#epistrophy

[jt1674]

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[afrotumble]

Thelonious Monk Epistrophy

[martelchapman]

Monk and Epistrophy

[m937l]

i saw something on reddit about one of del’s cars breaking down at the roundabout in the city centre after completing epistrophy, and had to check it out for myself. turns out there’s a new introduction to the don’t lose your mind quest. i’m not sure if this is new or if i just missed it on my first few playthroughs, but it’s cool :)

[gottahavesoul]

Thelonious Monk Quartet

Palais des Beaux-Arts, Bruxelles, March 10th, 1963 (colorized)

Monk's Dream 00:12 Drums solo 07:40 Criss Cross 12:19 Rhythm-a-ning 17:34 Epistrophy 23:38 Evidence 24:50 Ruby my dear 31:39 Bright Mississippi 40:00

Thelonious Monk (piano) Charlie Rouse (sax) John Ore (bass) Frankie Dunlop (drums)

brilliant...

[sundaze12s]

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"Those who want to know what sound goes into my music should come to New York and open their ears." • • • Thelonious Monk improvising on his own composition "Epistrophy" alongside his Quartet including Charlie Rouse (sax), Ben Riley (drums), and Larry Gales (bass) live in Denmark, 1966. • • • #jazz #jazzmusic #jazzvideo #jazzpiano #pianist #musician #jazzpianist #jazzmusician #jazzmaster #jazzcomposer #jazzlegends #theloniousmonk #monk #epistrophy #denmark #music #improvisation #jazzimprovisation #piano #jazzsolo #solosection #jazzfest #jazzconcert #charlierouse #newyork #sundazemagz https://www.instagram.com/p/B1hiMeRAW18/?igshid=qnj02cs7eceb

[dustedmagazine]

Bill Frisell & Thomas Morgan - Epistrophy (ECM)

In the relentless, rampant pursuit and procurement of new musical product, it’s easy to lose sight that a return to and expansion of what’s worked previously can prove just satisfying for both artists and listeners. Guitarist Bill Frisell and bassist Thomas Morgan have an ongoing relationship as a duo first documented by ECM in 2017. Epistrophy wisely pulls from that same source, bringing into circulation more material from the pair’s concert stand at the Village Vanguard in New York City, March of 2016. Frisell brought both hollow and solid body guitars along to the gig as well as an array of effects pedals and accouterments. Morgan contented himself with the acoustic strings of his double bass.

Content varies from the first album in an absence of originals. The program opens with a gently sauntering essay of an ancient Jerome Kern standard “All in Fun,” with the duo congenially alternating lead and support roles against the occasional peripheral sounds of clinking cocktail glassware. Next, Frisell expresses his abiding affection for Americana in an open-ended medley of “Wildwood Flower” and “Save the Last Dance for Me,” sheathing a stream of strummed chords and single notes in shimmering reverb. Morgan’s stouter strings work as a warm, undulating foil that only furthers the sensory illusion of saddle leather and trail dust. Positioned as the penultimate piece in the set, “Red River Valley” invites additional imaginational associations through figurative sagebrush of floating clusters and harmonics. 

Paul Motian’s “Mumbo Jumbo” is lean and moody by comparison, with the players folding in and circling each other with fat clusters of notes that reflect in sound the concentration of furrowed brows and flexing fingers. Frisell eventually adds computerized loops and the pair steers close to insularity in spots, but it’s still a performance rife with involving interplay. Hoary tunes plucked from the pop realm aren’t off limits either. John Berry’s James Bond theme classic “You Only Live Twice” is almost unrecognizable in its opening minutes wearing the wistful disguise of a pastoral ballad. When the melody does appear, Frisell milks it for a rich run of reverb-marinated variations that suggest something like the late-Dick Dale in blissed out Bedouin attire in sound. The crowd loves it. 

Even a cursory inspection of the “Lush Life” well reveals countless interpretive footprints around its rim, but that doesn’t stop the duo from dipping their instruments in. The results are respectful and avoid rendering rote, but still feel a bit like a crowd-pleasing palate cleansing gesture for the pair of Monk tunes that follow. The title piece is all angles and inversions at first and all the better for it with Frisell getting to the gritty call and response of the tune’s core without stepping on Morgan’s striding, anchoring gait. “Pannonica” trades joviality for tenderness, retaining the rhythmic slipperiness and slant that makes it Monk while sustaining a sense of shared decorum that keeps matters from getting too hairy. “In the Wee Small Hours” works as sendoff, lullaby, and feature for Morgan’s high-on-fingerboard acrobatics, depositing both the musicians and the fortunate Vanguard patrons at a place of relaxed satisfaction by its end.

Derek Taylor

[zachhasreallygoodtasteinmusicwow]