Your Amazon Music account is currently associated with a different marketplace. To enjoy Prime Music, go to Your Music Library and transfer your account to Amazon.com (US).
  
Have one to sell? Sell on Amazon

Image Unavailable

Image not available for
Color:
  • Monk's Music
  • Sorry, this item is not available in
  • Image not available
  • To view this video download Flash Player
      

Monk's Music Hybrid SACD - DSD


See all 25 formats and editions Hide other formats and editions
Listen Instantly with Amazon Music Album
Other Formats & Versions Amazon Price New from Used from
Audio CD, Hybrid SACD - DSD, August 17, 2004
$66.00 $66.00
Audio, Cassette, October 17, 1990
"Please retry"

Product Details

  • Audio CD (August 17, 2004)
  • Number of Discs: 1
  • Format: Hybrid SACD - DSD
  • Label: Riverside
  • ASIN: B0002NY880
  • Average Customer Review: 4.8 out of 5 stars  See all reviews (34 customer reviews)
  • Amazon Best Sellers Rank: #411,215 in Music (See Top 100 in Music)

1. Abide with Me
2. Well, You Needn't
3. Ruby, My Dear
4. Off Minor (Take 5) [Take]
5. Off Minor (Take 4) [*][Take]
6. Epistrophy
7. Crepuscule with Nellie (Take 6) [Take]
8. Crepuscule with Nellie (Takes 4 and 5) [*][Take]

Customer Reviews

4.8 out of 5 stars
5 star
88%
4 star
6%
3 star
6%
2 star
0%
1 star
0%
See all 34 customer reviews
Every time I LOVE an album, it always ends up being from 1957.
Tony NYC
This album, recorded in June 1957, marks an important milestone for Thelonious Monk.
George H. Soule
And Art Blakey, who is in my mind the perfect accompanist for Monk, plays drums.
G B

Most Helpful Customer Reviews

42 of 44 people found the following review helpful By George H. Soule on July 30, 2002
Format: Audio CD
This album, recorded in June 1957, marks an important milestone for Thelonious Monk. Known as a musicians' musician for years, Monk had participated in seminal recording sessions. His compositions were becoming jazz standards. However, in some measure he was regarded as an interesting eccentric. He hadn't had the sort of popular acceptance and critical acknowledgment that meant that he had arrived. This album has always struck me as an annunciation of his importance. The album doesn't treat standards or other musicians' work. Aside from the introductory track--William H. Monk's "Abide with Me"--it's just Monk and his compositions. These are played by a septet that is congenial to his music and playing. Trumpeter Ray Copeland and alto saxophonist Gigi Grice are competent if not exciting soloists. The rhythm section is perfect. The two tenor saxophonists are particular bonuses. John Coltrane, part of Monk's working quartet at the time, is emerging to stardom here. Coltrane was little enough known to general jazz audiences that his name isn't listed as a featured sideman on the cover art. The established jazz giant is Coleman Hawkins whose name is listed on the cover along with Gryce and drummer Art Blakey. Listening to the two tenors together allows you to compare their distinctive styles and their different generations. To be sure, Coltrane solos on only two tracks--"Well, You Needn't" and "Epistrophy" (you can hear an alternate take of the latter on "Thelonious Monk with John Coltrane"), but the contrast is telling. Coltrane sounds as though he belongs with Monk while Hawkins sounds almost tentative in his solos with the septet.Read more ›
1 Comment Was this review helpful to you? Yes No Sending feedback...
Thank you for your feedback. If this review is inappropriate, please let us know.
Sorry, we failed to record your vote. Please try again
23 of 23 people found the following review helpful By Simon on November 8, 2011
Format: Audio CD
Enough was written by the other reviewers on this exhilarating album.

Here i want to focus on the differences between this reissue (24-bit remastering) and the former reissue from the 90's (20-bit remastering), since no one spoke about it.

1. The new reissue is stereo (or, to describe it more accurately, a 2-channel recording), and not mono.

2. The sound in the new reissue is more natural and much less bloated than the older one.

3. It's more detailed, the rhythm is more involving, and the space is more defined.

4. Besides the bonus tracks in the old reissue,the new one contains one more bonus track called Blues for Tomorrow (13:33) - an excellent piece of music by Gigi Gryce, the alto saxofonist in the album. (Monk does not play here). Hawkins gives here one of the best solos you'll hear from him, and there is a superb and exciting duet between Ware on bass and Blakey on drums (by the way, the recording is a little strange and the sound comes mainly from the right speaker).

