward.” The Monk/Coltrane concert set featured two great icons in the history of jazz at different points in their career. Monk had already established himself as a unique, eccentric and groundbreaking composer and performer and bandleader, too (as Solis points out in our interview). John Coltrane was still evolving into one of the most multi-perspectived yet focused and revered players in American jazz. It was, as Solis documents, in many ways a golden age of jazz: besides new recording technologies that afforded the possibility of longer recordings with greater listening fidelity, it was an age of “legendary intensity” when players such as Miles Davis, Sonny Rollins, Sonny Stitt, Art Blakey, Horace Silver, Max Roach, Benny Golson, Dizzy Gillispie, MJQ, Hank Mobly, Hank Jones, Milt Jackson, Lennie Tristano, and Gerry Mulligan “wrote and played and recorded songs and albums that would challenge their contemporaries and become standards in time.” And, jazz had not “separated” from pop music. People went to clubs to hear live jazz; they went in great numbers to jazz concerts/benefits – and, at the same jazz recordings were being brought into the country's living rooms to larger and larger audiences. Gabriel Solis, an Associate Professor in Music, African-American studies and Anthropology at the University of Illinois, has written a fascinating volume about the cultural significance of the concert, contextual insights about the serendipitous yet important collaborative bond between Monk and Coltrane, “close reading” musical analyses as to how each piece on their set “played out” with respect to the members of the quartet, and a retrospective look at the significance of the public's and critical responses to the CD's release by Blue Note Records in 2005. In Thelonious Monk Quartet with John Coltrane at Carnegie Hall (Oxford UP, 2013) Solis discusses whether the popularity of the CD after its release in 2005 is evidence of nostalgic reverence for an era gone by, or a validation that jazz is alive-and-well and more appreciated than ever. Of course, Solis knows it's far more complicated than that, but he improvises riffs and ruminations that stimulate the reader into pleasing new ponderings about the meaning of “nostalgia,” the “is jazz dead?” question (which Solis notes going back as least as far as 1964), the decline of the jazz clubs, the ascendency of jazz studies in the Academy, and interesting perspectives on Monk's and Coltrane's musical development ...

On November 29, 1957, Dizzy Gillespie, Billie Holliday, Zoot Sims, Chet Baker, Sonny Rollins, and a multi-talented young R&B player who played jazz that night, Ray Charles, and others played a benefit concert for the Morningside Recreation Center at Carnegie Hall. Almost a half a century later, these recordings, intended to be played on radio Voice of America, were found in the Library of Congress. The aforementioned artists’ performances were never made available and yet, one set from that night was released, featuring a quartet with pianist Thelonious Monk, saxophonist John Coltrane with Shadow Wilson on drums and Abdul-Ahmed Malik on bass. That recording, on Blue Note records, released in 2005, was a critical and commercial sensation. Monk and Coltrane had played more than 100 shows together the previous five months at the Five Spot Club in New York City and, as Gabriel Solis writes in his thought-provoking multi-disciplinary analysis of their program, that Carnegie Hall concert was “a compendium of what was possible in the jazz conventions of the day and a glimpse of how these jazz conventions could be pushed forward.” The Monk/Coltrane concert set featured two great icons in the history of jazz at different points in their career. Monk had already established himself as a unique, eccentric and groundbreaking composer and performer and bandleader, too (as Solis points out in our interview). John Coltrane was still evolving into one of the most multi-perspectived yet focused and revered players in American jazz. It was, as Solis documents, in many ways a golden age of jazz: besides new recording technologies that afforded the possibility of longer recordings with greater listening fidelity, it was an age of “legendary intensity” when players such as Miles Davis, Sonny Rollins, Sonny Stitt, Art Blakey, Horace Silver, Max Roach, Benny Golson, Dizzy Gillispie, MJQ, Hank Mobly, Hank Jones, Milt Jackson, Lennie Tristano, and Gerry Mulligan “wrote and played and recorded songs and albums that would challenge their contemporaries and become standards in time.” And, jazz had not “separated” from pop music. People went to clubs to hear live jazz; they went in great numbers to jazz concerts/benefits – and, at the same jazz recordings were being brought into the country’s living rooms to larger and larger audiences. Gabriel Solis, an Associate Professor in Music, African-American studies and Anthropology at the University of Illinois, has written a fascinating volume about the cultural significance