Charlie Rouse /Jazz/

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Possessor of a distinctive tone and a fluid bop-oriented style, Charlie Rouse was in Thelonious Monk's Quartet for over a decade (1959-1970) and, although somewhat taken for granted, was an important ingredient in Monk's music. Rouse was always a modern player and he worked with Billy Eckstine's orchestra (1944) and the first Dizzy Gillespie big band (1945), making his recording debut with Tadd Dameron in 1947. Rouse popped up in a lot of important groups including Duke Ellington's Orchestra (1949-1950), Count Basie's octet (1950), on sessions with Clifford Brown in 1953, and with Oscar Pettiford's sextet (1955). He co-led the Jazz Modes with Julius Watkins (1956-1959), and then joined Monk for a decade of extensive touring and recordings. In the 1970s he recorded a few albums as a leader, and in 1979 he became a member of Sphere. Charlie Rouse's unique sound began to finally get some recognition during the 1980s. He participated on Carmen McRae's classic Carmen Sings Monk album and his last recording was at a Monk tribute concert.

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[1974] Two Is One

Цитата:

By this point, the assumption that listeners would like this record simply because they liked Charlie Rouse's work with the Thelonious Monk Quartet would be presumptuous. The music found herein is much more typical for a Strata East release than it is typical for Rouse. Modern, beat-conscious listeners on the hunt for hip-hop samples will find a number of tasty moments here. Most of them are to be found on the much funkier first side. The tune "Hopscotch," in particular, begins with one of the most sample-ready intros ever committed to disc. Also, and in seemingly direct contrast, if features a busy, complex head, making it sound more like a George Russell piece than one fit for a Strata East record. Otherwise, the album's opener, "Bitchin'," as well as "In a Funky Way," are both expectedly rocking (given the titles and all), with the latter being especially reminiscent of the Meters. Rouse and company take a sharp left turn on the second side, during which they perform the title track (in two sections) and the brooding "In His Presence Searching." "Two Is One" begins with a bassline in 9/8, drums in 6/8, and cello and tenor in 3/4. Needless to say, it sounds little like the funk-inspired tunes on side one. Only when the second section kicks in does the group lay down a groove — albeit in 7/8. The result is funky enough to forget that it's in seven but entirely too odd for even the hippest dancefloor. Rouse's style translates well to this kind of material. His solos are as fluid as ever and even on spiritual numbers like "In His Presence Searching" — during which he makes a rare appearance on bass clarinet — he sounds at home. Given his discography, this record is atypical and probably not for everyone, but enjoyable nonetheless.

credits:
Stanley Clarke Bass
George Davis Guitar, Guitar (Baritone)
David Lee Drums, Drums (Snare)
Paul Metzke Guitar
Airto Moreira Percussion
Martin Rivera Bass
Charlie Rouse Clarinet (Bass), Saxophone, Sax (Tenor)
Calo Scott Cello
Azzedin Weston Conga

tracks:
1 Bitchin' 7:19
2 Hopscotch 7:18
3 In a Funky Way 4:52
4 Two Is One 11:16
5 In His Presence Searching 9:29

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