Customer Reviews

Criss Cross

5 star:		(12)
4 star:		(2)
3 star:		(1)
2 star:		(0)
1 star:		(0)

 

 

Thelonious Monk had signed with Columbia Records in the early 60's; because of this, he was able to get his music out to many more listeners than he could with his previous labels. His first studio album for Columbia is entitled Monk's Dream, and it introduced him to a lot of new listeners who had never heard of him. Criss-Cross is his second studio album for Columbia, and it is an awesome follow-up. In my opinion, it is better than Monk's Dream. Monk's Quartet here is: Charlie Rouse on tenor sax, Thelonious Monk on piano, John Ore on bass, and Frankie Dunlop on drums. This album is mainly Monk originals with the quartet, but there are also two standards which Monk interprets brilliantly.
The compositions by Monk are always brilliant. His best songs on this album are the dark and jagged "Criss-Cross", the slow and swinging "Pannonica", the sparse and colorful "Crepuscule with Nellie", and uptempo boppish "Eronel". But "Rhythm-a-ning" is also awesome because Monk puts a very original rhythmic melody to the rhythm changes, which is a bop cliche'. Also, "Think of One" demonstrates Monk's ability to make one note an interesting and catchy melody. So, I would say this album is a superb showcase of his compositions.
However, this album demonstrates something else about Thelonious: his ability to take a standard and transform it to make it sound like he wrote it. The main example of that is trio performance "Tea For Two". It starts with the bass playing the verse with only the drums. Then Monk comes in with the chorus, and you can tell he has done a lot of harmonic thinking with this. Another standout is his solo piano performance of "Don't Blame Me". Monk is one of my favorite solo piano players becuase of his ability to make every song interesting and different while still sounding like Monk. "Don't Blame Me" is darker and more dissonant than the original melody is; Monk's alterations here remind me of "Monk's Mood".
The bonus tracks here are also interesting to listen to. Two out of the three are alternate takes, but "Coming on the Hudson" is another Monk song with unorthodox metric structure (A sections are 5 bars long, and the bridge is 3 1/2 bars long). I can see why this didn't make the cut on the album because Rouse sounds like he is trying desperately to hang on to the odd form. But, the composition sounds very natural and is very catchy even for its unusual structure.
I would recommend this album to all jazz fans, especially those who haven't gotten much into Monk. If you're only going to own one Monk album the rest of your life, own this one.

For a legendary composer, Thelonious Monk seemed to get an awful lot of mileage out of the same songs-- given that he released dozens of albums with less than eighty compositions, this is no surprise. What IS surprising is how Monk could take these pieces and construct album after album of high quality music.

Case in point, "Criss-Cross".

His second album for Columbia, recorded over five sessions in late 1962 and early 1963, features his then-working band of Charlie Rouse on tenor sax, John Ore on bass, and Frankie Dunlop on drums, and they run through a handful of Monk originals and a pair of standards. Everything on here had been recorded before, but somehow yet again Monk gets even more out of his compositions.

Take opener "Hackensack"-- Rouse is so dry, brittle and edgy in his performance that Monk sounds as edgy as he normally does comping straight behind him. This contrasts against "Rhythm-n-ing", where Monk splatters beneath Rouse's breathy, lower register playing and Dunlop steals the show in his unnervingly brilliant performance. Likewise, fantastic perforamnces of standard "Don't Blame Me" (on solo piano, where Monk shows his strengths in patience and space), "Pannonica" (with a particularly angular solo from Rouse) stand out nicely.

This reissue is augmented by three bonus tracks-- a performance of the rarely heard "Coming On the Hudson" (which was originally recorded during these sessions but not used on this album) and a pair of alternate takes. All of the material is remastered (and sounds as if it could have been recorded yesterday), and both the original and new liner notes are included. Invariably, Monk manages to put forth strong performances time and again. Recommended.

A great remastered version of one of Monks' masterpiece recordings. Every selection here offers something unexpected and the entire CD swings like crazy. Monks comping on the title track Criss Cross behind Charlie Rouses's temor is something to behold. he is never where you think he's going and yet melodic and perfectly in the tune. This guy was really something special and this CD offers a chance to hear him at his peak. Buy it..you can't go wrong here.

I had one of those moms that would play me cultured albums as a kid in between the usual children's records hoping that it would boost my intelligence and/or help me be a more free thinking person. Well, I don't know how well worked, but this was one of the albums that I remember really liking a lot, and I still have a tremendous fondness for it to this day.

