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| 1944-1948 - Jazz Archives No. 146 |
| Thelonious Monk |
| első megjelenés éve: 1999 |
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CD |
Kérjen
árajánlatot! |
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| 1. | Flyin' Hawk
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| 2. | Driftin' on a Reed
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| 3. | Humph
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| 4. | Evonce
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| 5. | Suburban Eyes
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| 6. | Thelonious
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| 7. | Nice Work If You Can Get It
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| 8. | Ruby, My Dear
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| 9. | Well, You Needn't
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| 10. | April in Paris
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| 11. | Introspection
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| 12. | Off Minor
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| 13. | In Walked Bud
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| 14. | Monk's Mood
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| 15. | Who Knows?
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| 16. | 'Round Midnight
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| 17. | Evidence
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| 18. | Misterioso
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| 19. | Epistrophy
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| 20. | I Mean You
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Jazz / Bop, Cool
Thelonious Monk - Piano
Art Blakey Drums
Bob Paige Bass
Coleman Hawkins Sax (Tenor)
Danny Quebec West Sax (Alto)
Denzil Best Drums
Gene Ramey Bass
George Taitt Trumpet
Idrees Sulieman Trumpet
Jean Buzelin Cover Design
John Simmons Bass
Milt Jackson Vibe Master
Shadow Wilson Drums
This superb album of early Thelonious Monk opens with a pair of sides he helped to cut in October of 1944 with the Coleman Hawkins Quartet. These were Monk's very first studio recordings. He interacts smoothly with Edward "Bass" Robinson and master percussionist Denzil de Costa Best, backing Hawkins on two numbers attributed to Walter "Foots" Thomas, himself a capable tenor saxophonist. The piano introduction to "Driftin' on a Reed" clearly contains seed syllables, as it were, of Monk's beautiful melody "Ask Me Now." Almost exactly three years transpired before Monk began recording as a leader for the Blue Note label, introducing both a brand-new repertoire and an imaginative method for interpreting established jazz standards. Joined by bassist Gene Ramey and steam-heat drummer Art Blakey, Monk used a wild bop front line of trumpeter Idrees Sulieman with saxophonists Danny Quebec West and Billy Smith. Nine days passed and the rhythm section returned to the studio to produce six trio recordings of incredible intricacy and depth. A brief figure that emerges at the tail end of Monk's cheerfully eccentric treatment of George and Ira Gershwin's "Nice Work If You Can Get It" prefigures a portion of "In Walked Bud," proving that Monk's music, like all music, is constantly predicting and reviewing itself. The calm lyricism of "April in Paris" suggests elements of both Bud Powell and Duke Ellington. On November 21, 1947, Monk and Blakey, joined by trumpeter George Taitt, alto saxophonist Sahib Shihab, and bassist Bob Paige created four cornerstones of progressive music, the most famous of which -- "'Round Midnight" -- was co-composed by the great Cootie Williams. Four sides recorded in July of 1948 act as an exciting closer for this invigorating disc as Milt Jackson's vibraphone mingles wonderfully with John Simmons, Shadow Wilson, and Thelonious Monk. While Monk's Blue Note recordings are widely available, this compilation is extra special for the inclusion of those two Hawkins sides, which serve as a swinging prologue to 18 consecutive milestones of early modern jazz. ~ arwulf arwulf, All Music Guide
Thelonious Monk
Active Decades: '40s, '50s, '60s and '70s
Born: Oct 10, 1917 in Rocky Mount, NC
Died: Feb 17, 1982 in Weehawken, NJ
Genre: Jazz
Styles: Bop, Hard Bop, Mainstream Jazz, Modal Music, Modern Big Band, Post-Bop, Progressive Jazz
The most important jazz musicians are the ones who are successful in creating their own original world of music with its own rules, logic, and surprises. Thelonious Monk, who was criticized by observers who failed to listen to his music on its own terms, suffered through a decade of neglect before he was suddenly acclaimed as a genius; his music had not changed one bit in the interim. In fact, one of the more remarkable aspects of Monk's music was that it was fully formed by 1947 and he saw no need to alter his playing or compositional style in the slightest during the next 25 years.