of the concert, contextual insights about the serendipitous yet important collaborative bond between Monk and Coltrane, “close reading” musical analyses as to how each piece on their set “played out” with respect to the members of the quartet, and a retrospective look at the significance of the public’s and critical responses to the CD’s release by Blue Note Records in 2005. In Thelonious Monk Quartet with John Coltrane at Carnegie Hall (Oxford UP, 2013) Solis discusses whether the popularity of the CD after its release in 2005 is evidence of nostalgic reverence for an era gone by, or a validation that jazz is alive-and-well and more appreciated than ever. Of course, Solis knows it’s far more complicated than that, but he improvises riffs and ruminations that stimulate the reader into pleasing new ponderings about the meaning of “nostalgia,” the “is jazz dead?” question (which Solis notes going back as least as far as 1964), the decline of the jazz clubs, the ascendency of jazz studies in the Academy, and interesting perspectives on Monk’s and Coltrane’s musical development ... Learn more about your ad choices. Visit megaphone.fm/adchoices

On November 29, 1957, Dizzy Gillespie, Billie Holliday, Zoot Sims, Chet Baker, Sonny Rollins, and a multi-talented young R&B player who played jazz that night, Ray Charles, and others played a benefit concert for the Morningside Recreation Center at Carnegie Hall. Almost a half a century later, these recordings, intended to be played on radio Voice of America, were found in the Library of Congress. The aforementioned artists’ performances were never made available and yet, one set from that night was released, featuring a quartet with pianist Thelonious Monk, saxophonist John Coltrane with Shadow Wilson on drums and Abdul-Ahmed Malik on bass. That recording, on Blue Note records, released in 2005, was a critical and commercial sensation. Monk and Coltrane had played more than 100 shows together the previous five months at the Five Spot Club in New York City and, as Gabriel Solis writes in his thought-provoking multi-disciplinary analysis of their program, that Carnegie Hall concert was “a compendium of what was possible in the jazz conventions of the day and a glimpse of how these jazz conventions could be pushed forward.” The Monk/Coltrane concert set featured two great icons in the history of jazz at different points in their career. Monk had already established himself as a unique, eccentric and groundbreaking composer and performer and bandleader, too (as Solis points out in our interview). John Coltrane was still evolving into one of the most multi-perspectived yet focused and revered players in American jazz. It was, as Solis documents, in many ways a golden age of jazz: besides new recording technologies that afforded the possibility of longer recordings with greater listening fidelity, it was an age of “legendary intensity” when players such as Miles Davis, Sonny Rollins, Sonny Stitt, Art Blakey, Horace Silver, Max Roach, Benny Golson, Dizzy Gillispie, MJQ, Hank Mobly, Hank Jones, Milt Jackson, Lennie Tristano, and Gerry Mulligan “wrote and played and recorded songs and albums that would challenge their contemporaries and become standards in time.” And, jazz had not “separated” from pop music. People went to clubs to hear live jazz; they went in great numbers to jazz concerts/benefits – and, at the same jazz recordings were being brought into the country’s living rooms to larger and larger audiences. Gabriel Solis, an Associate Professor in Music, African-American studies and Anthropology at the University of Illinois, has written a fascinating volume about the cultural significance of the concert, contextual insights about the serendipitous yet important collaborative bond between Monk and Coltrane, “close reading” musical analyses as to how each piece on their set “played out” with respect to the members of the quartet, and a retrospective look at the significance of the public’s and critical responses to the CD’s release by Blue Note Records in 2005. In Thelonious Monk Quartet with John Coltrane at Carnegie Hall (Oxford UP, 2013) Solis discusses whether the popularity of the CD after its release in 2005 is evidence of nostalgic reverence for an era gone by, or a validation that jazz is alive-and-well and more appreciated than ever. Of course, Solis knows it’s far more complicated than that, but he improvises riffs and ruminations that stimulate the reader into pleasing new ponderings about the meaning of “nostalgia,” the “is jazz dead?” question (which Solis notes going back as least as far as 1964), the decline of the jazz clubs, the ascendency of jazz studies in the Academy, and interesting perspectives on Monk’s and Coltrane’s musical development ... Learn more about your ad choices. Visit megaphone.fm/adchoices