Nobody, and I mean NOBODY, plays piano like Thelonius. His wonderfully percussive and angular style eccentric manages to sound both primitive & sophisticated simultaneously. At times, he almost sounds as if he's beating his angular chords into the piano, and yet every one of them fits into melodies that are sometimes lush, sometimes zany, sometimes witty or urbane, and always, always smart.

I think it's that "bonk" piano style on "Criss-Cross" that intrigued me as a child because here was a guy who played piano by smacking the keys & I could relate to that better than some of the other stuff mom put on. It was playful! He was having a good time while he improvised, and I could feel it even then.

However, Monk is far from being a musical neonate. This is a sophisticated & likable album. Tunes such Hackensack", "Rhythm-A-Ning" & his fantabulous cover of "Tea For Two" are ear opening jams that show that melody, hooks & suspended chords can work together to create modern art that is intriguing, dancable & very memorable.

Tenor sax & longtime Monk sideman Charlie Rouse remains the perfect accompanist for Thelonius. His wraps his lines around & between the piano's colors providing some articulate detail to the sketches. "Hackensack" is brilliant in this respect as is "Rhythm-A-Ning". Monk also lets him stretch out on "Eronel" for himself.

But Monk is not all about playtime. "Crepescule With Nellie" is just beautiful & seems to come from a deep region of the heart I never knew existed. "Don't Blame Me" shows Monk's ability with phrasing lines with taste & elegance; a great contrast to "Criss Cross".

This album still sets the child free in me. Not the victimized "inner child" of pop psychology, but the playful & happy future genius that once was. When Monk invents, I invent, and I hope other listeners will feel the same.

This is my favorite Monk record which makes it my favorite record. This is the first Monk I ever owned and I consider my self lucky to have found it so early in life. Thelonius Monk may be the greatest of American composers and in my humble analysis is my favorite musical composer and preformer.

Monk's music is so precussive yet melodic that it is hard not to see his influnce everywhere in jazz today. I love how in this recording drums and bass often play the melody while Monk plays rythum and precussion. often you will hear the melody once and than hear Monk play around it but never repeat it.

Hackensack is a musical conversation between Charlie Rouse on Sax and Monk on piano. There is a long sax solo punctated by monks brilliant piano prucusion. Which is followed by a minimalist piano solo with not an unnecessary note. The sound is complex with the rest as important as notes. Monk uses dynamics and tempo as only a true master can.

Tea for Two is the first monk song I loved it is the bass and drums starts the melody and then it cycles through to piano and sax. Monk plays melody and punctates phrase brilliantly. One of my all tie favorites. What is done with a simple melody by this quartet boggles the mind. The melody line is played twice in the song yet you hear it in your head as the band plays around it.

Criss-Cross is just perfect this may be the best precussive playing of the piano ever. Charlie Rouse and monks inter play is unmatched. I think that Rouse and Monk really fed off each another this comes out in Monks accompaniment on the solos in this song.

Eronel is all Charlie Rouse.

Rhythm-A-Ning is a quick paced song with a lot of musical interplay. A lot of calls and answers. It shows how great monk can be in a suporting role and with a note or two add so much to a song. But don't forget the great solo by monk where while playing piano he plays the some of the best stride you have ever heard.

Don't Blame Me is a solo piece and it shows monks great understanding of melody and phrasing. A real gem.

Crepuscule With Nellie Is my favorite of all time this will be the first song that I dance on my wedding night.

Pannonica Is a tribute to one of Monk's life long friends this is the best drums and bass on the recording Rouses best solo. Monks second best song.

If you never listen to Monk start hear.

With Rouse, Ore and Dunlop (in my honest opinion, the best tenor, bass and drummer to ever play with Monk) how can you go wrong. This is a perfect introduction to the genius of Monk. I would get this as a starter and then follow it with Monk's Dream. Monk's Dream is my favorite Monk album, but I like listening to Criss Cross first and then Monk's Dream when I'm in a Monk Mood, in that order. Criss Cross lets you know what these guys together are all about, and THEN, on Monks Dream, you can hear their climax. Even though Criss Cross was recorded after Monks Dream.

