CD Evolution [Grachan Moncur III] [CD] [1 disc] (CD 1305127),
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Evolution [Grachan Moncur III] [CD] [1 disc]


  • 1. Air Raid
    2. Evolution
    3. Coaster, The
    4. Monk in Wonderland
  • Additional Info
    Manufacturer Part Number (MPN): 15365

  • Credits
    ProducerAlfred Lion; Michael Cuscuna (Reissue)
    Engineer

    Personnel: Grachan Moncur III (trombone); Jackie McLean (alto saxophone); Lee Morgan (trumpet); Bobby Hutcherson (vibraphone); Bob Cranshaw (bass); Tony Williams (drums).
    Recorded at the Van Gelder Studio, Englewood Cliffs, New Jersey on November 21, 1963.
    Personnel: Grachan Moncur III (trombone); Jackie McLean (alto saxophone); Lee Morgan (trumpet); Bobby Hutcherson (vibraphone); Bob Cranshaw (bass instrument); Tony Williams (drums, drum); Toni Williams (drums).
    Audio Remasterer: Rudy Van Gelder.
    Liner Note Author: Bob Blumenthal.
    Recording information: New York, NY (11/21/1963); Van Gelder Studios, Englewood Cliffs, NJ (11/21/1963).
    Photographer: Francis Wolff.
    Grachan Moncur III was (along with Roswell Rudd) the premier trombonist in the American 1960's jazz avant-garde. Moncur's style was of the times--gruff, mercurial, and urgent. Yet 1964's EVOLUTION is one of those Blue Note albums where hard bop and the avant scene overlap. The lineup is a who's-who of the label's best: drummer Tony Williams, altoist Jackie McLean, and vibraphonist Bobby Hutcherson, performers mostly known for straight-ahead styles but who also dipped into freer waters when called upon. EVOLUTION is all original Moncur compositions, which inspires these players to really push the envelope (especially McLean who always shone with the trombonist). Moncur's themes are moody, angst-ridden, and somewhat ominous, but they're also thoroughly absorbing and stimulating. For those liking the edgier side of Blue Note's catalog, EVOLUTION is essential.

  • Critic Reviews
    The Wire (p.73) - "What makes its music exceptional is that the trombonist doesn't try to represent natural selection pictorially or programmatically, but makes it the substance of his harmonic and rhythmic argument."
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