Thelonious MONK Quartet Plus Two – At The Blackhawk 1960

Thelonious MONK Quartet Plus Two – At The Blackhawk 1960
RLP 1171

Jazz

The sextet sessions from which this one sprung started out as a collaboration between Monk and drummer Shelly Manne. The chemistry between the two was deemed uninspired after two days of playing, at which point tenorman Harold Land and trumpeter Joe Gordon were added for a new project. The result, culled from this one-night-only quartet+2's spot at San Francisco's Blackhawk, is high-energy bop.

The trumpet/double-tenor texture is interesting, giving tunes like "Four In One" a thick forcefulness on the head and a fun pluralism in the solo section. Land is busy and energetic over the changes, while Rouse plays in a more narrative style, referring more often to the melody. "San Francisco Holiday" has an almost big band sort of gaiety to it, with Gordon blowing sonic party streamers out of his horn. Monk is relatively conservative in his comping, but steps out with a mad energy on his solos.Down Beat (1960) - 4.5 Stars - Very Good Plus - "..heartily recommended for the excellent work of [tenor saxophonist] Rouse and Monk...the degree to which Rouse has absorbed his leader's outlook is still amazing...Their empathy is similar to that of Earl Hines and Louis Armstrong.."
From CD Universe.
**
A stunning session from Thelonious Monk, a really great live date that has Monk's familiar quartet augmented by west coast players Joe Gordon on trumpet and Harold Land on tenor! Given that Charlie Rouse is already in the group on tenor, the addition of Land's horn makes for a very soulful set and Gordon's one of those players we love whenever we get a chance to hear him on record, which isn't that often, given how few sessions he cut! Other players include John Ore on bass and Billy Higgins on drums and titles include "Four In One", "Let's Call This", and "Worry Later".
From Dusty Groove.
**
Thelonious Monk- (Piano);
Charlie Rouse, Harold Land- (Tenor Sax);
Joe Gordon- (Trumpet);
John Ore- (Bass);
Billy Higgins- (Drums).
**
A1. Let's Call This   8:26
A2. Four in One   8:32
A3. I'm Getting Sentimental Over You   6:09
B1. San Francisco Holiday (Worry Later)   9:03
B2. 'Round Midnight   12:09
B3. Epistrophy (Closing Theme)   0:59
**

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Thelonious MONK – Monk In France 1961

Thelonious MONK – Monk In France 1961
Recorded live at the Olympia, Paris, France on April 18, 1961
1991 Issue

Jazz

One of his last records for Riverside, this live recording from his European tour (cut in France in 1961) finds Monk and his quartet in fine fettle. The program offers originals interspersed with standards, such as "Body and Soul" and "Just A Gigolo," both of which Monk plays unaccompanied and with notable, quirky brilliance. The live tracks, which include original favorites "Well, You Needn't" and "Crespuscule With Nellie," focus not only on the stringent jump-cut melodies and spiralling lines of Monk, but also on his combo.

Saxophonist Charlie Rouse seems to be in particularly fine form in these recordings, branching out in his solos in "Well, You Needn't" and "Off Minor." Bassist John Ore also contributes a fine syncopated chord-strum solo in "Well, You Needn't." There seems to be a unique tension in the vigorous, uptempo playing from the whole band, which adds a kind of dynamism without distracting from the swing. Overall, MONK IN FRANCE is a strong disc: great performances of outstanding tunes heightened by the energy of a live concert.
**
In 1961, Thelonious Monk and his quartet toured Europe, producing a series of live albums for various labels. The First European Concert, as well as recordings of Monk in Paris, Italy, Bern, Copenhagen, and Stockholm all date from that year. The performances drew almost exclusively from a body of the pianist's best-loved original material, and Monk in France is no exception. While his playing here is less energized than it can be, Monk's singular philosophy is well intact. The pianist's lines are sparse and fluid. Characteristically, he maps out only the necessary notes in his off-kilter melodies, building solos from perfectly balanced melodic/rhythmic motifs. The European touring lineup is completed by drummer Frankie Dunlop, bassist John Ore, and tenor saxophonist Charlie Rouse. Rouse had joined Monk two years earlier, replacing Johnny Griffin on 1959's Evidence. He has a vibrant tone and fluid rhythmic sense best heard here on "I Mean You." Monk's responding solo seems slightly reserved, the fire and weight of his attack largely absent. The remaining two-thirds of the rhythm section, while accomplished, do little to drive him in that direction. Performing solo, Monk's reading of the standards "Body and Soul" and "Just a Gigolo" are two highlights. The former features the sort of ornate playing uncharacteristic of the date. Monk spins off dense lines that take many listens to untangle. The latter is given a brief rendition tinged with ringing dissonance. The 1960s would see Monk signing to Columbia Records, where he would release another string of excellent recordings like Monk's Dream, Criss Cross, and Solo Monk. Monk in France represents a pleasant but unessential sidetrack in the pianist's output.
By Nathan Bush, All Music Guide.
**
Thelonious Monk (piano);
Charlie Rouse (tenor saxophone);
John Ore (bass);
Frankie Dunlop (drums).
**
01. Well, You Needn’t (Monk) 1131
02. Off Minor (Monk) 1142
03. Just a Gigolo (Brammer, Caesar, Casucci) 143
04. I Mean You (Hawkins, Monk) 1102
05. Hackensack (Monk) 946
06. I’m Getting Sentimental over You (Bassman, Washington) 831
07. Body and Soul (Eyton, Green, Heyman, Sour) 248
08. Crepuscule With Nellie (Monk) 239
**

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Thelonious MONK - Live at the It Club 1964

Thelonious MONK - Live at the It Club 1964
1998 Issue. SRCS 8736-7

Jazz

Recorded over two evenings in Los Angeles in 1964 and arranged in order, this recording presents the great Thelonious Monk at the peak of his considerable talents--and with his most enduring sidemen, including saxophonist Charlie Rouse and drummer Ben Riley. This version also restores 11 (!) cuts to their entirety (previous versions edited or offered shortened bass and drum solos). Aside from the now-complete versions of the set's songs, this It Club also offers three previously unreleased songs ("Teo," "Bright Mississippi," and "Just You, Just Me") and 20-bit digital remastering. The result is perhaps as close as we can come to a great-sounding complete show by one of the most fertile minds in the history of jazz. While not one of Monk's wilder live sessions, this set nonetheless effortlessly communicates the pianist's offbeat genius. From the first note, the sound (which thanks to the remaster, begs for high volume) is classic Monk: inquisitive right-hand chord exploration, thundering left-hand exclamations, and intoxicating runs up and down the keyboard fly from his fingers while the band gives him enough room so that every thought, strategy, and wild hare is allowed to range free. Highlights include an exquisitely gorgeous "I'm getting Sentimental over You", a spicy "Rhythm-A-Ning," and an uptempo "Bright Mississippi." With excellent liner notes by Bob Blumenthal and some new photos, this package rates as a must-buy for all Monkophiles.
By S. Duda.
**
On Halloween of 1964, Thelonious Monk's quartet (Charlie Rouse on tenor sax, Larry Gales on bass and Ben Riley on drums) had been together a little more than six months (although Rouse had been with Monk for several years prior and Riley had been with him for about a year; additionally Riley and Gales had played together in "Lockjaw" Davis' band)-- it'd be over two years before any of the group would leave Monk. During this window, a number of superb recordings were made, but I'd assert that "Live at the It Club" is best of them.

The band was an fire-- their interaction managed during these shows to strike a great balance between tight interaction and looseness. Rouse and Monk had reached a level of near-psychic interaction, with the tenor man's almost brittle tone and tight theme-based improv providing a perfect opportunity for Monk's sort of frantic accompaniment to settle. In Larry Gales, Monk had a bassist who managed to strike the fine balance between prodding and supporting, weaving between holding down the fort and responding to the leader. And while common wisdom states that Art Blakey was the perfect drummer for Monk, I'd assert that Ben Riley was in fact Monk's best drum partner-- his performance is sensitive, laid back, and inventive, by and large lacking in flash but at the same time being perfecty Monkish.

