- Two MP3 Albums for £10. Buy this and one other MP3 Album from a great selection for no more than £10. Here's how (terms and conditions apply)
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- Original Release Date: 6 Nov 2006
- Format - Music: MP3
- Compatible with MP3 Players (including with iPod®), iTunes, Windows Media Player
- Also available in CD Format
Buy this MP3 album with any other MP3 album under £8 and pay no more than £10 for both (terms and conditions apply). Just look for any album with this message, put it in your basket with another eligible title and the discount will be applied at checkout. |
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| Song Title | Time | Price | |||
|---|---|---|---|---|---|
| Play | 1. Four In One | 6:05 | £0.69 | ||
| Play | 2. Reflections | 4:07 | £0.69 | ||
| Play | 3. Hornin' In | 5:15 | £0.69 | ||
| Play | 4. Bye Ya | 4:39 | £0.69 | ||
| Play | 5. Let's Call This | 7:14 | Album Only | ||
| Play | 6. Ask Me Now | 4:53 | £0.69 | ||
| Play | 7. Skippy | 4:19 | £0.69 |
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Customer Reviews
Most Helpful Customer Reviews
1 of 1 people found the following review helpful
Format:Audio CD
Monk is a musician virtually impossible to copy, or even to be influenced by to any degree, without sounding like some inadequate pastiche. A disc made by musicians featuring Monk's music and sounding a little like Monk, could be an abject failure. It isn't, it's a roaring success, and Lacy, and for that matter, Mal Waldron, achieve the almost impossible task of being entirely at one with Monk's music but also being entirely their own men.
The session dates from 1958, before Lacy left for Europe, and consists of seven then little known Monk pieces played by Steve Lacy on soprano, Mal Waldron on piano, Buell Neidlinger on bass and Elvin Jones on drums. All are superb.
Steve brought the soprano into modern jazz before Coltrane and plays throughout with an aggressive angular style, never turning a fairly ornery instrument into a mock oboe or a refugee from a harem. For me, the best modern soprano ever, and here on his best form. he worked hard at the music (indeed, at one time he had a band that played nothing but Monk's music), was completely familiar with it, and revelled in it.
Mal plays beautifully. He plays as he normally does, with a unique mixture of spidery lines and dissonant chords but, particularly on the slower tunes such as 'Reflections' and 'Ask Me Now' sounds just like Monk but also totally Mal.
Neidlinger sticks to rhythm with a big and sustaining tone. He isn't the bassist one would expect for this group, normally working with Cecil Taylor, but a consistent swinging rhythm was always necessary in Monk's groups and he supplies just that here. Elvin plays as he did a few years later on his Blue Note sessions with such as Andrew Hill and Sam Rivers, forceful and aggressive, but always encouraging the rhythmic flow of the music.
The programme is well varied, with the two slower pieces, one fast tune ('Skippy'), and four at medium pace. All swing, and there isn't a weak spot on any of them.
This isn't easy music, not in the sense that it is superficially unattractive, because it isn't, but because the more you dig into this, the more you find.
The session dates from 1958, before Lacy left for Europe, and consists of seven then little known Monk pieces played by Steve Lacy on soprano, Mal Waldron on piano, Buell Neidlinger on bass and Elvin Jones on drums. All are superb.
Steve brought the soprano into modern jazz before Coltrane and plays throughout with an aggressive angular style, never turning a fairly ornery instrument into a mock oboe or a refugee from a harem. For me, the best modern soprano ever, and here on his best form. he worked hard at the music (indeed, at one time he had a band that played nothing but Monk's music), was completely familiar with it, and revelled in it.
Mal plays beautifully. He plays as he normally does, with a unique mixture of spidery lines and dissonant chords but, particularly on the slower tunes such as 'Reflections' and 'Ask Me Now' sounds just like Monk but also totally Mal.
Neidlinger sticks to rhythm with a big and sustaining tone. He isn't the bassist one would expect for this group, normally working with Cecil Taylor, but a consistent swinging rhythm was always necessary in Monk's groups and he supplies just that here. Elvin plays as he did a few years later on his Blue Note sessions with such as Andrew Hill and Sam Rivers, forceful and aggressive, but always encouraging the rhythmic flow of the music.
The programme is well varied, with the two slower pieces, one fast tune ('Skippy'), and four at medium pace. All swing, and there isn't a weak spot on any of them.
This isn't easy music, not in the sense that it is superficially unattractive, because it isn't, but because the more you dig into this, the more you find.
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