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17 of 18 people found the following review helpful:
5.0 out of 5 stars
Bach's one-uppance and a deserved classic, January 31, 2003
This review is from: Brilliant Corners (20 Bit Mastering) (Audio CD)
Thelonius Monk is one of the few musicians to create his own true musical universe, not unlike what Bach did in the 18th century, paving classical music structure in the process. But while Bach's apparent concentration was to maintain a tidy, logical ship, Monk's musical universe consisted of pushing the envelope of the musical consensus to near breaking point on a consistent basis. Listening to this album, starting with the punishingly beautiful title track (my all-time jazz favorite), you will be challenged with one of the most cerebrally unique in-your-face complex musical statements of all time. Monk was a master juggler of tension, luring you forward, and taking you aback with creative precision. I must have listened to it so many times that I have practically learned every musical nuance of the song (even the improvised solos) and now view it as a classical piece in itself. The rest of the album follows suit, with "Panonnica" being another particular standout. Every chord change of that song seems to send you further into the twilight, With Monk's Celeste adding a misty taste. This album is an absolute cure from the conventional. Whenever I get disillusioned which direction the zeitgeist is heading at any particular moment, This album provides a much-needed change of perspective. I bought Monk's 15-CD Complete Riverside Recordings box set, but this album is still his best. Not really for Celine Dion fans, but may be a solution to that and similar afflictions.
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9 of 9 people found the following review helpful:
5.0 out of 5 stars
Stunning., October 3, 2005
This review is from: Brilliant Corners (20 Bit Mastering) (Audio CD)
In 1956, Thelonious Monk was still not widely known. Revered by musicians, his reputation with the public sat on a handful of compositions, a few sideman dates, a bunch of sides for Blue Note and a handful of albums. It was into this that he recorded on his best, 1956's "Brilliant Corners". His first album for Riverside to be by and large a feature for his compositions (only "I Surrender, Dear", a solo piano piece, is a standard, and you wouldn't know it by listening) recorded with a supportive band, this is Monk beginning to peak, and it shows. One thing that's pretty clear throughout the album is many of the things that make Monk's music what it is-- the fractured rhythms, the bizarre harmonies, that dry swing he mastered. Even the standard he performs is totally enveloped in his sound and concept. The first three cuts feature a band with reedmen Ernie Henry (alto) and Sonny Rollins (tenor), bassist Oscar Pettiford, and drummer Max Roach. From opener "Brilliant Corners", you can see the music is inspirational to the sidemen-- the odd harmony implies a third part, and both Rollins and Roach take remarkably powerful and lyrical solos. The remainder of the session finds the leader in rare form, with a slow, patient and breathtaking solo on blues "Ba-Lue Bolivar Ba-Lues-Are". And speaking of features for the leader, his arrangement of "I Surrender, Dear" is angular, exciting and extremely advanced, even for Monk. The album closes on a slightly different note, the ecstatic and exciting "Bemsha Swing", with trumpeter Clark Terry and bassist Paul Chambers joining Rollins and Roach for what turns out to be a stunning performance. This edition features breathtaking sound-- this remastering process clearly worked wonders, and includes the original liner notes essay. As far as essential Monk goes, this piece is one of them, even for those who don't particularly care for Monk, this one is well worth the investment. Highly recommended.
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8 of 8 people found the following review helpful:
5.0 out of 5 stars
one of Monk's best, January 2, 2002
This review is from: Brilliant Corners (20 Bit Mastering) (Audio CD)
On Brilliant Corners, the music was as challenging as anything he had done in the past, but now the public seemed to be ready for what he was doing. Many consider this the album to be a masterpiece, and rightly so. Max Roach's drumming on the title track sounds great--tight, and full of impact. "Pannonica" made its debut on this album, and features Monk on both piano and celeste at the same time. Originally recorded on the spur of the moment to fill space on the album, the tender "I Surrender, Dear" sounds like you're right there in the studio. "Bemsha Swing" is a bit sloppy, but Roach's tympani playing stands out much more than it did on the OJC version. The only problem I noticed here is a click at the beginning of the title track. Aside from that, it sounds fabulous.
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