Cut in a series of sessions from late 1962 through early 1963, this album features Monk backed by his longtime sideman Charlie Rouse on tenor and rhythm men Frank Dunlop on drums and John Ore on bass. The material is basically standard Monk. Heard hear are such Monk standards as "Hackensack", "Rhythm-A-Ning", and a superior Monk solo on "Crepuscule With Nellie". Overall the performances are exciting and energetic, the title track "Criss-Cross" stands out. This is fairly typical Monk from his Columbia years. He has long since established his personal style, but he still has a fresh imagination and produces fantastic performances throughout. Charlie Rouse is in top form as well. He was Monk's main hornman from the late 50's through most of the 60's. His extended stay within the realms of Monk's compositions and accompaniment pays off in a singular musical understanding between the two. He was such a part of Monk's group sound that a few of these tracks would sound odd with another hornman playing them. This is very nearly a great Monk album, and is recommended to all fans, or those new two his music.

This is my favorite Monk record which makes it my favorite record. This is the first Monk I ever owned and I consider my self lucky to have found it so early in life. Thelonius Monk may be the greatest of American composers and in my humble analysis is my favorite musical composer and preformer.

Monk's music is so precussive yet melodic that it is hard not to see his influnce everywhere in jazz today. I love how in this recording drums and bass often play the melody while Monk plays rythum and precussion. often you will hear the melody once and than hear Monk play around it but never repeat it.

Hackensack is a musical conversation between Charlie Rouse on Sax and Monk on piano. There is a long sax solo punctated by monks brilliant piano prucusion. Which is followed by a minimalist piano solo with not an unnecessary note. The sound is complex with the rest as important as notes. Monk uses dynamics and tempo as only a true master can.

Tea for Two is the first monk song I loved it is the bass and drums starts the melody and then it cycles through to piano and sax. Monk plays melody and punctates phrase brilliantly. One of my all tie favorites. What is done with a simple melody by this quartet boggles the mind. The melody line is played twice in the song yet you hear it in your head as the band plays around it.

Criss-Cross is just perfect this may be the best precussive playing of the piano ever. Charlie Rouse and monks inter play is unmatched. I think that Rouse and Monk really fed off each another this comes out in Monks accompaniment on the solos in this song.

Eronel is all Charlie Rouse.

Rhythm-A-Ning is a quick paced song with a lot of musical interplay. A lot of calls and answers. It shows how great monk can be in a suporting role and with a note or two add so much to a song. But don't forget the great solo by monk where while playing piano he plays the some of the best stride you have ever heard.

Don't Blame Me is a solo piece and it shows monks great understanding of melody and phrasing. A real gem.

Crepuscule With Nellie Is my favorite of all time this will be the first song that I dance on my wedding night.

Pannonica Is a tribute to one of Monk's life long friends this is the best drums and bass on the recording Rouses best solo. Monks second best song.

If you never listen to Monk start here.

CRISS-CROSS plays like a monk best of. If your new to monk this should be your first buy with the best of the blue note years. Ah the bonus tracks are great! If only for Eronel, Rouse plays much better on the theme. If only there was a retake of Criss Cross, it was probably ment for an alto. Look these are THEE versions of Think of One,Rhythm-A-Ning,Hackensack,and Eronel(the bonus track).Pannonica is great and Tea for Two,WOW. If only Evidence(my favorite)was on this it would never leave the cd player. Oh WAIT Coming On The Hudson is a jewel here also,great interaction between Rouse and Monk!

I still remember getting this album as a birthday present from my friend Efrem back in 1963, when I turned 12. I got some other records at that party--the 4 Seasons, the Beach Boys, Jan and Dean--but this one was definitely different! It took a few listens but then I was hooked--and I still am, almost half a century later. Every track is superb, although the one that really got to me was "Think of One." I just connected with it at a visceral level, and I get the same goosebumps every time I hear that first little bass run and then Monk, Rouse and Dunlop just explode into that weird angular perfect melody. I agree with the reviewer who said this was the strongest line-up of Monk's career--which is saying something, when you remember his other sidemen have included John Coltrane, Sonny Rollins, Art Blakey, Coleman Hawkins, Phil Woods, and Milt Jackson, just to name a few. But these three guys connect with Monk and his music in a way that none of the others ever did--at least not as a unit--and that, in turn, brings out what I believe is Monk's strongest playing on record--and that includes the phenomenal Blue Note sessions from the late '40's and early '50's. Rouse is at the top of his form, and Dunlop is somehow both incredibly loose and incredibly tight at the same time. All of this makes "Criss-Cross" my favorite jazz album, and one of my all-time favorites in any genre.