Thelonious Monk grew up in New York, started playing piano when he was around five, and had his first job touring as an accompanist to an evangelist. He was inspired by the Harlem stride pianists (James P. Johnson was a neighbor) and vestiges of that idiom can be heard in his later unaccompanied solos. However, when he was playing in the house band of Minton's Playhouse during 1940-1943, Monk was searching for his own individual style. Private recordings from the period find him sometimes resembling Teddy Wilson but starting to use more advanced rhythms and harmonies. He worked with Lucky Millinder a bit in 1942 and was with the Cootie Williams Orchestra briefly in 1944 (Williams recorded Monk's "Epistrophy" in 1942 and in 1944 was the first to record "'Round Midnight"), but it was when he became Coleman Hawkins' regular pianist that Monk was initially noticed. He cut a few titles with Hawkins (his recording debut) and, although some of Hawkins' fans complained about the eccentric pianist, the veteran tenor could sense the pianist's greatness.
The 1945-1954 period was very difficult for Thelonious Monk. Because he left a lot of space in his rhythmic solos and had an unusual technique, many people thought that he was an inferior pianist. His compositions were so advanced that the lazier bebop players (although not Dizzy Gillespie and Charlie Parker) assumed that he was crazy. And Thelonious Monk's name, appearance (he liked funny hats), and personality (an occasionally uncommunicative introvert) helped to brand him as some kind of nut. Fortunately, Alfred Lion of Blue Note believed in him and recorded Monk extensively during 1947-1948 and 1951-1952. He also recorded for Prestige during 1952-1954, had a solo set for Vogue in 1954 during a visit to Paris, and appeared on a Verve date with Bird and Diz. But work was very sporadic during this era and Monk had to struggle to make ends meet.
His fortunes slowly began to improve. In 1955, he signed with Riverside and producer Orrin Keepnews persuaded him to record an album of Duke Ellington tunes and one of standards so his music would appear to be more accessible to the average jazz fan. In 1956 came the classic Brilliant Corners album, but it was the following year when the situation permanently changed. Monk was booked into the Five Spot for a long engagement and he used a quartet that featured tenor saxophonist John Coltrane. Finally, the critics and then the jazz public recognized Thelonious Monk's greatness during this important gig. The fact that he was unique was a disadvantage a few years earlier when all modern jazz pianists were expected to sound like Bud Powell (who was ironically a close friend), but by 1957 the jazz public was looking for a new approach. Suddenly, Monk was a celebrity and his status would not change for the remainder of his career. In 1958, his quartet featured the tenor of Johnny Griffin (who was even more compatible than Coltrane), in 1959 he appeared with an orchestra at Town Hall (with arrangements by Hall Overton), in 1962 he signed with Columbia and two years later was on the cover of Time. A second orchestra concert in 1963 was even better than the first and Monk toured constantly throughout the 1960s with his quartet which featured the reliable tenor of Charlie Rouse. He played with the Giants of Jazz during 1971-1972, but then in 1973 suddenly retired. Monk was suffering from mental illness and, other than a few special appearances during the mid-'70s, he lived the rest of his life in seclusion. After his death it seemed as if everyone was doing Thelonious Monk tributes. There were so many versions of "'Round Midnight" that it was practically a pop hit! But despite the posthumous acclaim and attempts by pianists ranging from Marcus Roberts to Tommy Flanagan to recreate his style, there was no replacement for the original.
Some of Thelonious Monk's songs became standards early on, most notably "'Round Midnight," "Straight No Chaser," "52nd Street Theme," and "Blue Monk." Many of his other compositions have by now been figured out by other jazz musicians and are occasionally performed including "Ruby My Dear," "Well You Needn't," "Off Minor," "In Walked Bud," "Misterioso," "Epistrophy," "I Mean You," "Four in One," "Criss Cross," "Ask Me Now," "Little Rootie Tootie," "Monk's Dream," "Bemsha Swing," "Think of One," "Friday the 13th," "Hackensack," "Nutty," "Brilliant Corners," "Crepuscule With Nellie" (written for his strong and supportive wife), "Evidence," and "Rhythm-a-Ning," Virtually all of Monk's recordings (for Blue Note, Prestige, Vogue, Riverside, Columbia, and Black Lion) have been reissued and among his sidemen through the years were Idrees Sulieman, Art Blakey, Milt Jackson, Lou Donaldson, Lucky Thompson, Max Roach, Julius Watkins, Sonny Rollins, Clark Terry, Gerry Mulligan, John Coltrane, Wilbur Ware, Shadow Wilson, Johnny Griffin, Donald Byrd, Phil Woods, Thad Jones, and Charlie Rouse. His son Thelonious Monk, Jr. (T.S. Monk) has helped keep the hard bop tradition alive with his quintet and has headed the Thelonious Monk Institute, whose yearly competitions succeed in publicizing talented young players.
---Scott Yanow, All Music Guide |
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