When you take two legends of jazz - prominent members of the creme de la creme of both the piano and tenor saxophone worlds - here's what you get: Thelonious Monk with John Coltrane. I'm not talking a new craze in jazz. What you experience on this album, recorded in 1957-58, is something of the old which evokes feelings of the new. What allows this particular combination of artists to shine above others in achieving this goal is not only each individual's abilities. Rather, fused with the respect of each other, Thelonious Monk and John Coltrane display their own brightest feathers. In fact, Coltrane once said, "If a guy needs a little spark, a boost, he can just be around Monk, and Monk will give it to him." This "little spark" incited what has been called "electrifying."
"Ruby, My Dear" allows the listener to flow right into the album, fluidly and with a hint of melancholy. If you've ever seen an old black and white detective movie, picture the rainy night with the lonely detective/narrator standing on the street corner, smoking a cigarette, setting up the scenario for the viewers. This melody had a feel of times gone by, reflection with a tear perhaps. Don't get me wrong - this whole album is not going to bring you down.
In fact, the next song, "Trinkle, Tinkle," is more of light, up-beat tune. Monk displays his talent on the piano with rapid flutters which coincide well with the song's title. You really do feel as though you are flitting along. I would say trinkling, but I'm not really sure how one would trinkle. As for the tinkle - well, I'll leave that one up to your imagination.
The next three tracks on this album give me a feeling of the big band era. More drum involvement and louder horns - definitely a livelier bit than the previous two. You might even go so far as to do a jig while listening to this part of the album. The very last song gets back to a more relaxed state, even with a hint of blues.
Altogether, Thelonious Monk with John Coltrane provides the jazz listener with a dynamic range of jazz feeling. For those looking for an older jazz album with variety, zest, and talent, this album definitely will not disappoint.
Moving a little farther down the jazz timeline, we arrive at another great: Miles Davis. Most people can recognize that name when they see it. Davis was certainly, and still is, a jazz legend. This particular album, Miles Smiles, is a much lesser known album. Unlike Kind of Blue or Bitches Brew, this album is not a strong marker of a particular stage in Miles' career. However, Miles Smiles has been called "one of his finest acoustic sets yet." Yet, it is evident by the song titles alone (such as "Orbits, Freedom Jazz Dance") that Miles was on his way into a new electronic sphere with his music.
He launches us into "Orbits" at the outset, providing a hint of that electrical feel. Miles on the trumpet here is energized and you feel it. Another aspect worth noting is Herbie Hancock's piano-playing genius. Incidentally, Herbie Hancock is the man who originated the song, "Cantaloupe Island," which Us3 used as a basis for their rap-type version, "Cantaloupe (Flip Fantasia)." Getting more to the point, Hancock's fingers surely got a work-out from this song. Overall, energetic and up-beat, displaying multiple talents, this is probably my personal favorite of the album.
"Circle" is much quieter, with much less Davis and much more Hancock. This is not really my favorite track, I must admit. It gets a little more of a spacey feel to it, especially when Davis does chime in. "Footprints" is a similar story. It's almost as though you feel like you cannot move when you're listening to this part of Miles Smiles. I really don't feel a smile from him, here, perhaps that's my problem.
When I feel the smile fully come back to his lips is when I hear "Freedom Jazz Dance" begin. Here, he takes it back more to the feel of the beginning of the album, one of motion and life. Although, he tends to get an electronic feel, you still just want to move and do that dance.
However, I must say the last song is Miles with an unstoppable grin. This is what truly brings back the feeling he initiates the whole album with. He is energized and projects an essence of constant motion. This is my other favorite on Miles Smiles.
I feel that the strengths of this album come at the very beginning and the end. I prefer the pre-electronic Miles, which stands to reason that I like the bulk of this album a lot less than the ends of it. In my estimation, the album is worth checking out just for that alone. Furthermore, it's an interesting point in Davis' career, one of transition. So, pick it up, expand your horizons. MR