I wish I had seen him but got to see hi s compatriots and Gary Bartz many times.He is my sentimental favorite and his playing and the few interviews I have seen with him he just seemed to be a wonderful person.You are very fortunate
There’s a special knowing, wise and warm patina with which old pros and old friends imbue beautiful songs ... the same balance of qualities - sugar, acid, fruit and tannin - that make great wines when enhanced by age .
A real pleasure to hear other sides of Charlie Rouse away from when playing with Monk. Not that there was anything wrong with Rouse's playing with Monk - quite the opposite - the beauty of that collaboration is that it's unimaginable that anyone could interpret and translate the essence of Monk through the saxophone more perfectly than Rouse. It's just that there is even more to Charlie's musical identity than the part that was focused in on when with Monk. Quite the revelation. A great jazz tenor by any standards and in any setting
Red Rodney played in Charlie Parker's quintet for 5 years. Then he experienced car crashes, a stroke, a busted embouchure, deaths in his family--but he worked his way back, slowly and painfully. He's one of the giants of the music but barely recognized. He broke in with Bird at a Carnegie Hall concert--taking a solo on "Ornithology" that's as good as it gets. And the LP 'Red Arrow" has the major players all at the top of their games--Red, Ira Sullivan (playing both trumpet and tenor), Tommy Flanagan, Oscar Pettiford and Philly Joe Jones on one side with Elvin Jones on the other side. I wish the album would be reissued as a CD instead of parted-out and sandwiched in various anthologies.
I spent a couple of hours chatting to him at Ronnie Scott's around 1990. Very entertaining, recalling his times with Parker and everything that happened to him. Makes Roy Orbison's life look relatively uneventful!
two lovely jazzers at the top of there game.this is a great upload.i never had the pleasure of meeting either player[my loss] despite many trips to new York in the 50s 60sbut I did meet many of the big names over my 20yrs in the business they were all gentlemen and had time for you great days.many thanks gastonbulbus.
One of the reasons that Monk hired Charlie is due to the fact that Rouse had elements of different styles of other people without sounding like them directly -- a little bit of Coltrane, a little Sonny, and, yes even a touch of Hank at times, but you couldn't and wouldn't mistake Rouse for anyone else. Too bad I only started enjoying both Thelonious and Charlie -- together and apart -- after both had passed away.
I'd say the two tenor men I hear reflected most in Charlie's playing are *Wardell Gray* and *Ben Webster.* You're right, I can't detect any similarities neither to Sonny nor to Trane, but Charlie had the ability to convey *and* influence Monk's music, just as the great Ellington tenor stalwarts Ben, Paul and the criminally neglected Harold Ashby did with the Duke's. Of course, they had common roots, Bean and Pres, as almost all tenor saxophonists at the time had (and still have). Yes, even Hank Mobley is underrated, too, and highly distinctive sounding. Monk retired and died too early for me to have experienced him in the flesh, but I was lucky enough to see *Sphere* live in concert ;-).
The greats always choose the great tunes.
I had the pleasure of knowing Mr.Rouse.The beauty of his playing matched the warmth of his personality.
I wish I had seen him but got to see hi s compatriots and Gary Bartz many times.He is my sentimental favorite and his playing and the few interviews I have seen with him he just seemed to be a wonderful person.You are very fortunate
There’s a special knowing, wise and warm patina with which old pros and old friends imbue beautiful songs ... the same balance of qualities - sugar, acid, fruit and tannin - that make great wines when enhanced by age
.
You are a man of great sensitivity and insight to have written this
A real pleasure to hear other sides of Charlie Rouse away from when playing with Monk. Not that there was anything wrong with Rouse's playing with Monk - quite the opposite - the beauty of that collaboration is that it's unimaginable that anyone could interpret and translate the essence of Monk through the saxophone more perfectly than Rouse. It's just that there is even more to Charlie's musical identity than the part that was focused in on when with Monk. Quite the revelation. A great jazz tenor by any standards and in any setting
Charlie Rouse, with trumpeter Red Rodney, pianist Albert Dailey, bassist Cecil McBee and drummer Kenny Washington. Rec. 1984.
Thanks for that. Isn't it weird how often people don't mention the names of all the players?
It makes me feel that despite all the horrible things that are happening in the world, life can be só beatiful
Darn if this isnt a great piece. Superb. Charlie and Red complement each other very well. Thanks for sharing.
very cool...
Rouse on tenor is always a sweet surprise!
Red Rodney played in Charlie Parker's quintet for 5 years. Then he experienced car crashes, a stroke, a busted embouchure, deaths in his family--but he worked his way back, slowly and painfully. He's one of the giants of the music but barely recognized. He broke in with Bird at a Carnegie Hall concert--taking a solo on "Ornithology" that's as good as it gets. And the LP 'Red Arrow" has the major players all at the top of their games--Red, Ira Sullivan (playing both trumpet and tenor), Tommy Flanagan, Oscar Pettiford and Philly Joe Jones on one side with Elvin Jones on the other side. I wish the album would be reissued as a CD instead of parted-out and sandwiched in various anthologies.
So digging your comment may each dawn bring you a day of success and each dusk an evening of contentment
I spent a couple of hours chatting to him at Ronnie Scott's around 1990. Very entertaining, recalling his times with Parker and everything that happened to him. Makes Roy Orbison's life look relatively uneventful!
Just lovely, top shelve recording of 2 greats.
Ah, five greats, no?
two lovely jazzers at the top of there game.this is a great upload.i never had the pleasure of meeting either player[my loss] despite many trips to new York in the 50s 60sbut I did meet many of the big names over my 20yrs in the business they were all gentlemen and had time for you great days.many thanks gastonbulbus.
Dreamy, love to hear all day! Fantastic duo. I need this. Ty
Beautiful!!
Oh, and Albert Dailey on keys!! Gone all too soon!! He is on several of my favorite recordings!!
Wow! I love Rouse!!
Beautifully done amazing combo
this sends me...
Superb version.
so beautiful.
Super!!!
what a tenor sound that is
love it - 80s spirit .. universel spirit
beautiful
One of the reasons that Monk hired Charlie is due to the fact that Rouse had elements of different styles of other people without sounding like them directly -- a little bit of Coltrane, a little Sonny, and, yes even a touch of Hank at times, but you couldn't and wouldn't mistake Rouse for anyone else. Too bad I only started enjoying both Thelonious and Charlie -- together and apart -- after both had passed away.
I'd say the two tenor men I hear reflected most in Charlie's playing are *Wardell Gray* and *Ben Webster.* You're right, I can't detect any similarities neither to Sonny nor to Trane, but Charlie had the ability to convey *and* influence Monk's music, just as the great Ellington tenor stalwarts Ben, Paul and the criminally neglected Harold Ashby did with the Duke's. Of course, they had common roots, Bean and Pres, as almost all tenor saxophonists at the time had (and still have). Yes, even Hank Mobley is underrated, too, and highly distinctive sounding. Monk retired and died too early for me to have experienced him in the flesh, but I was lucky enough to see *Sphere* live in concert ;-).
so well heard
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