Glenn Gould - "Glenn Gould Plays His Own Transcriptions of Wagner Orchestral Showpieces" Vinyl, LP, Album, 1973 (Columbia Masterworks)

Glenn Gould playing Richard Wagner is a strange and even an exotic cocktail.   Wagner is very much the heavy metal of the 19th-century composers, and one who doesn't shy from over-kill or over-reaching the borders of opera, stage, and ego.   Gould is a musician who I often think of as a magician who can find the most profound nuances in a composer's work.   Gould took the huge orchestration of Wagner's music and re-arranged the works for solo piano.  Here, Gould is like a surgeon dissecting a piece of music in a laboratory of his own design. 

I love Wagner for his melodies and extreme romanticism, but hate everything else that goes with his image/work - racism being one thing that bugs me.  Uri Caine is the other musician that stripped away Wagner from his culture, and fine-tuned his melodies as a cafe band.   But Gould was there first with his down-to-earth ability to strip Wagner as well, of all of his jewels and ambition, and makes a point that the composer was a great melodist. 

When I hear Gould's Wagner album, I'm not really hearing the composer, but the chef that's making the ultimate dish from the genius pianist.  Like Thelonious Monk who plays around the melody, or sketches as if he's using a fine ink brush, Gould works in a similar method in tracing out the Wagner melodies into a new work. 

Gould's version of Wagner is not to replace the epic orchestrations, but just add a footnote or an endnote to work that is often not torn apart in such a fashion, like Gould and Caine's playful approach to Wagner.   One of my favorite classical albums, that for me, is a totally new entrance into Wagner's music. 

Thelonious Monk Trio - "Bemsha Swing" Vinyl, 7", EP, 45 RPM, France, 1960 (Barclay)

I found this slightly battered copy of this French 7" EP at Rockaway Records this evening.   These are four songs that were selected from his 1952 recording with the great drummer Max Roach and bassist Gary Mapp.   This is 7" of magic.  Offhand, I'm having dirty sexual thoughts tying this, but alas, I'm talking about the aural pleasure that comes with the name Thelonious Monk.  

There are four songs on this EP, and they are "Bemsha Swing," Reflections" and then go to side two, for "Trinkle Tinkle" and classic beautiful "These Foolish Things" written by Strackey and Link.  Monk wrote the other three and they are brilliant.   There are three great pianists that I'm aware of, one is Glenn Gould, the other is Ron Mael from Sparks, and then there is Monk.   This is an artist who sees music as a piece of sculpture, and what he does is gently trace the melody as if it was on thin rice paper.   I never heard another pianist who had this approach to melody and treating it like a beautiful lover.   

I'm imaging that this EP was once owned by someone like Juliette Gréco, who played it while drinking wine in a juice glass and looking outside her window and watching the leaves fall from trees.  I imagine a lot of things, but I always have a soundtrack to my fantasies.  Here's one of many. 

Miles Davis - "Miles Davis and the Modern Jazz Giants" CD, Album, 1989/1959 (Prestige)

One of my favorite all-time recordings is "The Man I Love," the Gershwin song here performed by Miles Davis, Kenny Clarke, Percy Heath, Milt Jackson, and the incredible Thelonious Monk.  There are two versions of it on the CD release from 1989.  Both are sonic perfection.  The solos are fascinating.  Miles' solo is slow and soulful, and Jackson's vibes bring it up to a faster pace, but Monk's solo is abstract painting as music.  His piano sketches the beautiful melody like he's tracing something on paper on the sand on a windy day.  I believe its take two where Monk even goes slower and plays with the melody as if having liquid slowly disappear between the fingers.   I get the impression that Miles probably wanted to throw his trumpet at Monk for going so slow, and playing with the melody as if a cat is is batting a toy mouse.   The whole album is terrific, but to have the two versions of "The Man I Love" opening and closing this album is just perfection being practiced by these giants of music (jazz). 

Glenn Gould -Three Beethoven Sonatas: "Moonlight Sonata"/"Appassionata Sonata"/Pathétique Sonata" LP, Vinyl, Album, 1967 (Columbia Masterworks)

Glenn Gould has the knack (and skill) to perform music by great composers, yet still, question their composition while playing the piece.   The iconic "Moonlight Sonata" sounds less iconic in his hands, as he takes us what seems to be a different listening experience for the audience.  Usually a very romantic piece of music, but on this recording, Gould makes it into the blues. I always get the impression that Gould's purpose is not to give the ultimate version of a piece but to investigate, question, and poke the work, and see how and why it operates in such a fashion. 

Gould is like someone with architectural knowledge, and he takes a building by Frank Lloyd Wright part-by-part and studies all the individual pieces that made the building.  And therefore get a view how the architect thinks.  This is what he does with Beethoven and Bach.  I get the impression that he's not trying to interpret the work, more like getting into the composer's head, regarding a particular work. 

Thelonious Monk comes to mind when I hear Gould.  It's not the melody of the piece, but how they trace the theme through their skills as a pianist.   Gould is an excellent musician.  A skilled artist. But the reason why we talk or write about him is due to his intellect when connected to his playing.  The same goes for Monk.   "Appassionata Sonata" is a dynamic and romantic piece of music, but in Gould's hands he brings out the poetry of the melody and brings the pomposity of the work down a notch so we can focus on the construction of the work and its natural sense of beauty.  Always an enjoyable experience.