Customer Reviews

Genius of Modern Music 1

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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.

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.

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.

These are the first recordings of Monk as a leader, and if they sound bad, it's because you have to consider that it was 1947 during the early days of Blue Note, and although the band was familiar with Monk's music, the conditions were far from ideal: the piano Monk used had dead keys and was severely out of tune. It's amazing to think that at one time this music was rejected by most of the jazz community; 60 years later, most of these tunes are now considered "standards." Indeed, his work with Coltrane was top notch, but these are still magnificent, joyous recordings.

Anyone who collects Thelonious Monk should or probably already owns his Blue Note discography, which didn't really consist of that many recordings. I can only suggest you pick up "Genius Of Modern Music, Volumes 1 and 2" together instead of "The Complete Blue Note Recordings." The sound quality is much better on these single disc collections. The other Blue Note recordings that you should pick up are Sonny Rollins' release simply called "Volume 2" and Monk's "Discovery: Live At The Five Spot" and the newly discovered "Thelonious Monk Quartet with John Coltrane: Live At Carnegie Hall," which is an amazing discovery with superb sound quality. All of these albums you can find at reasonable prices.

"Genius Of Modern Music, Vol. 1" like the second volume, captures Monk at the very beginning of his career. Most of these recordings are rough sketches and aren't quite as defined as his later work for Prestige, Riverside, and Columbia, but they offer an insight into a younger Monk and the listener is treated to some of the most innovative jazz music of all time. You're hearing a young master at work with these recordings.

I consider these Blue Note records essential to jazz fans because they show his beginnings as a unique pianist and composer. They also show how unconventional he was with his use of space, angular melodies, and unorthodox harmonies.

I can't stress how important these Blue Note releases are. If you're a fan of Monk, then you should get your hands on everything this madman has done, but start with these albums.

The blue note recordings are essential monk and amazingly creative. Not overrated or romanticized for being the beginning of a long and innovative career. All of the blue note studio recordings (except for maybe one or two alternate takes) can be found on the two volumes of genius of modern music AND Milt Jackson's "Wizard of the Vibes," on blue note also.

Been a Monk fan for a long time, I have considered this album a "must have" for every jazz fan around the world. Monk pianism is brilliant and ideas are flowing all through the recording. Monk is to jazz what Velazquez is to painting!!!!

Name a tune that swings harder than this original version of "Thelonious"? All the cuts stand up to repeated listening (heck I've been listening to them repeatedly since the fifties!) but "Thelonious" is simply perfect Monk: the tune, his solo, the true-to-Monk horn arrangement that he himself wrote out. Blakey intersperses great old school snare accents and bass drum kicks in all the right places. But don't take my word for it: the excerpt you can sample tells all.

Thelonious Monk / genius of modern music Volume 1: This is great music. These are not curiosity tracks; this is the beginning of what was to become a new movement in Jazz. Here, among all these short pieces is his own early version of "`round midnight". This is a Masterpiece album. This gets Five Stars.

This first volume of recordings is an essential purchase for any Jazz fan capturing Thelonious Monk in the very early days of be-bop, playing many of his most famous tunes.

Recorded in October and November 1947 in New York City, the album features the following musicians:
Thelonious Monk - Piano
Art Blakey - drums,
Gene Ramey, Bob Paige - bass
Idrees Sulieman, George Tait - Trumpet
Danny Quebec West, Sahib Shihab - Alto Sax

Baring mind the age of the recordings the sound quality is remarkably good and of course Monks distinctive compositions and playing dominate proceedings. Of the non-Monk tunes perhaps the best are his versions of Gershwins "Nice Work..." which he takes to another place entirely. Of Monks own compositions the beautiful "Ruby My Dear" and the swinging "Well You Needn't" are perhaps my favourites.

The 2nd volume is well worth getting as this also features Milt Jackson on a number tracks as well. So get both volumes and enjoy Monk!