The performance covers six sets over two nights-- October 31 and November 1-- omitting one performance that evidentally had a serious tape flaw and excess "Epistrophy" theme statements (Monk ended each show with this). In addition, producer Teo Macero's edits, done to support the limited time allowed on the LP format-- have been undone and the complete performances are allowed to breathe. The resulting sets are superb-- Monk mixes favorites with more obscure cuts, the performances throughout are amazing. Particular highlights are an excited and somewhat moody take of "Well, You Needn't", an ecstatic reading of "Bemsha Swing", and a superb take of the rarely heard "Gallop's Gallop", where Rouse really gets to show his inventiveness. But the truth is there's not a bad performance on the set.

In addition to being a great performance for fans, this may be a great place for newcomers to start, it really is a fine performance. Highly recommended.
By  Michael Stack.
**
Charlie Rouse- (Tenor SaMonk-
Thelonious Monk- (Piano)
Larry Gales- (Bass)
Ben Riley- (Drums)
**
CD1
01. Blue Monk  11:21
02. Well, You Needn't  9:17
03. Round Midnight  6:32
04. Rhythm-A-Ning  10:09
05. Blues Five Spot  10:13
06. Bemsha Swing  8:34
07. Evidence  8:37
08. Nutty  10:48
09. Epistrophy (Theme)  1:00

CD2
01. Straight, No Chaser  7:16
02. Teo  10:54
03. I'm Getting Sentimental Over You  12:28
04. Misterioso  8:22
05. Gallop's Gallop  5:16
06. Ba-lue Bolivar Ba-lues-are  9:01
07. Bright Mississippi  9:47
08. Just You, Just Me  6:14
09. All The Things You Are  6:40
10. Epistrophy (Theme)  1:09
**
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Thelenius MONK - The Complete London Collection 1971

Thelonious MONK - The Complete London Collection 1971

It took years for Thelonious Monk to find an audience beyond a devoted circle of the most creative musicians, but today no jazz composer ranks higher than Monk. His angular, dissonant, and percussive piano style, once dismissed as merely eccentric, is recognized as a brilliant transformation of earlier stride techniques and a fountain of rhythmic and harmonic creativity.
**
Even though these cd's are not amongst Monk's best known, they are simply indispensable. I would even state that they are Monk's best work, together with his first recordings, on Blue Note.
These three cd's were recorded in London during a 1971 European tour and consist of solos and trio work with Al McKibbon and Art Blakey, both of whom had recorded with Monk on Blue Note. As far as I am aware of, they are Monk's last studio recordings.

Folkloric tales about these recordings abound. On some takes, for instance, you can hear a strange ticking sound; after Monk's wife cut his fingernails, the noise disappeared. But that is hardly essential. The important thing is the playing, which is simply unbelievable. It's difficult to single out any piece, but try "Chordially", which is just the name the producers gave to a recording of Monk warming up. Many pianists would gladly play the way Monk warms up...

In my opinion, this is not only some of Monk's best work, it is also a perfect introduction to his music. So if you don't know this gem, you know what you have to do...
**
These are very special, little known Monk recordings. I have been listening to them for over 25 years, and I save them for special times. Every single person to whom I've played them--novice or enthusiast--has been blown away by how beautiful they are.

They are indeed Monk's last recorded sessions, done while touring in England, when he was supposedly being 'left behind' by the newer (fusion) jazz back in the States. Monk had just turned 54 when he recorded this 6-hour session. Of course, we only know now that this was to be Monk's last session, but he plays with an authority, thoughtfulness, and wit astonishing even for him. He was being nudged out and he knew it. (Capitol had even cut back his royalties!) He was on the 'outside' again, and he's making a statement here.

Monk chose songs from throughout his long career and even makes up a few on the spot. His playing is both exceptional and accessible. To me, the solo material is Monk's best on record. In the trio recordings, the drummer (Blakey, who knew Monk well) is right there with him, and Monk's clearly enjoying it. The bassist (McKibbon) gets lost sometimes, and you can hear it. But it doesn't matter: Monk is interpreting his works here with a finality and grace that transports you to another 'sphere.'
**
Thelonious Monk- (Piano)
Al McKibbon- (Bajo)
Art Blakey- (Bateria)
**
CD 1
1. Trinkle, Tinkle [Take 3] (Monk) 7:26
2. Crepuscule With Nellie [Take 2] (Monk) 2:25
3. Darn That Dream (Delange, Van Heusen) 5:54
4. Little Rootie Tootie (Monk) 4:10
5. Meet Me Tonight In Dreamland (Beth Slater Whitson, Leo Friedman) 3:20
6. Nice Work If You Can Get It (George Gershwin, Ira Gershwin) 5:19
7. My Melancholy Baby (Ernie Burnett, George Norton) 5:11
8. Jackie-Ing (Monk) 3:32
9. Lover Man (Jimmy Davis, Jimmy Sherman, Roger “Ram” Ramirez) 7:14
10. Blue Sphere (Monk) 2:23
(46:54)

CD 2
1. Evidence [Take 2] (Monk) 5:26
2. Misterioso (Monk) 6:26
3. Crepuscule With Nellie [Take 4] (Monk) 2:23
4. I Mean You (Hawkins, Monk) 7:45
5. Criss-Cross (Monk) 3:44
6. Ruby, My Dear (Monk) 6:08
7. Nutty [Take 2] (Monk) 4:45
8. Hackensack (Monk) 7:55
(44:32)

CD 3
1. Trinkle, Tinkle [Take 2] (Monk) 6:06
2. The Man I Love (Gershwin, Gershwin) 5:20
3. Something In Blue (Monk) 6:43
4. Introspection [Take 1] (Monk) 1:17
5. Trinkle, Tinkle [Take 1] (Monk) 5:50
6. Crepuscule With Nellie [Take 3] (Monk) 2:23
7. Nutty [Take 1] (Monk) 4:20
8. Introspection [Take 3] (Monk) 3:07
9. Hackensack [Take 1] (Monk) 9:06
10. Evidence [Take 1] (Monk) 7:16
11. Chordially [Improvisation] (Monk) 9:40
(61:08)
**
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Thelonious MONK - The Unique Thelonious Monk 1955

Thelonious MONK - The Unique Thelonious Monk 1955
1983 Issue OJC-064 (RLP-209)

Jazz

Great trio work with a unique talent at the keys, but this is tempered by the fact that, while Monk had all those great pioneering original compositions written, when he signed with Riverside in 1955, producer Orrin Keepnews persuaded him to first record standards so he would appear more accessible to the average jazz fan. It's fascinating to here him interpret these well-known tunes in his inimitable way, and this may serve as a low-risk way for a newbie to check out Monk, but it's down the list of critical Monk album's to begin building a collection with. "Brilliant Corners" or "Monk's Music" are better places to start for those bold enough to sample pure genius. Also, Pettiford and Blakey are excellent but fairly restrained here, as the purpose of this recording was to showcase Monk's playing. Still, if you love Monk and jazz standards, this is pure ear candy.
By J. Levinson.
**
Oscar Pettiford- Bass
Art Blakey- Drums
Thelonious Monk- Piano
**
A1. Liza 3:13 
A2. Memories Of You 4:17 
A3. Honeysuckle Rose 5:34 
A4. Darn That Dream 6:30 
B1. Tea For Two 5:55 
B2. You Are Too Beautiful 4:56 
B3. Just You, Just Me 7:57 
**
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Thelonious MONK - Criss Cross 1962

Thelonious MONK - Criss Cross 1962
CS 8838

Jazz

CRISS-CROSS is the result of five sessions with the ever-present Charlie Rouse on tenor plus the rhythm compliment of drummer Frankie Dunlop and bassist John Ore. It was recorded at a time when Monk had actually become a popular beat icon; his iconoclast mug appeared on the cover of Time barely a year later.

