Miles and Monk at Newport Live (Remastered) Miles Davis
Album info
Album-Release:
1964
HRA-Release:
03.02.2017
Album including Album cover
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- 1 Ah-Leu-Cha 05:47
- 2 Straight, No Chaser 08:46
- 3 Fran-Dance 07:04
- 4 Two Bass Hit 04:13
- 5 Nutty 13:55
- 6 Blue Monk 11:15
Info for Miles and Monk at Newport Live (Remastered)
Miles & Monk at Newport was a combined album of a Miles Davis appearance at Newport with an appearance of Thelonious Monk, from the LP era. Despite the title, the two artists do not perform together on the recordings, and they are represented on each side by separate live appearances at the Newport Jazz Festival.
„At the time of this album's original release (as Miles & Monk at Newport), Thelonious Monk was really hitting his stride as a jazz star and was then, like Miles Davis, signed to Columbia. Critics usually damn Monk's '60s groups with faint praise, but listen to the fiery interplay Davis and Monk bring to his splintery rhythmic displacements on "Criss-Cross," and their dancing joy on "Epistrophy." "Light Blue" is one of Monk's harmonically free-ranging little blues, taken at such an expressively slow tempo, his chords take on a symphonic breadth behind Charlie Rouse's endless lyric elisions. But the main attraction of this concert was the cross-generational accord between Monk and clarinetist Pee Wee Russell, who sits in on Monk's famous blues "Nutty" and "Blue Monk." Closer to the Dixieland school than bop, Russell nevertheless responds brilliantly to Monk's urgent abstract Charleston on "Nutty," and when the pianist drops out to let him stroll, he responds with a wink and some knowing dissonances. "Blue Monk" is even better, as Russell's wistful, teardrop timbre inspires insistent counterpoint from Monk, and his tonal abstractions lead perfectly into Monk's solo -- proving that styles don't clash, only people. Miles' 1958 set begins with a brisk, aggressive romp, as the sextet charge through Bird's contrapuntal line "Ah-Leu-Cha," then settle into a deep, deep groove on their famous arrangement of Monk's "Straight, No Chaser." Listen to the way Bill Evans, Paul Chambers, and Jimmy Cobb deconstruct the time and harmony behind Miles' spacious intervals, only to lock up and fly in the second chorus. John Coltrane really whips it up here (and on a blazing "Two Bass Hit"), his ideas crowded together like blood corpuscles lining up to pass through a single capillary. Inspired by Coltrane's complexity (and Cobb's power), Cannonball Adderley responds with a contrasting gospel blues feel, while Evans offers a coy, bluesy transition to Chambers' resounding dance.“ (AMG)
Davis in 1958:
Miles Davis, trumpet
Cannonball Adderley, alto saxophone
John Coltrane, tenor saxophone
Bill Evans, piano
Paul Chambers, bass
Jimmy Cobb, drums
Monk in 1963:
Pee Wee Russell, clarinet
Charlie Rouse, tenor saxophone
Thelonious Monk, piano
Butch Warren, bass
Frankie Dunlop, drums
Recorded May & July 1958 (Miles Davis Sextet), April 1963 (Thelonious Monk Quartet)
Produced by Teo Macero
Digitally remastered
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This album contains no booklet.