Blue Monk - Dualing Pianos Tokyo Jazz Style

Another recording of Blue Monk from Thelonious Monk — appears to be recorded at the Tokyo Jazz Festival. Features dualing pianos by Hiromi Uehara,  and Chick Corea, and Sadao Watanabe on the sax, along with “The Great Jazz Trio”.

Near the end of the song, two more piano players wander out on stage, and there are four people playing the dualing pianos. Not sure who everyone is, and don’t have much background on this recording, so please make some comments and help me fill in the blanks.

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Blue Monk - A Jazz Standard

Here’s a fascinating video of Thelonious Monk playing one of his famous tunes, “Blue Monk”, which he originally recorded in 1954. In this video of “Blue Monk”, apparently recorded in Oslo, Norway in 1966, you can clearly see Thelonious Monk’s unusual and unorthodox style of hammering the piano, combined with “abrupt, dramatic use of silence and hesitations”; a style his wife Nellie dubbed “Melodious Thunk”. In some sections it appears that he’s lost — his improvisation was so far out on the edge — the cliff hanging drama of a live jazz recording.

This video features Monk on the piano,  Charlie Rouse on the tenor saxaphone, Larry Gales on the big string bass, and Ben Riley on the drums.

Thelonious Sphere Monk (1917-1982) is one of the most important musicians in Jazz, and “Blue Monk” is considered a jazz standard. A jazz standard is a tune that’s widely known, performed, and recorded among jazz musicians as part of the standard jazz musical repertoire.

Monk appeared on the cover of Time magazine back in 1964, so perhaps that milestone in the 60’s marks the pinnacle of his career.

“Blue Monk” was Monk’s favorite composition as evidenced by the fact that he recorded it many times.  It has become one of his most enduring tunes, and it’s been played and recorded by many other jazz artists over the years.

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Jean-Luc Ponty - Live Jazz Violin

Here’s a video of Jean-Luc Ponty, playing a song called “Rhythms of Hope”, followed by another — simply called “Jig”.

My friend Mark Rehban (the Web 2.0 advertising genius) recommended that I check out Jean-Luc Ponty, since several of my children play violin, viola, and cello. So I found a few of Jean-Luc’s recordings and gave them a spin.

Ponty (born in France in 1942) is a virtuoso violinist and jazz composer. He studied violin under his father, and at the Paris Conservatory.

One can easily discern that Ponty studied classical music. However, by the mid-60s he had moved towards jazz. Influenced by Miles Davis’s and John Coltrane’s music, Ponty adopted the electric violin. Critic Joachim Berendt said “Since Ponty, the jazz violin has been a different instrument” and commends his “brilliance and fire”.

Ponty was among the first to combine the violin with MIDI, distortion boxes, and phase shifters. In 1967 he appeared at the Monterey Jazz Festival. Ponty has worked with the Mahavishnu Orchestra, Frank Zappa, and played on many other recordings. His symphonic style — drifting towards jazz fusion — made him a popular jazz fusion artist of the 1970’s.

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Pappu - Bansuri - Bamboo Flute Music

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Jazz Reflections - Mirrors, Images, and Reality

Why did Thomas Nelson put a photograph of the Brooklyn Bridge on the cover of Blue Like Jazz?  Do you know? Maybe the cover designer just grabbed something blue.

Some things in life have a simple explanation, but people are not satisfied with the answer. Or maybe the answer is real simple, but people never bother to ask the question…

Brooklyn Bridge on the cover of Blue Like Jazz.

Brooklyn Bridge on the cover of Blue Like Jazz.

Actually, the cover design came from David Carlson Design. David got the photo from Paul Mason in the  Getty-Photonica collection. I tracked down Paul Mason’s original photograph here. David designed the cover of a best seller. If the “bridge theme” was just “dumb luck” on the original design, how do you explain the cover of Jazz Notes?

So I guess that explains who and what, but it still doesn’t explain why.

Jazz is music that asks why.  Jazz is full of fuzzy images, mirrors, and reflections. Jazz is full of bridges. Jazz is always going from someplace to some other place. Jazz is always asking questions, bending notes, revisiting themes, making analogies, and talking in parallels and parables.

Life is like a bridge. Is the question resolved?

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Happy 104th Birthday Count Basie

Count Basie would have been 104 years old today.  William “Count” Basie was born on August 21st, 1904 and grew up in Red Bank, New Jersey. In this video, Count Basie plays a tune called “One O’Clock Jump”.

After leading various bands for over 50 years, recording dozens of great songs, and winning 9 Grammy awards, Count Basie died in 1984.

The U.S. Post Office issued a Count Basie 32 cents postage stamp in 1996.

In 2005, Count Basie’s song “One O’Clock Jump” (1937) was included in the Library of Congress National Recording Registry.