While the majority of the material here is Monk's, his whimsical way with the two standards, "Tea For Two" and "Don't Blame Me," makes them special treats. The former is like an old suitcase bursting at the seams with zany new toys, the melody rife with Monk's truncated chromatic tails, his solo chunky with erratic-sounding bass comping, all of it amusingly bookended by the tongue-in-cheek straightness of Ore's intro and Monk's final toy-piano notes. By contrast, Rouse stays true to the compartmentalized quality of the head on "Criss-Cross," blowing short, dense strands that sound like the flight path of a beatnik butterfly as Dunlop responds sympathetically, all the while maintaining a solidly swinging base. CRISS-CROSS is choice Monk finery.

Criss-Cross was Thelonious Monk's first recording for Columbia. His quartet at the time consisted of Charles Rouse, Frankie Dunlop, and John Ore. Legacy's deluxe reissue is a case in point for the high standards they've set in caring for Columbia's jazz catalog. Here are the original nine tracks -- plus three bonus cuts (both alternate takes), two of which are completely unreleased. In addition there is a wonderful set of liner notes by renowned Monkist Dick Katz and a slew of amazing photographs from the sessions. Packaging aside, the music found here is hotly debated by critics as one of two choices for Monk's best recording for the label. It is his first record for the label, and he decided to issue a set of his own compositions, all of which had been recorded previously (there are two standards on the set) but never in this hard-swinging, light-touch way.
**
Thelonious Monk (piano);
Charlie Rouse (tenor saxophone);
Frankie Dunlop (drums).
John Ore- Bass
**
A1. Hackensack 4:12 
A2. Tea For Two 3:46 
A3. Criss-Cross 4:52 
A4. Eronel 4:29 
B1. Rhythm-A-Ning 3:53 
B2. Don't Blame Me 7:04 
B3. Think Of One 5:17 
B4. Crepuscule With Nellie 2:45
**
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Thelonious MONK - Piano Solos 1954

Thelonious MONK - Piano Solos 1954
Imagem Br.

Jazz

The nine tunes found here (On Lp 8) represent Thelonious Monk's solo Vogue recordings from June 7, 1954. These sides were cut by Monk for the Parisian imprint and are considered to be the very first solo studio recordings to feature the pianist. For those interested in hearing the fullness inherent in Monk's performance style, PIANO SOLO should be considered essential listening--even more so as the contents boast eight renditions of Monk originals, all of which remained not only essential items in his repertoire, but in time became contemporary jazz standards unto themselves.

Suitably, Monk's unofficial theme song commences with a sumptuous "'Round Midnight." It contains all the highly developed changes and quirky nuances that had already become the artist's trademark. Hearing the raw Monk furthers the assertion that when he accompanied himself, he became his own orchestra. "Evidence" swings between alternating scat-like tickling of the 88s and the emphatic yet intentionally off-kilter melody. Particularly enjoyable is the seemingly second nature with which Monk rollicks, bobs, and encases the central theme. The sole cover is a worthy entry of Jerome Kern's pop classic "Smoke Gets in Your Eyes." There is a romantic thoughtfulness woven into the complex chord structures--especially noticeable during the chorus. The always effervescent and playful "Well, You Needn't" bounds along thanks in part to an energetic stride style that recalls the likes of Willie "The Lion" Smith or the great James P. Johnson. Much the same can be said of "We See" and "Off Minor" as Monk's relaxed, mischievous side is more thoroughly indulged. By the same token, it is always nice to have a version of the good-natured "Eronel," as there are only a handful available. There is an undeniable hominess and warmth in this rendition, imbued in the conversational qualities of the call-and-response phrases Monk reels off. Although Monk would sporadically be recorded in similarly sparse settings throughout his career, few seem to relate the passion of this seminal session.
**
A1. 'Round About Midnight 5:17 
A2. Evidence 3:07
A3. Smoke Gets In Your Eyes 3:27
A4. Well You Needn't 3:29 
B1. Reflections 5:04 
B2. We See 2:38 
B3. Eronel 2:34     
B4. Off Minor 2:35
**
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Thelonious MONK - Monk In Tokyo 1963

Thelonious MONK - Monk In Tokyo 1963

Jazz

This recording of the Thelonious Monk Quartet, taped on May 21,1963 at Tokyo's Sankei Hall, was first issued at the beginning of the eighties.Following the great "It Club" and "Jazz Workshop" reissues on Columbia,this concert,although it's the shortest of those three live performances, may be the greatest.Thelonious was a lucky guy: he always had great musicians to play his very difficult music; bassists John Ore,Butch Warren,Ahmed Abdul Malik,Larry Gales,Al McKibbon;drummers Ben Riley,Art Blakey,Frankie Dunlop; and the immense Charlie Rouse, a very underrated tenor sax player,and simply one of the top tenor saxophonists of the jazz history.
By the way, Charlie Rouse seems to be the star of the date, because he plays with absolute ferocity all through the concert.
Frankie Dunlop's hard swinging drumming remains me of Kansas City's days with the imperial Jo Jones.Monk's playing is very abundant, and of course, completely amazing: listen to his solos on "Hackensack" ,or "Blue Monk",in which Dunlop sometimes plays just like Sam Woodyard.There is terrifying music in this set,and an intensity of swing and freedom that has rarely been reached.The magnificent "Pannonica",written by Monk and dedicated to Baroness Nica de Koenigswtarter,is very close to Tadd Dameron's writing, and marvelously played by Charlie Rouse.I don't know if Rouse ever better played than during this concert."Just a gigolo",a Monk's favorite,is a short solo piece.This tune, which happened to be one of Louis Prima's greatest hits,is here played in a very sad and desperate way;Monk recorded it several times,always in the same mood.Remember his definitive version on his "Solo Monk" album on Columbia,one of the ten greatest albums ever recorded in the jazz history.If you love Thelonious Monk's music,this is a must to have,one hour and a half of very great music.
By  JEAN-MARIE JUIF.
**
A smaller serving than the refurbished Live at the Jazz Workshop, Live in Tokyo is nevertheless a welcome meal for Monk fans. Previously an expensive Japan-only release, this excellently recorded 1963 visit finds the Monk/Charlie Rouse/Butch Warren/Frankie Dunlop quartet in enthusiastic fettle. On Monk's first visit to the country, he seems determined to offer as many sides of his art as possible. From "Just a Gigolo," given a solo reading that's sprightly even for this cherished favorite of the pianist, to extended takes on "Hackensack" and "Blue Monk" that provide dramatic climaxes to the show (Dunlop's interaction and interjections on the latter handily recall Art Blakey's explosive work on the 1954 Prestige version) this is one high-powered résumé. Listeners will understand why Monk was welcomed back lovingly to Japan several more times: judging from the audience response here, he made nothing but friends on this initial trip.
By Rickey Wright.
**
Charlie Rouse- Saxophone,
Butch Warren- Bass,
Frankie Dunlop- Drums
Thelonious Monk- Pian
**
Disc 1
01. Straight, No Chaser  9:47
02. Pannonica  7:45
03. Just A Gigolo  2:27
04. Evidence (Justice)  7:51
05. Jackie-ing  5:07
06. Bemsha Swing  4:25
07. Epistrophy  1:11

Disc 2
01. I'm Getting Sentimental Over You  9:30
02. Hackensack  11:00
03. Blue Monk  13:18
04. Epistrophy  8:26
**
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Thelonious MONK Plays Duke Ellington 1956