On November 29, 1957, Dizzy Gillespie, Billie Holliday, Zoot Sims, Chet Baker, Sonny Rollins, and a multi-talented young R&B player who played jazz that night, Ray Charles, and others played a benefit concert for the Morningside Recreation Center at Carnegie Hall. Almost a half a century later, these recordings, intended to be played on radio Voice of America, were found in the Library of Congress. The aforementioned artists’ performances were never made available and yet, one set from that night was released, featuring a quartet with pianist Thelonious Monk, saxophonist John Coltrane with Shadow Wilson on drums and Abdul-Ahmed Malik on bass. That recording, on Blue Note records, released in 2005, was a critical and commercial sensation. Monk and Coltrane had played more than 100 shows together the previous five months at the Five Spot Club in New York City and, as Gabriel Solis writes in his thought-provoking multi-disciplinary analysis of their program, that Carnegie Hall concert was “a compendium of what was possible in the jazz conventions of the day and a glimpse of how these jazz conventions could be pushed forward.” The Monk/Coltrane concert set featured two great icons in the history of jazz at different points in their career. Monk had already established himself as a unique, eccentric and groundbreaking composer and performer and bandleader, too (as Solis points out in our interview). John Coltrane was still evolving into one of the most multi-perspectived yet focused and revered players in American jazz. It was, as Solis documents, in many ways a golden age of jazz: besides new recording technologies that afforded the possibility of longer recordings with greater listening fidelity, it was an age of “legendary intensity” when players such as Miles Davis, Sonny Rollins, Sonny Stitt, Art Blakey, Horace Silver, Max Roach, Benny Golson, Dizzy Gillispie, MJQ, Hank Mobly, Hank Jones, Milt Jackson, Lennie Tristano, and Gerry Mulligan “wrote and played and recorded songs and albums that would challenge their contemporaries and become standards in time.” And, jazz had not “separated” from pop music. People went to clubs to hear live jazz; they went in great numbers to jazz concerts/benefits – and, at the same jazz recordings were being brought into the country’s living rooms to larger and larger audiences. Gabriel Solis, an Associate Professor in Music, African-American studies and Anthropology at the University of Illinois, has written a fascinating volume about the cultural significance of the concert, contextual insights about the serendipitous yet important collaborative bond between Monk and Coltrane, “close reading” musical analyses as to how each piece on their set “played out” with respect to the members of the quartet, and a retrospective look at the significance of the public’s and critical responses to the CD’s release by Blue Note Records in 2005. In Thelonious Monk Quartet with John Coltrane at Carnegie Hall (Oxford UP, 2013) Solis discusses whether the popularity of the CD after its release in 2005 is evidence of nostalgic reverence for an era gone by, or a validation that jazz is alive-and-well and more appreciated than ever. Of course, Solis knows it’s far more complicated than that, but he improvises riffs and ruminations that stimulate the reader into pleasing new ponderings about the meaning of “nostalgia,” the “is jazz dead?” question (which Solis notes going back as least as far as 1964), the decline of the jazz clubs, the ascendency of jazz studies in the Academy, and interesting perspectives on Monk’s and Coltrane’s musical development ... Learn more about your ad choices. Visit megaphone.fm/adchoices

On November 29, 1957, Dizzy Gillespie, Billie Holliday, Zoot Sims, Chet Baker, Sonny Rollins, and a multi-talented young R&B player who played jazz that night, Ray Charles, and others played a benefit concert for the Morningside Recreation Center at Carnegie Hall. Almost a half a century later, these recordings, intended to be played on radio Voice of America, were found in the Library of Congress. The aforementioned artists’ performances were never made available and yet, one set from that night was released, featuring a quartet with pianist Thelonious Monk, saxophonist John Coltrane with Shadow Wilson on drums and Abdul-Ahmed Malik on bass. That recording, on Blue Note records, released in 2005, was a critical and commercial sensation. Monk and Coltrane had played more than 100 shows together the previous five months at the Five Spot Club in New York City and, as Gabriel Solis writes in his thought-provoking multi-disciplinary analysis of their program, that Carnegie Hall concert was “a compendium of what was possible in the jazz conventions of the day and a glimpse of how these jazz conventions could be pushed forward.” The Monk/Coltrane concert set featured two great icons in the history of jazz at different points in their career. Monk had already established himself as a unique, eccentric and groundbreaking composer and performer and bandleader, too (as Solis points out in our interview). John Coltrane was still evolving into one of the most multi-perspectived yet focused and revered