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24 of 25 people found the following review helpful:
5.0 out of 5 stars
Retrospective, July 30, 2002
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.
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13 of 14 people found the following review helpful:
5.0 out of 5 stars
A Jazz Masterpiece, March 7, 1999
By A Customer
"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.
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8 of 8 people found the following review helpful:
5.0 out of 5 stars
An absolute classic!, August 8, 2000
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!
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~ Miles Davis
~ Thelonious Monk
~ Thelonious Monk
~ Paul Desmond
~ Charles Mingus
by Thelonious Monk 