Thelonious MONK Plays Duke Ellington 1956

Jazz

Like Money Jungle, the later collaboration between Duke Ellington, Charles Mingus, and Max Roach, this collection of Ellingtonia showed how much a modernist the Duke really was. Without a doubt, Ellington is more clearly recalled as an architect of the Swing Era, but in Monk's hands, Ellington's tunes sound as pregnant with post-swing potential as anything in the bebop canal. Monk recorded these tunes at the request of Riverside Records founder Orrin Keepnews, who knew how idiosyncratic the pianist was, and rather than produce literal transcriptions, Monk went all over the map. Stride shades drop in amid the off-center melody statements. And shot throughout all the tunes is Monk's persistently interstitial approach, whereby he spots seams and creases in every phrase and then fills, comments on, and dances around them. As the first chapter, if you will, in the Complete Riverside box set, this makes a great platform for viewing Monk's ascent into unbridled genius.
By Andrew Bartlett.
**
Personnel Thelonious Monk- (Piano);
Oscar Pettiford- (Bass);
Kenny Clarke- (Drums).
**
With this recording, Monk began his tenure at Riverside Records, which was very fruitful and lasted till around the early sixties when Columbia stole him away. The idea was that Monk was gaining popularity, but he was still a tough act to get used to for a lot of people because of the idiosyncratic compositions and piano style. So they suggested an album of someone else's material, to let those less familiar with Monk get used to his playing before confronting the genius of his writing. And who better than Duke to supply the material--Duke, whose playing, along with James P. Johnson and some of the other stride players, influenced Monk a great deal. The result is--surprise, surprise--an absolutely brilliant record. Ellington is reinvented, as is anyone lucky enough to be filtered through Monk's genius. The most wonderful thing is that there is no conflict of musical personalities, no struggle between the old and the new. There is more than enough room for both, and these recordings turn out to be at once purely Ellington and purely Monk. And Thelonious is helped in no small part by drummer Kenny Clarke and bassist Oscar Pettiford, two of the best players of their time. The highlights are every song.
By Daniel Fineberg.
**
A1. It Don't Mean A Thing If It Ain't Got That Swing 4:38
A2. Sophisticated Lady 4:28
A3. I Got It Bad And That Ain't Good 5:53
A4. Black And Tan Fantasy 3:24

B1. Mood Indigo 3:13
B2. I Let A Song Go Out Of My Heart 5:40
B3. Solitude 3:42
B4. Caravan 5:55
**
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Thelonious MONK - Monk's Dream 1962

Thelonious MONK - Monk's Dream 1962
Label: Legacy / Sony
Release Date: Sep 03, 2002
Recorded at Columbia Studios, New York, New York in 1963

Jazz

These 1962 recordings were Thelonious Monk's first for Columbia Records, with whom he spent the most commercially successful years of his career. Mixing his own highly personalized renditions of standards with originals, this was a pattern he ...    Full Descriptionfollowed for all of his subsequent releases with the label. Of his originals, only "Bright Mississippi" had never been recorded before, but after decades of toiling in obscurity, the re-recording of tunes such as "Bolivar Blues" and "Bye-Ya" was most certainly warranted. This is in part because they'd not been heard before by most of his new and wide audience, and also because this quartet (with Charlie Rouse, John Ore and Frankie Dunlop) had been playing at this point for two years--longer than he'd ever been able to keep an ensemble together before and they'd settled into Monk's music like one charismatic and multi-limbed being.
**
Thelonious Sphere Monk was 45 when he began work in 1962 on Monk's Dream, his first recording for a big mainstream label. Thus, the 8 tracks here, a mixture of Monk originals and standards, present the bop pianist at a career peak, documenting music that is both challenging and immediately accessible. Playing with his touring quartet, Monk makes each song his own, finding a typically quirky melody line within the romance of "Body and Soul" or the swing of "Bright Mississippi." Tenor saxman Charles Rouse adds some soothing horn soloing, but it's Monk's bright, intuitive playing that makes this a late bop milestone. Timeless.
By Steve Appleford.
**
Frankie Dunlop- Drums
Thelonious Monk- Piano, Vocals
John Ore- Bass
Charlie Rouse- Tenor Sax
**
01. Monk's Dream Thelonious Monk Quartet 6:26 
02. Body And Soul (Take 3) Thelonious Monk 4:30 
03. Bright Mississippi Thelonious Monk Quartet 8:38 
04. Five Spot Blues Thelonious Monk Quartet 3:16 
05. Bolivar Blues Thelonious Monk Quartet 7:32  
06. Just A Gigolo Thelonious Monk Quartet 2:30 
07. Bye-Ya Thelonious Monk Quartet 6:03 
08. Sweet And Lovely Thelonious Monk Quartet 7:53
**
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Thelonious MONK - Monk's Blues 1968

Thelonious MONK - Monk's Blues 1968
Label: Columbia/Legacy

Jazz

I acquired the rather small Columbia Years box set of Monks work where they respond to the criticism of the album. At the time his Columbia output was being greeted by critics and fans alike for being too much of the same old thing. He debuted a few new tracks but never broke the same ground using new exciting musicians in his studio band, so in response to this he went to California and had Oliver Nelson set up a big band for him to play with. His live big band albums are truely classic and this album simply cant match the greatness of those two live masterpieces("At Town Hall" and "Big Bandl, Quartet Live"). This album was the last of his Columbia albums and it was attacked by everyone the minute it hit the shelves.
I can say I do enjoy this record. Even though it isnt up to the standard of the live albums he did in this vain it is still very good. I do recommend this album if you are a fan of big bands and Oliver Nelson and not if you are seasoned veteran of Monks music if you are willing to accept it as a change of pace and that it is and with its flaws it still can stand on its own two feet.
By Michael Salmestrelli.
**
Although nostalgia has allowed Monk's Blues to age more gracefully than perhaps the recording deserves, it remains an unfortunate fact that Thelonious Sphere Monk's final studio sessions were very poorly conceived. The idea of Monk performing with a big band was inspired nobly enough by the February '59 NYC Town Hall performance which was issued as Thelonious Monk Orchestra at Town Hall. These studio recordings fall far short of that classic live encounter. However there are a few brief moments of inspiration that are not overcome by random blasts from an over driven hollow sounding horn section. The challenge of arranging Monk for big band instrumentation fell upon Oliver Nelson, whose best remembered works include an array of television theme songs -- Ironside, Columbo and the Six Million Dollar Man among them. Many of the same techniques are likewise incorporated into the approach Nelson uses on Monk Blues. Perhaps it is cosmically fitting that the sessions were held at Columbia studios in tinsel town. There are a few write offs. "Rootie Tootie" is destroyed by an overwrought brass section which completely drowns Monk. "Consecutive Seconds" -- one of the two compositions penned by producer Teo Macero -- is simply abysmal. If this was an attempt to get Monk to play soul music it failed. It does succeed in sounding embarrassingly dated however. Thelonious' genius shines through on some of the more sensible and sensitive arrangements such as "Reflections", "Monk's Point" and the surprisingly tasteful "Brilliant Corners. The 1994 CD edition adds two performances not featured on the vinyl incarnation. "Blue Monk" features a stirring solo from Thelonious. "'Round Midnight" is a previously unissued solo side cut at the Monk's Blues sessions. The sheer brilliance in Monk's emotive and seemingly frustrated intonations may well be an exorcism for the sins of the rest of the album.
By Lindsay Planer, All Music Guide.
**
Thelonious Monk- Piano, Main Performer
Ernie Small- Saxophone, Sax (Baritone)
Ernie Watts- Saxophone, Sax (Alto)
Mike Wimberley- Trombone
Michael Wimberly- Trombone
Thomas Scott- Saxophone
Robert Brookmeyer- Trumpet
Ben Riley- Drums
Robert Bryant- Trumpet
Billy Byers- Trombone
John Guerin- Percussion, Drums
Freddie Hill- Trumpet
Howard Roberts- Guitar
Conte Candoli- Trumpet
Buddy Collette- Flute, Reeds (Multiple)
Larry Gales- Bass
Charlie Rouse- Saxophone, Sax (Tenor)
om Scott- Flute, Reeds (Multiple)
Lou Blackburn- Trombone
Bobby Bryant- Trumpet
** 
01. Let's Cool One 3.45
02. Reflections 4.36
03. Little Rootie Tootie 7.32
04. Just A Glance At Love 2.51
05. Brilliant Corners 3.52
06. Consecutive Seconds 2.40
07. Monk's Point 8.02
08. Trinkle Tinkle 4.58
09. Straight, No Chaser 7.18
10. Blue Monk 6.14
11. 'Round Midnight 4.13
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http://rapidshare.com/files/303720201/Thelonious_Monk_-_Monk_s_Blues_1968.rar