players in American jazz. It was, as Solis documents, in many ways a golden age of jazz: besides new recording technologies that afforded the possibility of longer recordings with greater listening fidelity, it was an age of “legendary intensity” when players such as Miles Davis, Sonny Rollins, Sonny Stitt, Art Blakey, Horace Silver, Max Roach, Benny Golson, Dizzy Gillispie, MJQ, Hank Mobly, Hank Jones, Milt Jackson, Lennie Tristano, and Gerry Mulligan “wrote and played and recorded songs and albums that would challenge their contemporaries and become standards in time.” And, jazz had not “separated” from pop music. People went to clubs to hear live jazz; they went in great numbers to jazz concerts/benefits – and, at the same jazz recordings were being brought into the country’s living rooms to larger and larger audiences. Gabriel Solis, an Associate Professor in Music, African-American studies and Anthropology at the University of Illinois, has written a fascinating volume about the cultural significance of the concert, contextual insights about the serendipitous yet important collaborative bond between Monk and Coltrane, “close reading” musical analyses as to how each piece on their set “played out” with respect to the members of the quartet, and a retrospective look at the significance of the public’s and critical responses to the CD’s release by Blue Note Records in 2005. In Thelonious Monk Quartet with John Coltrane at Carnegie Hall (Oxford UP, 2013) Solis discusses whether the popularity of the CD after its release in 2005 is evidence of nostalgic reverence for an era gone by, or a validation that jazz is alive-and-well and more appreciated than ever. Of course, Solis knows it’s far more complicated than that, but he improvises riffs and ruminations that stimulate the reader into pleasing new ponderings about the meaning of “nostalgia,” the “is jazz dead?” question (which Solis notes going back as least as far as 1964), the decline of the jazz clubs, the ascendency of jazz studies in the Academy, and interesting perspectives on Monk’s and Coltrane’s musical development ... Learn more about your ad choices. Visit megaphone.fm/adchoices

"Mulligan Meets Monk" is tonight's Feature. It's premise is simple, a meeting of two great original minds. Monk, of course and Mulligan, one of the most identifiable voices of the baritone saxophone. In 1957 they were neighbors and friends and spent time at each others homes. Gerry, who was no slouch at the piano would play duets with Monk for their own enjoyment. Savvy producer Orrin Keepnews knew of their relationship and since he couldn't record the existing Monk quartet with John Coltrane as Coltrane was under exclusive contract with another label, Keepnews opted to ask Monk if he would like to do an album with Gerry Mulligan. Monk said "sure,man"....and the album was born. Monk's rhythm section with Wilbur Ware on bass and the great "Shadow" Wilson on drums was used and they as well as Monk prodded Gerry into some wonderful playing. The date went down smoothly in two afternoon sessions. Four Monk tunes were used including, at Gerry's request, "Round Midnight". One Mulligan original and one standard that Monk liked completed the date. The recording was released in late 1957 and reviewed favorably in Down Beat Magazine with 4 and a half stars out of five. While some critics and musicians cried "mismatch" and "failure",the record stands the test of time and is a warm swinging, conversational date that was, as Gerry put it, "fun to play and I hope, fun to listen to". I think you'll agree.

This album was a real milestone in the career of Thelonious Monk as it was his first recording for Columbia Records, a major label. He was signed in 1962 and, this, his first recording was a much anticipated event. Thelonious had, at this point, become something of a household word in Jazz as he had emerged from the underground of the 1950's into a vital force in the music. He had never compromised his musical vision but by this time had formed a stable group with the gritty-toned tenor saxophonist Charlie Rouse, who had been with Monk since the end of 1958. Bassist John Ore, a steady and reliable timekeeper had been with Mr. Monk for a couple of years and the last piece of the puzzle was the dancing, booting drumming of Frankie Dunlop, who after Art Blakey and Shadow Wilson was one of the finest percussionists to work with Monk. On this record, the long bass and drum solos were eliminated as they were more effective during live and concert performances and the tunes were shortened into concise form. Columbia, who had Miles Davis, Charles Mingus, Dave Brubeck and others on their roster gave this album a big publicity boost and it became the best selling of all Monk's recordings. It was greeted with raves from fans and critics alike.....Monk had arrived! Tonight's Feature "Monk's Dream". Two solo piano performances and six quartet tunes make up this date done on Halloween and November 1 & 2, 1962......Monk at his finest.