5. The linear notes are extended by an interesting essay by Ashley kahn.

In short, the new reissue is much more better than the older one and in every respect.
Bravo Mr. Nick Phillips and Mr. Joe Tarantino!
Comment Was this review helpful to you? Yes No Sending feedback...
Thank you for your feedback. If this review is inappropriate, please let us know.
Sorry, we failed to record your vote. Please try again
14 of 14 people found the following review helpful By Amazon Customer on August 8, 2000
Format: Audio CD
If you have even a vague notion of jazz luminaries this album will turn your head. Piano/leader: Thelonious Monk, tenor saxophone: Coleman Hawkins and John Coltrane, drums: Art Blakey, bass: Wilbur Ware, along with the underrated Gigi Gryce on alto saxophone and Ray Copeland on trumpet, this is a formidable lineup. Many recordings boast star studded line ups such as this and fail to deliver at the level of those involved. What about this one? Well lets just check out the tracks on this landmark album. Following the pastoral horns only "Abide With Me", one is lead straight into one of the most fantastic recordings in jazz. "Well, You Needn't", opens with its grand theme into an inspired Monk solo, right into Monk hollering "Coltrane! Coltrane!" to wake a snoozing Coltrane, a priceless injoke once you know the story. Following insprired solos by the entire listed personnell the theme is reprised and finished. That 12 plus minutes is worth the admission alone and is only the first two tracks of eight! Hawkins' interpretation of "Ruby My Dear is simply beautiful. "Off Minor" finds two takes of the entire personnel digging into the material and finding gold. Monk's "theme" "Epistrophy", he often closed live sets with it, is given a definative treatment. It all is finished with two versions of the laid back and playful "Crepuscule With Nellie". This album along with "Brilliant Corners" solidified Monk in the jazz mainstream from his obscure "muscians' musician" status, where he remains to this day. This album is a testament to the compositional and arranging skills of Monk, and the musical skill of all those involved. This is a must have for all serious jazz collections!
Comment Was this review helpful to you? Yes No Sending feedback...
Thank you for your feedback. If this review is inappropriate, please let us know.
Sorry, we failed to record your vote. Please try again
8 of 8 people found the following review helpful By G B on December 17, 2002
Format: Audio CD
Somewhat oddly, Brilliant Corners seems to be really popular here at Amazon while Monk's Music languishes in relative obscurity. That's too bad, because these albums are like twins -- the first albums consisting of primarily Monk compositions to hit it big with the jazz public.
Like Brilliant Corners, Monk's Music includes some older Monk tunes which, because of his earlier obscurity, were often new to the public. "Epistrophy", "Ruby, My Dear", "Off Minor" and "Well You Needn't" were all recorded by Monk in the late 40s on Blue Note records. But because the LP didn't exist in the 40s, all those recordings were pretty short -- 4 minutes, tops -- and didn't really let the musicians stretch out. On this album, they get that chance to stretch. Monk also introduces a new composition: the knotty but beautiful ballad "Crepescule with Nellie".
This album is also hyped (deservedly so) for featuring the only recorded meeting of Coleman Hawkins and John Coltrane. Hawkins was the first major tenor saxophonist in jazz, way back in the 20s; Coltrane would be the dominant tenor of the 60s. Hawkins had hired Monk back in the 40s, when the language of bebop was still strange to many listeners and musicians; Coltrane would soon be hired by Monk for their fabled engagement at the Five Spot. Anyway, it's terrific to hear both the emerging giant and the mature master tackle Monk's music.
I guess I shouldn't sell the other personnel short either. Ray Copeland (trumpet) and Gigi Gryce (alto sax) round out the front line. Wilbur Ware would be Monk's bassist for the Five spot gigs. And Art Blakey, who is in my mind the perfect accompanist for Monk, plays drums.
This is one of my favorite Monk recordings on the Riverside label, and I predict that it will probably be yours too.
Read more ›
Comment Was this review helpful to you? Yes No Sending feedback...
Thank you for your feedback. If this review is inappropriate, please let us know.
Sorry, we failed to record your vote. Please try again

Most Recent Customer Reviews


Forums

Have something you'd like to share about this product?
Start a new discussion
Topic:
First post:
Prompts for sign-in
 


Search Customer Discussions
Search all Amazon discussions

What Other Items Do Customers Buy After Viewing This Item?