He will be sorely missed. Jonathan Powell of course requires no introduction to Sorabji devotees, having performed and recorded far more of his works than any other musician in history as well as preparing a number of fine typeset editions of his scores. A date for the diary; not to be missed! March Japanese pianist Shota Ezaki b. He will play it again on 25 March in Lierneux, Belgium and in his native Japan in a recital in Tokyo on 5 August to include works by Ronald Stevenson, Shota himself and others.
Fabre worked slowly and painstakingly until the summer of , between his other professional commitments. He has since carefully checked his score and corrected it as and where necessary and we have great pleasure in announcing that it is now available and has been added to our catalogue.
Fabre is to be roundly congratulated on his determination, persistence and patience with the immense task of creating a major addition to the collection of editions of Sorabji scores. This account of the relatively short a mere one-fortieth of the whole but searingly difficult and well-nigh intractable prelude to what is undoubtedly by far the largest and most ambitious fugue that Sorabji ever composed a triple one that extends to around two hours — e.
This is an event not to be missed and will take place in what is now widely recognised as one of the finest recently built concert venues in Europe. Added: May : This latter performance has unfortunately been postponed. It runs at 35 minutes 25 seconds. So far, Kevin has recorded Organ Symphony No. The first stage in this project is the brilliantly effervescent celestial firework display that is the Toccata which closes the opening section of the finale of Organ Symphony No.
This is already available separately; please visit the catalogue of works on this website for information as to how to obtain it. We wish the very best of success to all intrepid organists who take up this viscerally exciting challenge! This new recording is issued by Piano Classics. A recording of it will hopefully be released soon. This new recording is again issued by BIS. Scores not previously published Editions of Piano Symphony No.
Summary The current position therefore reflects a monumental achievement on the part of less than a dozen editors, for whom no thanks can possibly suffice. More details can be found on the Recordings page.
Profound thanks are due to the editor, Prof. This is a major milestone in Sorabji editing history and brings the total number of pages of score edited by Alexander Abercrombie to more than 2, This has been another immense task; the preface runs to 23 pages and the notes occupy 50, and pages respectively, so the total page count for all three symphonies is now not far short of 1, To date, Kevin is the only organist ever to perform, broadcast and record the first organ symphony and to perform and broadcast the second.
This page score represents the realisation of one of the most ambitious Sorabji editing projects to date, along with the three organ symphonies Kevin Bowyer , Transcendental Studies Alexander Abercrombie and others , Second Piano Quintet Alexander Abercrombie and the even larger Symphony No.
This was not a matter of stage presence, or lack of it; only a perfect sample of the deportment of Thelonious Monk. At any rate, this man, unmalleable, exasperating, sometimes perverse to the point of justifiable homicide, is the man who casually formed the nucleus of the group which surprised itself by changing, at least temporarily, the direction of jazz. That was ten years ago. Inside, though, there is an atmosphere hard to find anyplace else in New York; an ease, a lack of the professional gimlet-eyes nightclub bandits, whose only salable commodity is an obsequiousness available to one and all, for a small consideration.
There have also been, at various times, a dapper waiter named Romeo, who was as likely to dance for the customers as bring them drinks, and many young musicians working for a living; in they include Kenny Clarke and Thelonious Monk. In fact, as he tells it, he was playing essentially the same way he does now in , when he was fifteen years old.
His conception is not something that grew out of what he felt was a need for something new in music—he just played that way. His ear was hearing between the lines of its own accord, and that nonconformist ago told him that what he heard was perfectly valid. Time seems to have borne him out. I doubt that either of them, or anyone else, knew what they were doing, saw anything momentous on the horizon, or even cared particularly.
The complex personality which makes his behavior unpredictable has made his music stimulating to gifted and receptive men like Parker and Gillespie; that personality is unchangeable, the stimulus is unfading.
Any new enterprise requires a certain personnel to be vital: several people who grasp because their sophistication tells them that here is a direction their machinery is admirably suited to travel in, and at least one who is here because he is unable to do anything else, the man with an honest germ of an idea. Monk fits neatly into the latter category; not a virtuoso, but a creator. Well, what is his product? It is something quite fragile and intangible, like the quality in the stories of Virginia Woolf and Gertrude Stein.
In fact, there have been many times when Monk has offended delicate ears with his pianistic assertion that a theme is a theme. The identity of a tune is like the identity of a word—it remains itself only as long as it is scrupulously kept in its proper place, with its proper emphasis; a great many ingredients go into recognition of either one. Because of it, he is a provocative musician, one with whom other musicians play well—sometimes better than they ever have.
Recognizing that he had something beyond a reputation to offer, Blue Note Records, a firm of almost suicidal integrity, decided to take the plunged and make some records with him. The idea bore fruit in more ways than one, because they immediately discovered a whole uneaten side of the evil apple which is bebop—young musicians, without reputation, who were following the avant-garde Gillespie and Parker circles, and bringing with them something of their own.
Alfred and Lorraine Lion and Frank Wolff were, for a time, father, brother, moral support and employment agency for Thelonious and his crew, and there were some fantastically messed-up moments for all parties during the time the records were being cut. That was a perfect unit, unlike any other, before or since; they played no tunes but their own, in no way but their own; they did more rhythmically, than any musical group I ever heard anywhere; and they kept improving until the inevitable break-up came, after too short a time.
Monk is likely to be as jarring a departure from Dizzy Gillespie as Dizzy is from Louis, and yet he may hit you right away.