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Blue Like Jazz - Book Review - Part 2

Blue Like Jazz - Nonreligious thoughts on Christian Spirituality.

Blue Like Jazz - Nonreligious Thoughts on Christian Spirituality.

Context is important for understanding anything.  You have to get yourself into the Portland, Oregon  ( Peace and Love ) - Blue Like Jazz mood to enjoy the book. But Donald Miller helps you do  that quite nicely. Donald is a story teller, and Blue Like Jazz is a bunch of stories from Donald’s life. Many of the stories take place around Portland, Oregon, or at Reed College. Reed College was mentioned in Princeton Review as the college where students are most likely to ignore God. (p. 37) Miller says “it (Reed) is a godless place, known for existential experimentation of all sorts.” “Many of the (Reed) students hated the very idea of God, and yet they cared about people more than I did.” (p.42)

As I mentioned in part 1 of my Blue Like Jazz book review, this book was bouncing around in my house for several years before I picked it up. Three of my daughters read it, and it went through a rain storm (or some kind of baptism) with Talitha, who dried it off with a hair drier, so it was already “quite loved” by the time I picked it up. Yeah, I know I’m late coming to the party — writing this review after hundreds of reviews have already been written. (Amazon had over 447 customer reviews last time I checked.)

My friend Joe Thorn (from Chicago) wrote about Blue Like Jazz back in 2006 — in a report about Mark Coppenger’s 11 negative points about the book.

Joel Comm (from Denver) said “What a fantastic read!” in his book review back in 2005.  Joel said Miller’s “anecdotes are often quite funny and poignant.”

Back to Portland…

My friend Bob said “Portland is filled with hippies that never grew up.” Actually, I think the hippies grew up and their kids live in Portland today (with that same 70’s hippie attitude). Bob seemed angry that his daughter moved out to Portland and  didn’t even have a job lined up. “How can you drive all the way across country, just because you like the coffee shops in Portland?”, Bob grumbled. “She didn’t even have a job… well she did find a good job later on…” Bob said that Portland is way more laid back then Detroit, and there are lot’s of people who just “hang out on the streets.”

Portland Oregon Riverplace

Portland Oregon Riverplace

In the chapter called: LOVE - How to Really Love Other People. (It’s chapter 18, page 207), the very first sentence confirms my friend Bob’s worst fears. Donald starts off: “When my friend Paul and I lived in the woods, we live with hippies. Well, sort of hippies…. When I was with the hippies I did not feel judged, I felt loved.”

While we are on the topic of love, judgment, and living in the wilderness…

“I love how the Gospels start with John the Baptist eating bugs and baptizing people. The religious people started getting baptized because it had become popular, and John yells at them and calls them snakes.” (p. 203)

My friend Tripp had a different view about Portland, and he was not angry (like my friend Bob). Tripp said that his son Evan moved out to Portland and found a good job as a social worker. He said the slower pace of life in Portland is kind of pleasant. He said Evan goes to church at Imago Dei — the same church Donald Miller goes to. I was kind of happy when I heard this, because Imago Dei sounds like a really interesting church.

There are several things in the book that are a little weird. But the weirdness is just a reflection of the people that inhabit the planet. Donald writes “new-realism essays”. (p. 188) “Imago, our church, is made up of mostly artists, and fruit nuts and none of us have any money…” (p. 189)

My daughter Priscilla flew to Portland recently to visit some friends that she met in South Africa (when she worked in the orphanage). Priscilla is all about friends and travel. She is bringing home some stories and photographs and I’m sure she will tell me what Portland is really like.

I am the problem

I am the problem

Is this a book review or what?

Is this a book review about Blue Like Jazz, or is it just a collection of my stories about Portland, Oregon? Or is it both? I’m trying to write this book review in the style of a “new realism essay.”

Blue Like Jazz flows with mystical ideas …

“You cannot be a Christian without being a mystic. I was talking to a homeless man at a laundry mat recently, and he said that when we reduce Christian spirituality to math, we defile the Holy. I thought that was very beautiful and comforting because I have never been good at math…. I can no more understand the totality of God than the pancake I made for breakfast understands the complexity of me.” (p. 202)

Blue Like Jazz has some practical ideas for the “postmodern church”, and Miller dispels the notion that his book is a new concept for making the gospel cool:

“I don’t think any church has ever been relevant to culture, to the human struggle, unless it believed in Jesus and the power of His gospel. If the supposed new church believes in trendy music and cool web pages, then it is not relevant to culture either.” (p. 111)

I discovered that I am the problem (p. 20), and “nothing is going to change in the Congo until you and I figure out what is wrong with the person in the mirror.” (p. 23)

“What I believe is not what I say I believe; what I believe is what I do.” (p. 110)

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