Genius of Modern Music 1

Thelonious Monk, T. S. Monk | Format: Audio CD

Product Details

• Audio CD (July 12, 1989)
• Number of Discs: 1
• Label: Blue Note Records
• ASIN: B000005HBS
• Also Available in: Audio CD  |  Audio Cassette  |  MP3 Download
• Average Customer Review: 4.5 out of 5 stars  See all reviews (13 customer reviews)
• Amazon Best Sellers Rank: #149,993 in Music (See Top 100 in Music)
  • #88 in Music > Indie Music > Jazz > Bebop

Customer Reviews

Most Helpful Customer Reviews

20 of 21 people found the following review helpful:

4.0 out of 5 stars Early Monk, November 7, 2001

By 

G B (Connecticut) - See all my reviews

This review is from: Genius of Modern Music 1 (Audio CD)

These 1947 recordings are among the earliest documents we have of piano genius and jazz pioneer Thelonious Sphere Monk. It's hard to believe that he was finally hailed with acclaim in 1957 for ideas he'd had 10 years earlier! When listening to these tracks, you should keep a couple of things in mind. First, recording technology wasn't too hot in 1947, and you can't expect the pristine, Rudy Van Gelder sound quality of 50s jazz. (Though compared to the 89 reissue, this Van Gelder edition sounds phenomenal.) Second, some of Monk's sidemen on this album didn't understand the new bop style very well, and were even more clueless on Monk's advanced ideas. (Even Art Blakey, one of Monk's best accompanists in the 50s, sounds a little confused here.) But these complaints aside, there's really phenomenal music here; tracks 7-16 (a trio with Blakey and bassist Gene Ramey) are especially marvelous, with classic recordings of Monk staples "Off Minor", "Ruby My Dear", "Well You Needn't" and "Introspection" as well as typically quirky takes on two standards ("April in Paris" and "Nice Work If You Can Get It"). The rest of the tracks are not quite up to the same standard due to the sidemen (Sahib Shihab provides the oddest alto saxophone sound ever on "Monk's Mood") but are still exciting. This set of 21 songs isn't quite as strong as Genius of Modern Music Volume 2, yet definitely essential for the Monk enthusiast.

10 of 10 people found the following review helpful:

5.0 out of 5 stars ESSENTIAL, September 16, 1998

By A Customer

This review is from: Genius of Modern Music 1 (Audio CD)

These were not the first times Thelonious was recorded but this is a perfect place to begin an appriciation him. Monk would go on to record for Prestige, Riverside (possibly his best work), and Columbia but these are his first important recordings (from '47) and this set contains many classics. There is also an equally valuable second volume (from '52) and both are included in the Blue Note box. This is, however, the best way to cheaply acquaint yourself with Monk. Some of the highlights include the beautiful "Ruby My Dear," Well, You Needn't," and Thelonious' first recording of his bop standard "'Round Midnight," the quintessential "late night" theme. Monk bypasses the usual nostalgic, melancholy interpretation of his song and reveals a more sinister, down-and-out desperation at its' core and the "late night" experience in general.

10 of 11 people found the following review helpful:

4.0 out of 5 stars A beginning., October 3, 2005

By 

Michael Stack (North Chelmsford, MA USA) - See all my reviews
(VINE VOICE)    (REAL NAME)   

This review is from: Genius of Modern Music 1 (Audio CD)

I think sometimes first recordings by important artists get more merit than they deserve-- it's a legend after all, this is their formative material, their early works, etc. And in some respect, there's merit to that, but when you have a pioneering artist like Thelonious Monk, you end up with a large disconnect between the other musicians and the leader. Such is the case on much of "Genius of Modern Music, Volume One". Singles recorded in three sessions during October and November of 1947, these are the first recordings by Thelonious Monk as a leader.

The first session featured Monk with a rhythm section of Gene Ramey (on bass) and Art Blakey (on drums) with three horns-- Idrees Sulieman on trumpet, Danny Quebec West on alto sax, and Billy Smith on tenor sax. Four titles were tackled, only two composed by Monk (two were by Ike Quebec, who helped get Monk signed to Blue Note). The horn players, all largely best known for this session, are fairly clueless and turn out earnest but by and large unexciting performances and force Monk into a rather standard comping role. Comparing his playing to his work behind the horn players in the third session on here, the difference is astounding. But by and large, none of these pieces save "Thelonious", go to any strides to really show Monk off as a songwriter or a musician.

The second session finds Monk in a trio setting with Ramey and Blakey. Here, the real value of these recordings begin as many of the things that make Monk what he is come forth, whether he is tackling standards ("Nice Work If You Can Get It" and "April in Paris" both get readings) or originals (such critical pieces as "Ruby My Dear" and "Well You Needn't"), the work is stunning and the performance is breathtaking.

The last session on here sits somewhere in between these two-- Monk is accompanied by trumpeter George Taitt and alto saxophonist Sahib Shibab along with bassist Bob Paige and Blakey. The results are typically pretty good, with the horns performing spectacularly on the ballads of the session ("Monk's Mood" and the legendary "'Round Midnight") and really digging in on an explosive version of "In Walked Bud". It's really quite unfortunate that these were all recorded for singles because several of the solos just start developing when they have to end (due to limitations in the physical media used for the original release).

This reissue, part of the Rudy Van Gelder edition of remasters on Blue Note, features the best sound these sessions have ever received. Monk would make better recordings as time went on, but these are still quite good. Recommended.