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Thelonious MONK - Brilliant Corners 1957

Thelonious MONK - Brilliant Corners 1957
Label: Riverside
Recorded at Reeves Sound Studios, New York,in December 1956
Digitally remastered by Kirk Felton
(1987, Fantasy Studios, Berkeley, California).

Jazz

By the fall of 1956, Riverside was finally primed to unleash Thelonious Monk upon the jazz world--straight, no chaser. Two superb piano trio albums of covers had set the stage for Monk the composer to re-emerge with horns, and the pianist responded with BRILLIANT CORNERS, one of his greatest recordings, featuring three classic new tunes and two formidable studio bands.

The Sonny Rollins featured on BRILLIANT CORNERS is a far more imposing presence than the young acolyte of previous Monk sessions, ust witness the title tune. With its multiple themes, quirky intervallic leaps, idiomatic rhythmic changes and tricky transitions in tempo, it is one of Monk's masterpieces--a miniature symphony. So daunting were its technical challenges, that the final ending was edited on from another take. Rollins begins his solo with swaggering composure, boldly paraphrasing Monk's vinegary intervals and trademark trills, before navigating the swift rapids of the double-time chorus with deft syncopations. Monk plies dissonance upon dissonance in his first chorus, playing rhythmic tag with Max Roach on the out chorus. Ernie Henry's slip-sliding bluesiness is followed by a brilliant rhythmic edifice from Roach, who maintains melodic coherence at a drowsy tempo, then explodes into the final chorus.

Elsewhere, "Ba-Lue Bolivar Ba-Lues-Are" is a soulful, easygoing blues, and Monk's solo is a compendium of pithy rhythmic devices, bent notes and calculated melodic abstractions, played with enormous relaxation and swing. He concludes with heckling big-band figures that form the basis for Rollins' expressive rhythmic testimonies. Monk employs the bell-like timbre of a celeste to stunning effect on "Pannonica," one of his loveliest melodies and improvisations. And in closing, "Bemsha Swing" is a hard-swinging, conversational performance, with fine contributions from trumpeter Clark Terry, bassist Paul Chambers and Roach on drums and timpani.
**
“Brilliant Corners” is the most complex work in the 70-song Monk canon. It speeds up, it slows down, it shifts course abruptly – the musicians must have strained a few muscles trying to keep up with what was going on in Monk’s head. The rhythmic construction was so challenging that it took the band members 25 takes to get what they needed – and even then they never recorded it to Monk’s satisfaction. What we hear on the album is a patchwork spliced together from the various takes. It’s a gorgeously flawed work – while it may have been difficult to create, it is easy to listen to.
By Steve Greenlee.
**
Thelonious Monk- Piano, Celesta
Ernie Henry- Alto Saxofon
Sonny Rollins- Tenor Saxofono
Oscar Pettiford- Bass
Max Roach- Drums, tympani
Clark Terry- Trompet
Paul Chambers- Bass
**
01.Brilliant Corners
02.Ba-lue Bolivar Ba-lues-are
03.Pannonica
04I Surrender, Dear
05.Bemsha Swing
**
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Thelonious MONK - Underground 1967-68 (REPOST)

Thelonious MONK - Underground 1967-68 (REPOST)
Label: Columbia

Jazz      

The cover of this album is an interesting one. Was Monk’s sense of humor at work? Whatever the answer, the music that it contains is elevating. This expanded edition expiates the shortcomings of the original release where tunes had to be edited so that they could be contained on an LP. The record features four new Monk compositions, including “Ugly Beauty” and “Boo Boo’s Birthday,” which have alternate takes on this release. The last track is also a bonus.

As was his wont, Monk revels in the angular and odd meters. But there are passages where his approach seems to be straightforward. What at first instance seems to be a routine declamation takes on a meaning of its own. Monk opens “Raise Four” with a series of repeated motifs that teeter on indulgence. But when he intersperses them in the middle of the song, the stance takes on a new meaning; imagination has transcended the ordinary. His dialog with Gales, where the bassist first takes a walking line and then moves to arco, is riveting. Rouse and Riley are upfront on “Green Chimneys,” the tenor full bodied and swinging, the drums accenting, filling spaces and energising the flow. Monk is exuberant and playful, keeping his usual structural disseminations at bay.

There are many more scintillating times: in the gentle lilt of the waltz “Green Chimneys”; in the pulsating tangents from Rouse during “Boo Boo’s Birthday,” where Monk satiates with the colors he evokes through straightahead improvisation; and when Jon Hendricks comes up to sing on “In Walked Bud,” even if it is only for the rarity of the happening. At the end of it all, this assumes its rightful place as another worthy part of the Monk canon.
By Jerry D'Souza.
**
Underground was recorded in 1967/68, about 20 years into the career of this wholly distinctive and unorthodox pianist-composer. Whenever the understated saxophone talents of Charlie Rouse accompany Thelonious Monk, one is assured of an invigorating set of music and this collection is no exception. Supported by Larry Gales on bass and the inimitable Ben Riley on drums, Monk and Rouse elaborate on immortal compositions like "Ugly Beauty." On "In Walked Bud," the quartet is joined by vocalist Jon Hendricks. With jagged themes and unusual variations of meter and key, Underground showcases an aging Monk's still-brilliant eccentricity on the piano. A good bit looser than much of Monk's earlier work, he and Rouse infuse this date with their tag-team humor and unrelenting musical enthusiasm.
By Mitch Myers.
**
Thelonious Monk-  Piano,
Charlie Rouse- Sax tenor,
Larry Gales- Bass,
Ben Riley- Drums.
Jon Hendricks- Vocal
**
01.Thelonious 3.16  (1968)
02.Ugly Beauty 7.20  (1967)
03. Raise Four 5.50  (1968)
04.Boo Boo's Birthay 5.55  (1967)
05.Easy Street 5.55 (1968)
06.Green Chimneys 9.03  (1967)
07.In Walked Bud 4.17  (1968)
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Thelonious MONK - Monk's Music 1957

Thelonious MONK - Monk's Music 1957
Label: Ojc
Audio CD: (July 1, 1991)
Recorded at Reeves Sound Studios, New York, New York on June 26, 1957.
Originally released on Riverside

