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Jamie Saft
Plays Monk [Trio]

jazz/impro
Oystertones, 2025

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CD:18,25€
Out of stock
availability: about a month ?
cat. no: OT005
format : CD
number of discs : 1
packaging : ecopack


no. title play mp3
1 Raise Four 06:59
2 Reflections 08:45
3 Monk's Mood 05:29
4 Thelonious 03:07
5 Ruby, My Dear 04:49
6 Coming on the Hudson 06:04
7 Everything Happens to Me 03:48
8 Panonica 04:21
9 Children's Song 05:45
10 Ugly Beauty 07:30


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https://youtube.com/playlist?list=OLAK5uy_lm3Glfu-1QZtaehT5t3-qhbpAgOYG1QMQ

muzycy:
Jamie Saft: piano
Bradley Christopher Jones: contrabass
Hamid Drake: drums

Editor's Info
Authenticity in music is a challenge for some, an obligation for others, and a natural way of being for a few, a rarefied result of deep focus, hard work and commitment for anyone. Theolonius Monk stands as one of the tallest monuments to authenticity in music. His greatness, which is enhanced by his complex modesty displayed in elaborate and still singable melodies and jagged but always danceable rhythms, inspires every musician who encounters his music. He once said “I like to keep it simple so people can dig it”. He matched that plan with the layers of complexity and beauty.
Playing Monk’s music is hard. Playing it correctly, on the composer's terms, is harder. Some who attempt it treat the songs as standard tunes, vehicles for stylized blowing. While they certainly are standards, they are also compositions that offer deeper possibilities and demand more attention than that. More than anything Monk’s compositions make a sound unlike any other. He knew that, and in a famous Downbeat interview he made it clear that with the exception of Bud Powell, few came close to getting it right. His list of directions including “What you don’t play can be more important than what you do play“, and “...play the melody!” aren’t easy to follow.
Jamie Saft obviously understands all of this. His playing on this recording is proof. The harmonies are right, the pacing is right, the melody is there all the time, the risk, the rhythm and ability to leave things out, all factor into the best possible result. By walking the Monk tightrope, balancing each note, placing one after the other with consideration and momentum he gets The Sound. His balance keeps him from falling into imitation and keeps him moving forward to a new interpretation. He doesn’t use Monk’s music to show off. Instead he treats it as if it is worthy of the same treatment he would give to Bach or Cage. He honors i
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