MONK’estra vol. 2 (Mack Avenue)
John Beasley
Relased September 1, 2017
Grammy Nominee for Best Large Jazz Ensemble 2018
DownBeat Four-and-a-Half-Star Review
YouTube:
https://music.youtube.com/playlist?list=OLAK5uy_kRR35AP7n_xjwgXPh9hBW0Xvm-GqcMoP4
Spotify:
https://open.spotify.com/album/1M4NVlcda7GcsVOEbXs2SV?si=H6GHvwZ4SveE8Is0LZZV_Q&dl_branch=1
About:
The second installment of Monkstra, a topical project that arranges the music of Thelonious Monk, a great artist and composer of the 20th century celebrating the 100th anniversary of his birth, in a big band! The music is from the time when Monk was alive. However, in this work, I feel that the degree of freedom of the band has expanded dramatically. While firmly capturing the essence of the song and arranging it as an ensemble, the color of the album as a whole has improved dramatically! The originality has also increased. In fact, from the first release to the recording of this work, he said that he also performed a lot of live performances. On the spot, General John Beasley was more aware of the depth of the genius Monk, and he continued to explore how to freely rewrite the music and create freedom for musicians. The basis is a 16-piece large ensemble. It’s one less than the previous work, but this time it features guest artists effectively. The opening is based on a hip beat, and when I think that a monk number riff will appear, the rap will cut into it. There is a lot of premonition of an innovative performance that is different from the previous work. Turning around, it became an M2 with a traditional texture, featuring Regina Carter as it was, and if you think that you saw a tradition in the performance that shows your admiration for Ellington, Evidence featuring a contemporary rhythm in M4. It is that Kamasi Washington that appears when the tempo changes and the gear changes. Blow spiritually! Suddenly, the beat switched to swingy, and the trombone master, Conrad Harvik, touched the baton. Boldly introducing the syncopation of New Orleans’ second line, the M6 is a performance that freely goes back and forth with traditional ensemble sounds. In addition, Dianne Reeves who mourns Carmen McRae will appear in M8, and if you think about it, Pedro Martinez will be featured in M9, and it will also show a development that fully incorporates Afro-Cuban taste. According to John Beasley, “Modern is a mix of funk, rhythm and blues, Afro-Cuban influence, hip-hop, etc. The arrangement started with that rhythm. The old ones are great. However, there is a feeling that they have been exhausted, I did not want to compare them, and I wanted to create my own original ones. ” However, it can be said that the commemorative year has come to fruition. By no means, I’m not just looking at new things, but keeping the essence of Monk as it is … When I listen to music, I feel like I’m invited to travel back in time and to various places. An adventurous collection of monks unique to talented people who are active not only in the jazz field but also in James Bond movies and music in numerous home dramas. And it seems that you are invited to various lands. An adventurous collection of monks unique to talented people who are active not only in the jazz field but also in James Bond movies and music in numerous home dramas. And it seems that you are invited to various lands. An adventurous collection of monks unique to talented people who are active not only in the jazz field but also in James Bond movies and music in numerous home dramas.
Track Listing:
1. Brake’s Sake (Thelonious Monk) featuring Dontae Winslow 7:05
2. Played Twice (Thelonious Monk) 3:54
3. Crepuscule With Nellie (Thelonious Monk) 4:29
4. Evidence (Thelonious Monk) 7:20
5. Ugly Beauty/Pannonica (Thelonious Monk) 5:18
6. I Mean You (Coleman Hawkins / Thelonious Monk) 6:22
7. Light Blue (Thelonious Monk) 5:24
8. Dear Ruby (Thelonious Monk / Sally Swisher) 6:10
9. Criss Cross (Thelonious Monk) 6:20
10. Work (Thelonious Monk) 5:53
Personnel:
John Beasley, piano (solo 9), synthesizer, organ (solo 7), arranger, conductor
John Beasley Big Band
Acoustic and electric bass: Ben Shepherd (solos 2, 4)
Trumpets: Bijon Watson, Jamie Hovorka, James Ford, Brian Swartz (solo 6, 7), Brandyn Philips (solo 4, 8),
Woodwinds: Bob Sheppard (solo 2), Danny Janklow (solo 6), Tom Luer (9), Thomas Peterson, Adam Schroeder (solo 6), Alex Budman
Trombone: Francisco Torres (solo 5), Wendell Kelly, Ryan Dragon (solo 10), Steve Hughes, Iso Meshulam (1, 7)
Drums: Terreon Gully, Gene Coye (7)
Guest Appearances
Dontae Winslow: trumpet and rap (1)
Regina Carter: violin (3)
Kamasi Washington: tenor saxophone (4)
Conrad Herwig: trombone (4)
Dianne Reeves: vocals (8)
Pedrito Martinez: conga and bata (9)
Recorded at Kaleidsecope Studios, Jersey City, NJ; Teaneck Sound Studios, Teaneck, NJ; The Hive, Los Angeles, CA; United Recording, Studio B, Los Angeles, CA.
Engineers: David Kowalski, Joshua Stuebe
Assistant Engineer: Wesley Seidman
Mixing: Ran Pink
Mastering: Reuben Cohen, Gavin Lurssen
Cover Photo: Lawrence Sumulong
Art Direction: Raj Naik
Cover Art: Philip Paquet
Producers: John Beasley, Ran Pink and Gavin Lurssen
Executive Producer: Gretchen Valade
Review:
In the Monastic One’s centennial year, pianist John Beasley hits us dead center with studio-smart takes on Monk’s deep book. His new album features rapid-fire surprises, spiky asides and a quirky sense of truthful swing. Beasley has also engineered some headliner cameos. Violinist Regina Carter sidles enticingly through “Crepuscule With Nellie” and Dianne Reeves demurely sings “Dear Ruby” (aka “Ruby, My Dear”), both to a nuanced reed backdrop. Pedrito Martínez rattles dazzling bata and conga on “Criss Cross,” firing through thickets of brass, and flextime rhythm boosts guest solos from tenor saxophonist Kamasi Washington and trombonist Conrad Herwig, who gaily quotes “I Want To Be Happy.” A straight-up “Played Twice” showcasing reedmaster Bob Sheppard’s soprano is the date’s meatiest solo; his alto later summons Johnny Hodges amid Ellington-esque reeds framing “Light Blue,” with Beasley’s weird keening synth. Brian Swartz contributes the funk-driven arrangement and trumpet solo for “I Mean You” with nods for Danny Janklow’s alto and Adam Schroeder’s bari between backbeats, repeats and stop-time brass. Trombonist Francisco Torres is in the tantalizingly bipolar “Ugly Beauty/Pannonica,” with its Latin reed coda, and Ryan Dragon’s staunch task on “Work.” More Monkery for his centennial (Tadd and Dizzy, too)? Bring ’em on!
Fred Bouchard (DownBeat)