Jazz

Monk's Music is often cited as one of the focal points of Thelonious Monk's six-year affiliation (1955-1961) with the Riverside label. Although the original disc clocked in at slightly over 30 minutes, packed into that half hour are not only the introduction of a few of Monk's signature compositions, but also some amazing interactions from the assembled ensemble. Joining Thelonious Monk (piano) during these two recording sessions are Ray Copeland (trumpet), Gigi Gryce (alto sax), Coleman Hawkins (tenor sax), John Coltrane (tenor sax), Wilbur Ware (bass), and Art Blakey (drums). The true meaning of the album's title exists beyond just Thelonious, as the opening sacred prelude, "Abide With Me," was written by William H. Monk. This brief piece features only the horn quartet, foreshadowing their importance throughout the album. The angular stride style featured during the chorus of "Well You Needn't" is tackled with the same nimble authority as Monk's completely unfettered solos. If his ability to swing and his utilization of atomic clock accuracy have ever been questioned, the answer lies no further. So utterly free and fantastic, certain passages command immediate review to be fully comprehended. Hearing Coltrane and Hawkins together is admittedly part of the charm in these sides. "Ruby, My Dear" is bathed in the smoky essence of Hawkins' rich textures and Coltrane's playful cat-and-mouse aggression. Blakey gently propels the rhythm, never getting in the way and sporting a serene snare groove throughout. "Off Minor" is largely led by Monk, with solos that follow into and out of the memorable chorus that sparkles with the full involvement of the horn and rhythm sections. The same is true for this definitive version of "Epistrophy" -- perhaps the zenith collaborative effort between Coltrane and Monk. Additionally, Blakey is in top form, with a solo that borders on spastic precision. The CD reissue includes two additional versions of both "Off Minor" and the hauntingly beautiful "Crepuscule With Nellie" -- which debuted on this album. The 15-disc Complete Riverside Recordings also includes a few false starts as well as a version of "Ruby My Dear" with Coltrane.
By Lindsay Planer. AMG.
**
Thelonious Monk- Piano.
Gigi Gryce- Alto saxophone.
Coleman Hawkins, John Coltrane- Tenor Saxophone.
Ray Copeland- Trumpet.
Wilbur Ware- Acoustic Bass.
Art Blakey- Drums.
**
01. Abide With Me  .54
02. Well, You Needn't  11.24
03. Ruby, My Dear  5.26
04. Off Minor (Take 5)  5.08
05. Off Minor (Take 4)  5.14
06. Epistrophy  10.47
07. Crepuscule With Nellie (Take 6)  4.39
08. Crepuscule With Nellie (Takes 4 And 5)  4.45
**
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Thelonious MONK - It’s Monk’s Time 1964

Thelonious MONK - It’s Monk’s Time  1964
Label: Columbia / Sony
Recorded between January 29 & March 9, 1964
Audio CD: (August 19, 2003)

Jazz

In 1964, it had been about a year since Thelonious Monk had entered the studio, and suddenly due to an appearance on the cover of Time Magazine, he was a celebrity of sorts. Around the time of the magazine appearance, Monk and his working quartet (Charlie Rouse on tenor sax, Butch Warren on bass and Ben Riley on drums) entered the studio to record what would become "It's Monk's Time". An odd mix of unrecorded and underrecorded originals and standards, it is one of the most unique albums in Monk's catalog.

The three originals Monk tackled for this are among the least well known of his songbook-- two of these pieces ("Brake's Sake" and "Shuffle Boil") had been previously recorded on a session led by alto saxophonist Gigi Gryce which Monk served as a sideman for, but the third ("Stuffy Turkey") was never recorded before. Curiously enough, this was the only time these three were recorded. All three are somewhat odd, even for Monk pieces, and all three receive inspired readings. "Stuffy Turkey" features a straight descending theme stated by Rouse and echoed by Monk, before Rouse moves into a really well constructed solo based by-and-large on theme variation. "Brake's Sake" features a rhythmically straggering and difficult theme before turning to solos by all four members of the quartet-- Monk in particular is brilliant, but Riley steals the show with an unpredictable drum solo that recalls the phrasing technique of the leader. "Shuffle Boil" is perhaps the most unique of all the pieces-- the theme statement chirps in the extreme upper register of the tenor sax, then repeats in a more comfortable middle register. This extreme of playing (accomplished it is believed through false fingerings taught to Rouse by Monk) is certainly intriguing, and after this remarkable display, Rouse takes a fantastic if somewhat conventional solo. This is followed by equally inspired solos by Monk and Riley.

Of the standards, "Lulu's Back in Town" features the most intriguing arrangement-- opening with a stride piano intro by Monk, it eventually moves into a fairly straight arrangement (and features a superb and intelligent solo by Rouse) before dropping into another solo piano section by Monk where the leader is as advanced, fractured, and intriguing. "Memories of You" is performed as a solo piano feature, and finds Monk in an odd mood, more reflective of his style than actually embracing it-- stride and Ellington influences come through, and Monk's own sound feels like just another influence on the performance. Likewise his solo piano take on "Nice Work if You Can Get It" (a piece Monk revisited time and again in his career) finds Monk sounding little like himself, again embracing a stride and to a greater extent ragtime sound with the Monkisms just one more bit in the perculator.

This reissue is augmented by three bonus tracks-- a take of one of Monk's oldest pieces and his traditional set closer "Epistrophy" and alternate takes of "Nice Work if You Can Get It" and "Shuffle Boil". While "Epistrophy" was commonly performed live, it received only one previous studio reading for Blue Note in 1948, so its inclusion is a nice surprise. Monk states the theme first on piano with his stride influences coming forth before being joined by the rest of the band. Rouse and Monk exhibit near psychic interaction as Rouse takes apart and puts back together the piece, using the full range of his horn before turning over to a brief (but stunning) solo by the leader. The alternate takes are intereting, "Nice Work If You Can Get It" has a bit more of a lilt to it then the used master, and "Shuffle Boil" receives a far briefer presentation. Both are interesting but ultimately I prefer the issued master in both cases. The material has all been remastered and like the rest of the COlumbia remasters, it sounds superb (avoid the older issues with the purplish/blue borders, they didn't sound nearly as good) and reprints the original liner notes essay as well as including a pair of essays by pianist Dick Katz reflecting on the recording session and the music.

It seems the unusual material served as inspirational for Monk and his band, and certainly the uniqueness of this record does not hurt the frequency of which I listen to it. It's not quite the best Monk's done, but it may be the most unique in his catalog. **Highly recommended.**
By  Michael Stack
**
Thelonious Monk- (Piano)
Ben Riley- (Drums)
Butch Warren- (Bass)
Charlie Rouse- (Sax (Tenor))
**
01. Lulu’s Back in Town  9:57
02. Memories of You  6:08
03. Stuffy Turkey  8:15
04. Brake’s Sake  12:27
05. Nice Work if You Can Get It  4:17
06. Shuffle Boil  7:11
07. Epistrophy (Take 1)  5:06
08. Nice Work If You Can Get It (Take 2)  4:11
09. Shuffle Boil (Take 5)  4:55
**
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Thelonious MONK Quartet with John Coltrane At Carnegie Hall 1957

Thelonious MONK Quartet with John Coltrane At Carnegie Hall 1957
Label: Blue Note
Release: September 27, 2005

Jazz

Every year sees a crop of newly found jazz gems, but rarely are listeners treated to anything as special as this 1957 concert recording of Thelonious Monk and John Coltrane, which was accidentally discovered in an unmarked box by a Library of Congress engineer early in 2005. Until now, fans could only dream of hearing these two immortals play together beyond the three studio tracks they left behind. But here they are, hitting their stride at an all-star benefit concert, basking in the chemistry they had developed in Monk's quartet during the preceding weeks at New York's Five Spot. Coltrane's playing is a revelation. He's both an inspired accompanist and a galvanizing soloist, taking the music to new heights with his bold, brilliantly challenging, and sometimes jaw-dropping phrases, note clusters, and blasts of power. Sharing with Coltrane a newfound sense of freedom following the personal and professional troubles that had plagued them both, Monk is clearly tickled to be in the tenorist's presence, injecting humorous commentaries and otherwise asserting his eccentric genius as a pianist. The material, which was very well recorded by the Voice of America, includes Monk classics like "Epistrophy," "Monk's Moods," and "Evidence," as well as a striking rendition of the standard "Sweet and Lovely." This is music that not only bears repeated listenings, but also demands them,
the ultimate definition of a classic.
By Lloyd Sachs.
**
John Coltrane- Saxophone
Thelonious Monk- Piano
Shadow Wilson- Drums
Ahmed Abdul Malik- Bass
**
01. Monk's Mood (7:52)
02. Evidence (4:41)
03. Crepescule With Nellie (4:26)
04. Nutty (5:03)
05. Epistrophy (4:29)
06. Bye-Ya (6:31)
07. Sweet And Lovely (9:34)
08. Blue Monk (6:31)
09. Epistrophy [Incomplete Take] (2:24)
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Thelonious MONK - Alone in San Francisco 1959

