2005-12 Vital Source Mag – December 2005
Thelonious Monk Quartet with John Coltrane
By Blaine Schultz Blue Notewww.bluenote.com About a half-century ago, giants walked among us. They wrote and played music for extended low-key club dates, performing special concerts and releasing records periodically. Thelonious Monk and John Coltrane were two of these giants, and this recently discovered November 29, 1957 recording from the Library of Congress vaults is a vital contribution to their respective legacies. In the summer of ‘57, Coltrane joined Monk’s group at an NYC club called the Five Spot. The Carnegie Hall recording presents the group in more genteel surroundings. Regardless of venue, these musicians are at the height of their powers, Monk certainly the more established and Coltrane ready to open doors previously unseen. If Monk’s piano playing is less spiky and angular than typical (if there is such a thing as “typical Monk”), he certainly gets into the loose sparring with Coltrane’s sax. Opening with “Monk’s Mood” from the early show, the soloists riff and dance around and through each other’s phrases. By the second tune, “Evidence,” a slipstream opens up and Coltrane blows at will. This is the early stage of his technique of playing the notes of a chord in succession—later to be called “sheets of sound”—still within the tune’s melody. But with the benefit of hindsight, it seems he’s testing the boundaries for his later masterworks. Ahmed Abdul-Malik ‘s bass provides a sinewy walking line that is both strong and resilient enough to support and propel the tune. At several points, Monk and Coltrane play unison lines to state a tune’s theme. The effect is a thickness and depth that sounds like more than a piano and saxophone, with the keyboard sounding concise and the sax just on the verge of over-blowing. Credit also Shadow Wilson’s drumming and cymbal work, which seem to have been brought into focus with the digital mastering. The closing tune, a partial take of “Epistrophy,” can be heard as Monk’s statement of purpose. On this night there is a feeling of openness and genuine collaboration. Monk is ultimately unique and not always the easiest player to get a grip on. But this evening he, Coltrane, and the others sound unguarded in their enjoyment. VS
Dec 1st, 2005 by Vital Archives
The Brian Setzer Orchestra
By Kevin Krekling Surfdogwww.briansetzer.com It’s that time of the year again. A time for shoveling snow, mistletoe hookups, eggnog hangovers and Brian Setzer Christmas albums. The former Stray Cat is back again with his second holiday record in three years. And, what you get here with Dig That Crazy Christmas is pretty much the same as what you got with 2002’s Boogie Woogie Christmas. But we’re talking about a guy who has changed virtually nothing about his style since the early ‘80s, so what do you expect? The album is simply Setzer reworking old Christmas classics in his familiar uptempo, horn-driven, rockabilly style. But given the fact that the two newly penned originals are easily forgotten duds, and that Setzer’s voice sounds pretty rough, the album is actually quite fun. Does it stack up to A Christmas Gift For You From Phil Spector? No. But, at the same time, it’s not ‘NSYNC Home For Christmas, and that is something we can all be thankful for. So, if you’re looking for something festive, fun and tolerable to throw on this holiday season, this may be right up your alley. VS
Dec 1st, 2005 by Vital Archives
The Darkness
By Erin Wolf Atlantic www.thedarknessrock.com When The Darkness crash-landed on the stagnant rock scene two years ago, it startled hordes of music fans into stupefied wonder, creating either strong affinity or distaste. Cheeky hair metal can produce nothing but strong feelings. For those hordes still recovering from the initial shock of their first release, Permission to Land, The Darkness bring it on back with their latest, One Way Ticket to Hell…And Back. Somewhere, Freddie Mercury is listening intently to his emulating, three-octaved vox counterpart, Justin Hawkins. Hawkins, sibling Dan, Ed Graham, and Frankie Poullain have become Britain’s most-loved (and hated) rock band for sheer bombast, guitar solos straight from the ‘80s and stage personas amplified by J. Hawkins’ elaborate cat-suit costumes. The Darkness again come clawing through the paper bag that has confined rock music for nearly a decade. One Way Ticket to Hell…And Back slams another dose of tongue-in-cheek, elaborately sung and lovingly frosted heaven down our throats. Take the medicine with a spoonful of sugar or leave it. More solos, more vocal trills, more arena-rock bliss, more flippant than ever, The Darkness’ latest is just more. Confident to the point of annoyance, The Darkness rip through tales of rock-star woe, complete with cocaine sniffing. More orchestrally polished, thanks to producer Roy Thomas Baker (who also has worked with Queen and The Who), the band experiments with piano sounds, bagpipes, sitar, Moog and enough pan flute intro to satisfy Jethro Tull. From Bryan Adams-esque ballads to the fist-pumping title-track, One Way Ticket sounds more pulled together, more ballsy, and more competent: they don’t take themselves seriously, yet they can seriously play their instruments. The Darkness return with a triumphant scissor-kick in the air. VS
Dec 1st, 2005 by Vital Archives
Studs Terkel
By Paul Snyder Studs Terkel can talk. This is unsurprising to those familiar with the Chicago legend’s broadcast career. Terkel’s voice could be heard on radio waves in the City of Big Shoulders as far back as the 1930s, when he would provide dialogue for soap operas and announce news and sporting events to the city. One of the most eclectic and enjoyable disc jockeys on the air, his award-winning Studs Terkel Program aired until 1997. There was also a short-lived TV show in the 1950s, called Studs’ Place. But his wider audience may know him mostly for his books. Required reading in assorted classrooms throughout the United States, Terkel’s print work expanded his audience from one city to the entire nation, and established him as a preeminent voice in the American oral history genre. Titles like Working, Hard Times: An Oral History of the Great Depression and The Great Divide: Second Thoughts on the American Dream exposed readers to stories of the common man and told about our country’s history from the eyes and mouths of those who lived it. Terkel was 44 when his first book, Giants of Jazz, was published in 1956. Now 93, he has just released And They All Sang: Adventures of an Eclectic Disc Jockey, to positive reviews. It’s ridiculously difficult to avoid clichés like “full circle,” but it seems more than apropos that a half-century’s worth of published work is book-ended by two volumes on one of the man’s deepest passions – music. And They All Sang chronicles Terkel’s time behind the mic hosting The Wax Museum, his radio show that debuted in 1945 and explored all genres of music. Interviews range from Edith Mason to Bob Dylan, Janis Joplin to Louis Armstrong, and Dizzy Gillespie to Ravi Shankar. But those are the big names. Mention one of music’s unsung heroes, and Terkel raves like your best friend trying to turn you on to this great new album he’s just heard. Take Bill Broonzy, for instance… “Big Bill Broonzy!” he exclaims. “Oh, he was wonderful! You like him? He’s an underestimated blues singer of our time, and none of the guys ever mention him. I’m glad you did. That was his farewell song that he did on my program. He was saying goodbye to all his friends. That was a wonderful one. Boy, you’ve got good taste.” In reading Terkel’s interview with Broonzy, one can almost imagine high school teachers and college professors poring over the socially-conscious undertones of the interview for history lessons. It took place shortly before Broonzy’s death and found the artist musing on the new sensation of rock & roll and white folks essentially pilfering this old black music. Though the interview was far from containing hostile overtones (much less undertones), it is ironic to note Broonzy’s reflection on how much money and notoriety white folks were getting from playing the blues. Though considered highly influential in the music industry, even name-checked by George Harrison in his 1987 song, […]
Dec 1st, 2005 by Vital Archives