An open ear is a wonderful thing. Reproduced in The Thelonious Monk Reader. Edited by Rob van der Bliek. New York: Oxford University Press, , pp. This feature article in form of a promotional article will not be enough to convince potential buyers, and at the end of the year, after a final release of which we were not able to find a review :. La formation comprend Sahib Sahib [sic] as , Milt Jackson vib.
The group included Sahib Sahib [sic] as , Milt Jackson vib. Is it better to play cool, or bar blues tunes? Both, apart from specific local content, had news and reviews of records imported from the USA:.
It is even said that his influence has been dominant, and that his contributions largely determine the leanings of this "New Sound. Thelonious Sphere Monk was born in in New York [sic] into a family where no other members are musicians. Monk began experimenting with harmony and rhythm in a quartet that would have Keg Purnell for its drummer; this was in Despite the importance Monk has been given by the New School of Jazz and its musicians in particular , he has not the fame of a Parker or a Gillespie.
This is probably because his qualities as a performer are not on the same scale as his boundless imagination. There are reports, also, of his proverbial modesty, and a way of life that is incompatible with the exigencies to which a star is submitted: it is said that he can do without sleep for a week, even if it means sleeping three days and three nights when he succeeds in tearing himself away from the keyboard.
The piano solos are rare and you will find the review of these titles in the French part of this issue. So now I come to the series of recordings that Blue Note has released under Thelonious Monk's own name, and which finally allow us to hear him under good conditions. These records show us a musician who is original to the extreme, firstly by his arrhythmia, more marked than with any other pianist, and then by his seemingly constant concern to astonish the listener; this search for the unexpected that is dear to the Be Bop style is pushed to the extreme in his playing.
Monk seems to take an elegant pleasure in hesitating, both in the rhythm and in the harmony; his solos exude an unhealthy impression. The systematic use of harmonics far from the fundamental results in agreeable, often inspired findings, but this sometimes takes him into a melodic deadlock.
Thanks to his rhythmical variations he manages to keep his footing while waiting for a way out that is often no more than a timely return to a more traditional piano style, as is the case on "Thelonious. Instead of a single note, he sometimes chooses little motifs that he repeats to varying degrees "In Walked Bud".
His playing is simple, his style sober and sparing; he makes very little use of chords and concentrates his full attention on a right-hand style that is a single melodic line. Despite his audacity in this, Monk uses harmonic structures that are absolutely logical, relatively simple hypotheses, and the whole tone system dear to Debussy, which he applies with pertinence.
Most of these pieces are Monk compositions while the label attributes the paternity of "In Walked Bud" to him, one easily recognizes "Blue Skies". He is the author [sic] of several well-known pieces—namely "Emanon" an anagram of No Name , "52nd Street Theme" another of Dizzy's recordings — and he wrote the harmonies of "Dynamo A. It is difficult to measure the contribution that Thelonious Monk has made to the New School of Jazz; he obviously relates to it by favouring the new, but his imagination seems to have taken him further than other adepts of the "new sound.
The years to come will allow us to judge whether these records will have influence, as Monk says he hopes; he and the young American musicians will attract new disciples.
Khamma Danse — transcription for piano. C'est la paix, Op. Chansons bretonnes, Op. Nichols argues that it is possible to understand oubli as a refer September 23rd, - Festival Crak - Paris France.
It's been said that in recording Monk, Alfred Lion was committing financial suicide. I really hope there's no truth in that, and I salute the valorous and enterprising Alfred, who has shown no hesitation in playing a card that is certainly not very commercial, but oh, how thrilling for jazz fans. In a previous "Jazz-Hot" we were told many things about the weird and fantastic Thelonious and his music; these records constitute an excellent illustration of the article in question.
The different soloists around him are not great stars but we'd be wrong to underestimate the work of Idrees Sulieman on trumpet and Danny Quebec on alto. On all these sides, Blakey and Gene Ramey, the bassist, provide very meaty support, although it is sometimes a little noisy.
I like the theme and the Surrealist title of "Suburban Eyes", and the solo by Monk, who moves away from it in a manner that is really stupefying, and also his solo on the other side, where Monk constructs his whole solo around one note that he reaches in a hundred different ways, and then moves away from it before coming back to it, leaving his left hand to take care of supplying its colour.
Pleasant ballads, given a lift by the intriguing accompaniment of Monk's quartet, into which Milt Jackson throws a clear note. Monk's solo on "Should" has an amiable ingenuity. Allen Eager, sans doute. The trumpeter indeed seems to be Navarro, but the second tenor is more difficult to identify.
Probably Allen Eager. No matter, as the solos are good and the accompaniment of Kenny Clarke particularly brilliant. Monk's playing, swaying along with bizarrely struck chords here and there, with harmonies that are prodigiously disconcerting, is interesting enough, but rather hard to swallow. The visual representation of Monk's music gives you the impression of walking into a painting by de Chirico.
This is one anthology that would do well to be in every modern jazz fan's record library.
We've already talked about these recordings in this same column, issued as 78rpm records. Let's take advantage of their reissue on LP to emphasize the considerable interest that they represent. Monk, whose technical possibilities are strongly limited, has created a style for himself whose attraction lies entirely in the intriguing harmonic modifications, the tonal subtleties, the unexpected articulation of his phrasing, and the general line of his improvising.
His playing, at first sight disconcerting, turns out to be very endearing. The ensembles surrounding him here have merit, particularly in the impeccable manner the rhythms are kept: present here are characters like Art Blakey, Gene Ramey etc. On some pieces Milt Jackson gets along splendidly with Monk: the "common spirit" is in action. The themes, most of them excellent, are all by Monk. We are happy to announce that the 3rd Salon du Jazz will take place in Paris in May with an entirely new format.