Thelonious MONK - Alone in San Francisco 1959
Label: Ojc
Audio CD: (July 1, 1991)
Recorded live at Fugazi Hall, San Francisco, California on October 21 & 22, 1959.
Originally released on Riverside

Jazz

Thelonious Monk was a brilliant improviser, using his incredible rhythmic sense and his harmonic ingenuity to find new possibilities in his own works or standards while touching on the wellsprings of the blues and early jazz piano styles. Those gifts were never more apparent than in his whimsical and inspired solo performances, like this one from 1959. In addition to the usual fare, Monk could always reach into a treasure trove of pop songs others had forgotten. Here he makes original music out of the ancient and ephemeral "There's Danger in Your Eyes, Cherie," and he manages to do it on two separate takes.
By Stuart Broomer. AMG.
**
Thelonious Sphere Monk - brilliant pianist, quirky composer. His offbeat sense of harmonics and unusual musical sensibility may have gotten him kicked out of the Julliard music school and made his material a tad skewed for the casual listener to follow - now just as much as then - but to those willing to make a little adjustment, it's the reason he's always been such a complete original. He worked chords and combinations out of a piano that no one else ever thought of. The man was brilliant in any context, but I say his solo albums are the best way of hearing an eccentric genius at work. He plays around with ideas and variations like a sculptor with clay: old standards are given a new twist, his own past songs are nudged and prodded into shapes they'd never seen before, and there's never a lack of new ideas brought to the table.
Different people's ratings of the man's albums are always individual things, but Alone in San Francisco has always been my favorite. As usual you can't always know what to expect. The mood is predominantly quiet and reflective with a touch of the blues: "Blue Monk" (go figure), "Round Lights" and "Bluehawk" are all basically blues tunes, but even within that framework the playful improv work makes them almost nothing alike. The only track that took more than one take is not a Thelonious original, but an obscure 1920s pop tune ("they won't be expecting anything like this from me," he's quoted in the liners). There's some ear-tweaking trick or quirk around every corner here. The compositions don't usually follow standard keys or modes as we know them. When there's a catchy right-hand melody being woven, the block chords underneath it follow an unusual progression that doesn't match up the way you'd expect. Even the timing's sometimes weird, as in the opening to "Everything Happens to Me".. but somehow everything sounds natural with a logic all its own, if you just listen for it.

Short but sweet at 45 minutes, more easy and accessible than some other choices (e.g. Brilliant Corners or Underground), and usually pretty well priced, this disc makes a great introduction for those new to Monk. Solo Monk also makes a worthy find in this vein since it's got more alternate takes, giving a better picture of just how unique every TM performance was, but Alone in SF has always connected with me on a more personal level. As one of the reviewers below said, it's got the perfect empty-club-at-closing-time feel; quiet but not lonely, subdued yet peaceful. This is the one to unwind with while by yourself.. or with the kind of company that doesn't mind sharing a little quiet time. Newcomers, try this or Straight, No Chaser for a good first taste. Established fans: this one shouldn't disappoint in the least.
By Spiral Mind.
**
01. Blue Monk 3:44
02. Ruby, My Dear 3:56
03. Round Lights 3:34
04. Everything Happens To Me 5:37
05. You Took The Words Right Out Of My Heart 4:01
06. Bluehawk 3:37
07. Pannonica 3:51
08. Remember 2:41
09. There's Danger In Your Eyes, Cherie (Take 2) 4:18
10. There's Danger In Your Eyes, Cherie (Take 1) 4:05
11. Reflections 5:06
**
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Thelonious MONK - Misterioso 1958

Thelonious Monk - Misterioso 1958
Label: OJC (1991)
Original Release Date: August 7, 1958
Recorded at Five Spot Cafe, New York City 1958

Jazz

After he was denied club work in New York for years because a marijuana conviction kept him from holding a "cabaret card," Thelonious Monk's late-'50s stays at the Five Spot provided him with a forum through which he could reach an audience and also acted as an intense musical laboratory. Misterioso and its companion disc, Thelonious in Action, were Monk's first professionally recorded live dates, and they feature the excellent 1958 quartet with tenorist Johnny Griffin stretching out on Monk tunes like "In Walked Bud" and "Evidence." Monk could not only find new dissonances, but he could also find new meanings for dissonance, imbuing his sometimes elliptical, even minimalist, compositions with a joyous playfulness. Griffin adds a strong blues flavor and some unlikely quotations that leaven his intense focus. If this nugget tickles the ear enough to drive you toward the completist's deep end, check out Monk's Complete Riverside Recordings mega-box. By Stuart Broomer.

I won't review this CD as a whole since many others have already. But in all these reviews I note scant mention of Johnny Griffin. In this live session from that now defunct little hole-in-the-wall, the Five Spot, Grif shows why he is considered the 'fastest tenor alive.' He's also the most passionate. His solos on this session are consistently amazing in their dexterity, imagination, and sheer emotional charge. He often moans ecstatically as he blows flourish after flourish of blue fire, yet never takes himself too seriously. He truly GETS Thelonious: the wry twinkle of Monkish humor. The second cut, 'Blues Five Spot,' is one of the greatest tenor solos of all time (See my Listmania, "Great Tenor Sax Solos.") Astonishing speed and melodic invention with the trio are followed by an un-accompanied cadenza of clean blues logic, topped off by the theme from Popeye the Sailor Man. Sonny Rollins was more magisterial and conscious of his greatness when he played with Monk; Trane was more esoteric and, well, heavy; but no one played Monk with more understanding than Johnny Griffin: they were friends for life. Grif knew the secret of Monk. The Master wasn't avant garde and he wasn't heavy: he was funky, blue, and full of laughter. Despite the primitive quality of the recording, and the idiots at the bar who keep dropping their glasses, this sizzling July evening in 1958, in the hippest of New York bars, at the heart of a by-gone era, is captured for all time here in one of the GREAT live jazz recordings. By A. K. L.

Recorded live at the Five Spot Cafe, New York, New York on July 9 and August 7, 1958. Originally released on Riverside (1190). Includes liner notes by Orrin Keepnews. Digitally remastered by Joe Tarantino (1988, Fantasy Studios, Berkeley, California). By 1958, Thelonious Monk was a fixture on the New York club scene, thanks to his legendary 1957 engagement at the Five Spot. Piano, tenor, bass and drums became Monk's favored mode of instrumentation throughout the '60s, when he surfed the crest of his popularity as a major artist (cover of Time magazine), on a major label (Columbia), with some underrated bands. Recorded live at the Five Spot, the quartet on THELONIOUS IN ACTION (and MISTERIOSO) ranks with his greatest working aggregations, allowing Monk to fully explore the orchestral dimensions of jazz within a small band context. The hard-swinging tenor giant Johnny Griffin was a key contributor. Like his soulmate Dexter Gordon, Griffin managed to traverse the ...
**
Thelonious Monk- (Piano)
Johnny Griffin- (Tenor Saxophone)
Ahmed Abdul-Malik- (Double Bass)
Roy Haynes- (Drums)
**
01. Nutty (Thelonious Monk) 5:25
02. Blues Five Spot (Thelonious Monk) 8:17
03. Let's Cool One (Thelonious Monk) 9:16
04. In Walked Bud (Thelonious Monk) 11:23
05. Just a Gigolo (Julius Brammer/Irving Caesar/Leonello Casucci) 2:09
06. Misterioso (Thelonious Monk) 10:54
07. 'Round Midnight (Thelonious Monk/Cootie Williams/Bernie Hanighen) 6:15
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Thelonious MONK Quartet feat. John COLTRANE - Live At The Five Spot Discovery! 1957

