Customer Reviews

Monk's Music

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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. On the other hand, Hawkins' treatment of "Ruby, My Dear," which he plays with the rhythm section, could be called definitive; his rendition of the Monk ballad is simply elegant. Monk's first solo on "Well, You Needn't" is a memorable rendering, and his playing throughout the album is commanding. The drummer is the pyrotechnic Blakey who is completely attuned to Monk and his music. The playing on this album exemplifies the characteristics of Monk and Blakey's styles, a fine introduction for anyone not familiar with their voices and their interplay. It is a fine introduction to Monk's music as well.

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!

"Monk's Music" is be-bop at it's best. Thelonious' inovative style of composition and mastery of the keys as both a member of the rhythm section and a soloist are exemplified on this 1957 Riverside recording. He is joined by, among others, John Coltrane, Art Blakely and the infamous Coleman Hawkins. Coltrane's unique phrasing pairs well with Monk's disodent harmonies. Hawkins, in contrast to Coltrane, gives the combo a smooth sound during his colorfull improvisations. Blakey, an excelent percussionist, fits in well with the choppy feel of Monk's progressions. His energetic style is the backbone of one of the best assembled rhythme sections of the era. Overall this is a great c.d. superbly performed by all involved. But perhaps if the bonus tracks were delayed until the end of the album the listener could enjoy "Monk's Music" as Thelonious intended. Overall this is an excellent recording and one of Monk's best albums.

The amazing line up of talent alone would be worth 5 stars. The musicians are all in top-notch form--including Coltrane, who was in the worst days of drug addiction at this time (in fact the reason Monk calls out "Coltrane! Coltrane!" before a solo was because Coltrane had nodded off...this according to Art Blakey and others). Great stuff. You wont be disappointed

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. Along with Brilliant Corners and Monk & Coltrane, it is a great introduction to Thelonious Sphere Monk. You might want to look for the slightly more expensive 20-bit remastered version, which probably sounds better than the original 80s CD issue.

Every time I LOVE an album, it always ends up being from 1957. That aside, "Monk's Music" is an absolutely GREAT album. And wait until you hear the SACD recording quality in STEREO. It's tremendous. Hawkins on tenor is like a dream. Coltrane is great on here as well, but I can't help imagining Charlie Rouse on here instead of Coltrane. I have always felt that Rouse was the greatest tenor to ever have played with Monk. My second favorite for Monk, on tenor, is Johnny Griffin. If you're not familiar with Gigi Gryce, check out his early work. He got a little weird later on in his career, but his fifties and earlier work is superb on alto. Copeland on trumpet fits like a glove on this album and Wilbur Ware does a great job on bass, but ART BLAKEY as usual, ALWAYS knows WHAT to play and WHEN to play it, no matter WHO he is playing with. This is a desert island choice. Magic to me.

Just listen to the first track. The various horns are distinct yet wonderfully cohesive. The detail is superior to the CD version that I have. The classic test for me is how the cymbals sound. There's no distortion, no compression. Just clean sound and decay. Can't say much more-- if you are reading this review, you probably care more about sound quality than whether this up-n-comer Monk is actually any good. Just for the record, he's, um, good, perhaps, most certainly a genius.

Ok, this set has several of Monk's classsic compositions and is solid throughout. How could it not be with Monk , Coltrane, Blakey and Coleman Hawkins. I will say this..You WILL NEVER hear a better rendition of Ruby My Dear than the one rendered here. Hawkins playing is absolutely magnificent on that track. It would be worth the price of this cd just for that one cut. The bonus is that the rest of the cuts are extremely well played Monk Music so you can't miss with this one.

Monk plays the piano like he's a restless guest in your house. First he's sitting down, then he's up looking out the window. He's comfortable, but he's waiting for something and he's not telling you what.

Is this the best Jazz album of all time? Maybe. Monk is joyful, abstract, and totally in control on this June '57 session. But what really kills me is the quality of the compositions. Monk was, in my eyes at least, first and foremost a Composer (yes, with a capital "C") of the highest order -- I put him right up there with Mozart, Ellington, or Lennon/McCartney. Every tune on this outstanding release is, quite simply, a masterpiece: "Off Minor", "Well, You Needn't", "Ruby, My Dear", "Crepuscule with Nellie", and "Epistrophy" are all stunning in their complexity and endlessly rewarding, even after dozens (or, in my case, thousands) of playings. This is Art (yes, with a capital "A") of a rare and lasting beauty and a must for any collection.