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For an interesting (and rather early) take on Monk's music, I'd recommend the André Hodeir arrangements as played by the Jazz Groupe de Paris and by Kenny Clarke's Sextet, released in the JiParis series. Hodeir does some nice things in a Evans/Mulligan/Cool vein with that typical deep coloured and interweaving stuff with different instruments alternating in one or a series of melodic lines. Much like the jerky piano style of Monk himself really. The Clarke Sextet features Solal who has an own mind when it comes to approaching the piano. The Monk tunes are in the minority, but these disks should be checked out.

the uncut version of Ramwong is available on CD here The CD MwGArm mentions apparantly has an alternate take of Blue Fanfare. These Wewerka discs are a bit of a hassle to come by though.

Thanks, that explains then. As together they already make up for 42 minutes, I gather the Ramwong tracks were also edited? A real shame to put this music out in incomplete form.

Happy Birthday Gary!

so are these actually different takes or were some solos deleted from the original One Tension masters?

Yes, have that one as well. Your mentioning NJR having tracks from (One) Tension must mean that you have that weird combination LP that was put out in the US. My NJR (both LP and CD) has this sequence: - Now Jazz Ramwong (8:58) - Sakura Waltz (3:24) - Blue Fanfare (6:40) - Three Jazz Moods (6:10) - Burunkaka (3:26) - Raknash (4:41) - Theme from Vietnam (0:56) - Es Sungen Drei Engel (7:33) Interestingly, both these and the Live in Tokyo were released in Eastern Germany as well at the time.

Playing Live in Tokyo now and there are plenty polyphonics here. Side B features a long free and loose, slow to mid tempo piece. Pretty good stuff, but definitely nothing like the group dynamics and melodic developments of Ramwong.

1954, Jutta Hipp and her Quintet (Emil Mangelsdorff, as; Joki Freund, ts; Hans Kress, b; Karl Sanner, ds) record for Mod records (Europe's First Lady of Jazz)

The Mangelsdorff and his Friends album features 6 duets with 6 different players: Don Cherry, Elvin Jones, Karl Berger (vib), Attila Zoller, Lee Konitz and Wolfgang Dauner. Indeed a very interesting album, but be prepared for some outward playing. Most of this is mid tempo stuff without a clear song structure but full of melodies developing and degrading. Live in Tokyo features the quintet sans Kronberg. It has been a while since I spun the LP, I'll need to dig it out. I remember it as a pretty loose affair, at least when compared with Now Jazz Ramwong and (One) Tension. Of course it being live explains a lot in that respect, but there is also a departure towards freeer structures from the group dynamics that characterises NJR and (O)T. This live album is still song oriented with themes and players taking turns soloing though. Sauer is one of those intense screetchy players with very distinct tone and phrasing. Lenz is simply amazing. If you get a chance, check out Now Jazz Ramwong by the quintet, an absolute classic.

http://www.badtree.com/Just_Funny.php?FN=S..._Super_Hero.wmv

plus 'We See' and 'Let's Call This', not released at the time.

Yes, the Wilen album combines two sessions, the first (7 january) has some Gillespie tunes and other bebop staples, the second session features 4 Monk tunes. Two more Monk tunes were recorded but not released at the time. That second session certainly seems like an attempt at an all out Monk fest! Does anyone know how the original Tilt LP was conceived? Was there an all-Monk B-side?

Barney Wilen did a Monk programme on his Tilt album (11 January 1957)

http://www.rense.com/general67/street.htm

My files list them for May 17, saying: "Date is usually given as July 26, but May 17 is correct, as reportet in Downbeat Magazine of June 29, 1955". The July 27 date is absent from my listings. Source is Lord/Sheridan.

1957, George Shearing & Dakota Staton - In the Night (Capitol), ctd the 30th and 31st 1964, Benny Carter - Tickle Toe (Vee Jay), ctd the next day 1970, Albert Ayler - Nuits de la Fondation Maeght (Shandar)

If I am not mistaking, there were two 2CD sets titled Three Originals Vol 1 and 2, each with 3 MPS albums on them. Don't have these myself either though. EDIT: AMG tells me: - Three Originals #1 : Wide Point/Trilogue/Albert Live in Montreux (MPS) - Three Originals #2 : Never Let It End/Jazz Tune I Hope/Triple Entente (MPS)

I'll second that, hope all is reasonably well. Stick around!

http://www.hazza316.co.uk/roger.html

1960, Ornette Coleman Quartet records for Atlantic (This is Our Music, The Art of the Improvisers, To Whom Keeps a Record, ... )

Interesting. I'm curious to know, Adam, if that is the standard German understanding of Mangelsdorff and others, or if that is the idiosyncratic interpretation of Wolfram Knauer, the writer of this piece? If Tristano and Konitz are that influential on German jazz, then I'd be curious to hear a lot more of it (not that I'm not already curious about German and European jazz in general). ← I'd agree with the assessment. The Tristano school and "cool jazz" in general were the model for much early small group jazz in post war Europe. People like Mangelsdorff, Jutta Hipp, Roland Kovac, Hans Koller, Attila Zoller would fit in the picture. This was certainly not restricted to Germany, but more of a central European thing, I'd say.

this volume read like some sort of in between book. Lots of stuff happening that just needed to be told without an actual story arc evolving. Too much going on and too little to make a coherent story. Realy good in the face of the overall tale but not so when singled out. This one left a bit of a rambled off impression. All the stuff that needed to be in place for the final work has been put in place. At least I hope that's the case. Many lost opportunities in this book, it could have been better with some additional sidelines that threaten to become mainlines. The previous books kept the reader on their toes with such stuff, resolving one story line after the other.

and it's the stuff that sticks, I'm still going "paa-dee-a-pa-pah!" here.- ← Are you getting that half-step on the last note of the last phrase? That's what makes it! ← what really makes it is that they do their part and drop out. No blabbering about, just those few punchy lines and bang done with.

so, will you let us in on your planned subtitle anyhow?

hey, it was a QUEST. I take those seriously. ← I'm walking right over to my speakers with a match, now. ← now THAT's dedication! If I go looking for a grail or something, you are invited to come along.