LIVE IN ROTTERDAM 1967

Ultra-HD 24bit/176.4kHz AIFF files. PDF booklet included

18,00€

CD 1

RUby, My Dear

Hackensack

We See

Epistrophy

CD 2

Evidence/Epistrophy
Don't Blame Me
Oska T./Epistrophy

Blue Monk

When he took the stage at the Club Doelen in Rotterdam on 28 October 1967, Thelonious Monk had just turned 50. Fifteen years later he would disappear from the music scene, taking refuge for the last six years of his life in New York at Pannonica de Koenigswater, never to touch the piano again. Flanked by the two "classics" "Ruby, My Dear" and "Blue Monk", he leads the quartet of his three accomplices, Charlie Rouse, Larry Gales, Ben Riley and their guests, for more than an hour and 20 minutes. Larry Gales' bass pops out of a box at the end of "Hackensack", the brass gets carried away in the middle of "We See"; they answer each other by swirling in the dizzying "Oska". And in the middle of the concert, a solo moment on 'Don't Blame Me': everything appears contrasting, twisted, oblique, each note seeming to be surprised by the previous one. Monk first goes around the melody from behind before bringing it back, pure, to the front. Finally they close: "Blue Monk", all classical restraint.

24bit/176.4 kHz AIFF audio files. 28 pages pdf Booklet included.

Record 1

Ruby, My Dear

Hackensack

We See

Epistrophy

Record 2

Evidence/Epistrophy

Don't Blame Me

Oska T./Epistrophy

Blue Monk

Thelonius Monk, Piano
Charlie Rouse, Tenor Sax
Larry Gales, Bass
Ben Riley, Drums

Guests:

Clark Terry, Trumpet
Ray Copeland, Trumpet
Jimmy Cleveland, Trombone
Clark Terry, Trumpet
Phil Woods, Alto Sax
Johnny Griffin, Tenor Sax

Recorded at De Doelen, Rotterdam, 28.X.1967
STEREO ℗ 1967 NOS

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THELONIOUS MONK

LIVE IN ROTTERDAM 1967

The story of this discovery

“My first memory of Monk was as a teenager. His language and this way of understanding the piano, so far from what I appreciated at the time, seemed then totally foreign to me. Just like Bartok's music was to me. Years later, it was a revelation: the music seemed to me totally innovative. The harmonies and melodies that overlap and collide can be listened as the way to look at a Kandinsky or a Pollock. This previously unreleased concert, discovered in the Dutch archives, is a true Master painting that no one had ever had the chance to contemplate.”

Frédéric D'ORIA-NICOLAS
Musical treasure seeker

Jazz Mania

“This 1967 recording sounds as if it had been recorded yesterday and gives us a great Monk surrounded by real stars such as Clark Terry and Johnny Griffin”

“There are no wrong notes. Some are just more right than others”