Thelonious MONK Quartet feat. John COLTRANE - Live At The Five Spot Discovery! 1957
Label: Blue Note
Audio CD (March 23, 1993)

Jazz

Discovery! At the Five Spot documents emerging tenor giant John Coltrane's brief, but eventful six month residency with pianist-composer Thelonious Monk at New York's Five Spot. Monk was reestablishing his stature and drawing power as a jazz innovator while Coltrane grew by leaps and bounds studying Monk's repertoire and learning to navigate his compositions not just rhythmically and harmonically but thematically as well. Monk's melodies were too strong simply to run the changes, and on his extended jaunt Monk's tricky, intricate obstacle course "Trinkle, Tinkle," Coltrane attacks the harmonies with such compulsive power and blissful abandon, that you can hear whole new vistas of sound revealed to the tenor saxophonist. Recorded on a dinky tape machine by Coltrane's wife Naima, the sound is vague, hissy, and distorted--yet vivid and inspiring because on none of the few studio recordings documenting this period do Trane and Monk play with such unrestrained intensity. The mere existence of these tapes far transcends the shaky nature of their "production values."
By Chip Stern.
**
...many would say, but I believe Coltrane should have stayed a Monk sideman, judging by the evidence of this recording. No other Monk hornman shared Thelonious's lust for harmonic deconstruction. Usually players like Charlie Rouse, Johnny Griffin, or Sonny Rollins imposed structure on Monk's pixilated harmonic eccentricities, then the leader comes in with a piano solo that blows that order away. Only Trane, entering his furious sheets of sound period (he's like an erutping volcano), evinces a Monkian desire to shred order, structure, common sense. The two men were a match made in heaven, and they left only a tiny handful of recordings together. This is hands down the most anarchic (the whole band sounds weirdly restrained on the recently discovered Voice of America Recording). Coltrane sounds off-mike much of the time; his sound is so damn HUGE that you can still hear him loud and clear. The audio is poor, but who the hell cares when the music is of world historical importance. When you see a shooting star it's rarely under optimal conditions either, but would you pass up the experience?
By Thomas Plotkin.
**
Robin Kelley, professor of African American studies and anthropology at Columbia University, will soon publish Thelonious: A Life, a major full-length biography of Monk. He writes in the liner notes to the new CD:

"Everything they play is exciting, dynamic, sometimes adventurous, and very much in sync. Monk is having such a good time at the piano that he hardly gets up from the bench. The stories from the Five Spot in this period always portray Monk as dancing around or heading toward the bar while Coltrane 'strolls' with the rhythm section. But what Monk is playing underneath Coltrane is pure brilliance; to call it 'comping' simply does not do justice to the creative dialogue Thelonious is having with the entire band.

"The arrangement of 'Blue Monk' is another nice surprise, with Coltrane playing the melody a minor third below (except for the first note, which begins on B-flat, a major third below). This changes the sonority significantly, setting up a different kind of exploration of the blues."

As for Coltrane, he double-times during much of his solos at Carnegie Hall, in the style that Ira Gitler dubbed "sheets of sound." But by the time of the 1958 private recording that was released as Discovery! Live at the Five Spot (Blue Note, 1992), captured almost a year after the Carnegie Hall performance, Coltrane is already starting to use more of a variety of approaches as he begins to move away from his sheets-of-sound phase.

Discovery! was originally assumed to be from 1957. But soon after its release, Peter Keepnews found that Monk and Trane had had a one-night reunion at the Five Spot on September 11, 1958. For several reasons, it makes sense that Discovery! Live at the Five Spot is from this date. For one thing, it helps explain why drummer Roy Haynes can be heard on the recording, as identified by Michael Cuscuna; it was difficult to justify Haynes' presence in 1957 when he was busy touring with Sarah Vaughan, whereas in 1958 he was Monk's regular drummer. It also helps explain why Coltrane brought a tape recorder to the reunion show and put Naima in charge of it. He told Postif in 1961 that he had wanted a tape of himself with Monk as a souvenir, and finally made one. He could have been referring to this belated chance to get the recording he wanted. "I listen to that on occasion," he said, "and I feel a little nostalgic!"

So while the 1958 date is not absolutely proven, it makes good sense. It makes musical sense, too. Compare for example "Epistrophy," the band's theme, which appears on Discovery! and the first version on the Carnegie Hall recording: At the Five Spot, Haynes' drumming is soloistic and varied, and full of crashes and bops behind Coltrane's solo, which is poised and uses no double-time. The Carnegie Hall CD's initial take on the tune is much slower; Wilson does a lively double-time during the A section (like Haynes, so it's probably part of the arrangement), then behind Trane he keeps the hi-hat on 2 and 4 while Trane double-times for almost his entire solo. Wilson splashes and fills at times but overall concentrates on the groove-which is a fine approach.

Nellie Monk told me that after the Five Spot engagement, she didn't recall much further contact between Coltrane and Monk, socially or otherwise, but they did play several times on double bills in the 1960s. She also said that in 1963, when they brought their groups to San Francisco and San Jose, Coltrane sat in with Monk's group on at least one occasion.
Lewis Porter
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Thelonious Monk- Piano
John Coltrane- Tenor Sax
Ahmed Abdul-Malik- Bass
Roy Haynes- Drums
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01. Trinkle Tinkle 9:56
02. In Walked Bud 11:06
03. I mean You 13:38
04. Epistrophy 5:09
05. Crepuscule With Nellie 2:56
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Thelonious MONK & The Giants Of Jazz - Live at Erkel Theatre 1971

Thelonious MONK & The Giants Of Jazz - Live at Erkel Theatre 1971
Budapest-Hungary,1971-11-01
Label: RI AYY-228

Jazz

Dig! Dizzy Gillespie, Art Blakey, Monk, by the great group of VAP Super Vinyl by Sony Stitt and "Giants of Jazz," the live release of The Legend of joy!

71 activities from late 1972 was only a short period of the year, in a group of truly legendary
-RI- was suddenly released and the board recently and live DVD is also surprised fans and critics, indeed "a miracle of discovery" and was told to.But this board is comparable to that level are rare recordings of the World Heritage Site than it not.

The beginning stages of their group activities are not recorded in stereo sound board more. This is amazing!
Monk followed the graceful piano, alto break is the best in the extreme Stitt, Art Blakey drum a dynamic, trumpet technical DIZU not know where to complain?

They hear the joy of the stage, the value of this item alone is sufficient, and this quality, why does not hesitate."A Night In Tunisia". Activities during the final stages, bop drum appeal of the Niagara area of art "A Night In Tunisia" with bonus tracks included. 

Erkel Theatre, Budapest, Hungary November 1, 1971 an excellent soundboard Erkel Theatre, Budapest, Hungary November 1, 1971 an excellent soundboard recording (stereo).
**
Dizzy Gillespie- Trumpet
Kai Windin- Trombon
Sonny Stitt- as,Tenos Sax
Thelonious Monk- Piano
Al McKibbon- Bass
Art Blakey- Drums
**
01. Wee 11:17
02. Round Midnight / Introduction by KW 8:38
03. Just Friends (SSt,as-feat) / Introduction by SS 4:54
04. Lover Man (KW,tb-feat) / Introduction by DG 5:57
05. Tour de Force / Introduction by AB 14:37
06. Tin Tin Deo (DG,tp,AMcK,b,feat) / Introduction by DG 14:30
07. A Night In Tunisia 11:28
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