Thelonious Monk & Gerry Mulligan《Mulligan Meets Monk》[APE]
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<P align=center><FONT face="Times New Roman" color=gray size=3>Artist:Thelonious Monk & Gerry Mulligan<BR>Album:Mulligan Meets Monk<BR>Genre:Jazz Instrument<BR>Label: OJC</FONT></P>
<P align=center><FONT face="Times New Roman" color=gray size=3>Original Release Date:August 12,1957</FONT></FONT></P>
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<P align=center><FONT face=华文行楷 color=gray size=3>有需要的朋友可以小刻张盘,慢慢听。</FONT></P>
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<P align=center><FONT face="Times New Roman" color=gray size=3>Tracklisting:<BR>1.Round Midnight<BR>2.Rhythm A Ning<BR>3.Sweet And Lovely<BR>4.Decidedly (take 4)<BR>5.Decidedly (take 5)<BR>6.Straight No Chaser (take 3)<BR>7.Straight No Chaser (take 1)<BR>8.I Mean You (take 4)<BR>9.I Mean You (take 2)</FONT></P>
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<P>[quote] 唱片里的每一首曲都是那样精彩,mulligan将箍绑在自己身上的西岸酷派的绳子抛开,由Monk带领着开怀地在破裂的不和谐的音乐世界中畅游,没有一点勉强。在这张与前辈合作的作品里,Monk的古灵精怪正好将Gerry Mulligan那点多余的甜剔除,反而成了一种甘美。也许谁与Monk的合作都会获益良多。Gerry Mulligan的毛病之一拖踏在这里不见了,刚好和Monk倒转过来,一个由轻快变成了凝重,一个由厚实的迟钝转化成了艳阳天下的微风。此外Bass手Wilbur Ware的偶露峥嵘,亦是不凡。</P>
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<P>1957年,John Coltrane和Thelonious Monk一起合作的几张唱片也都是在这一年里,《Thelonious Monk With John Coltrane》、《Monk’s Music》还有在五点俱乐部里的一张现场录音《Discovery! Live at the Five Spot》。Monk对John Coltrane的革变性意义,我们大概是可以在这些张唱片里旁窥一下。个人偏重的喜欢在五点俱乐部里的那张现场了,尽管比那是录音室里散漫,John Coltrane他那次中音萨斯管又有点“远”的感觉,但有时唱片里出现掌声时竟会奇妙的以为有当中自己一份。</P>
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<P>其实1957年的Gerry Mulligan已经名声响亮的西岸酷派英雄了,还认为钢琴会打破管乐器所营造出来的旋律流畅感,所以他的乐团里没有钢琴的伴奏。Gerry Mulligan的兵器要比John Coltrane的兵器笨重,所以,封面里看到Mulligan那帅极的身影正在低头思索着,似乎在想要怎么的将他那笨重的baritone saxophone在Monk那灵动古怪钢琴下吹奏出自己的声音。曾一再的告诉自己baritone saxophone虽然外表笨重,但似乎我听进我耳里却并非如此。而那厚重又充满能量的质感也是让我着迷的原因,唱片架里吹这种乐器的还有Serge Chaloff和Pepper Adams,他们的吹奏就算再澎湃或再缓慢,都不会让听觉里出现笨钝这个词。而Gerry Mulligan和他们所不同的地方就是能将baritone saxophone吹弄得象被晚风吹起的落叶一样的轻盈自在。</P>
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<P>《mulligan meets monk》开首的“round midnight”在临近结尾时Monk用力插弹着钢琴时baritone徐徐地用低细的声响和音到后来声音明亮的这一过程很深印在听觉储存体里。 </P>
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<P>Critics thought the pairing of Gerry Mulligan and Thelonious Monk a strange one when this 1957 session was originally released, Mulligan's light baritone saxophone strongly identified with the cool school and Monk's percussive piano, fractured rhythms, and dissonant tunes the last word in bop. It's an interesting combination, though, with Mulligan's melodic focus actually working fairly well with Monk and his regular band, drummer Shadow Wilson and bassist Wilbur Ware. Common roots in swing are apparent on Mulligan's "Decidedly," a variant of "Undecided," while the baritonist acquits himself well on some of Monk's best-known tunes. Monk was at his peak as a player in 1957--working steadily for the first time in years in a long tenure at the Five Spot--and it shows everywhere here, including the splashing chords and asymmetrical runs of "Sweet and Lovely." Ware, one of the most significant bassists in jazz history, is a perfect accompanist and as commanding a soloist as Mulligan or Monk, using subtle rhythmic shifts and double stops in an almost minimalist way. The alternate takes of several tunes are genuinely different approaches to the material, revealing just how spontaneous the meeting was.[/quote]</P>
[[i] 本帖最后由 sophie 于 2008-6-17 13:28 编辑 [/i]] 倾听一份精彩,给生活些音乐和快乐
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他们是和迈尔斯、科川都是同时代的酷派领袖;
特别是孟克,头戴着一顶很奇怪的凉帽,弹奏的音乐也是怪怪的,捉摸不透,人称“鬼才”。
萨管大师慕里根本来也是钢琴大师,是酷派爵士的推动着,还记得他的四重奏吗?
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mulligan将箍绑在自己身上的西岸酷派的绳子抛开,由Monk带领着开怀地在破裂的不和谐的音乐世界中畅游 的确是这样的感受 谢谢分享经典rfgppb74ddy
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谢谢蓝音的专业讲解,学习。mm38trd小时后才有发帖权限
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monk 是爵士钢琴吧。
如果没记错的话。
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