Ken Burns JAZZ Collection: Thelonious Monk
Ken Burns JAZZ Collection: Thelonious Monk
ASIN: B000050HVW
Editorial Reviews
Amazon.com
Functioning as part of the musical component to Ken Burns's television documentary Jazz, this compilation is a 14-track introduction to Thelonious Monk's music. As with the other 21 single-CD compilations, the music here is, as the packaging says, definitive. Important tracks from Monk's work on Blue Note, Prestige, Riverside, Columbia, and even Black Lion are collected onto this nicely packaged, reasonably priced, remastered album. Here, newcomers and experts can dig into the work of this great American composer through such important jazz classics as "'Round Midnight" (which gets a solo reading here), "Straight, No Chaser," "Brilliant Corners," and "Ruby, My Dear." Of course, along with his being a prodigious composer, Monk's singular playing style is arguably one of the most recognized in jazz, regardless of instruments, and this disc showcases Monk's angular phrasing and ability to smudge his patented between-the-key notes. This seemingly awkward style may seem odd at first, but one stroll through this album is enough to prove the genius of Monk, who is one of jazz's greatest. --Tad Hendrickson
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Ken Burns JAZZ Collection: Thelonious Monk
Thelonious Monk Manufacturer: Sony ProductGroup: Music Binding: Audio CD  Bebop General
| Bebop
| Jazz
| Styles
| Music
General
| Jazz
| Styles
| Music
Modern Postbebop
| Jazz
| Styles
| Music
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ASIN: B000050HVW Release Date: 2000-11-07 |
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Amazon.com
Functioning as part of the musical component to Ken Burns's television documentary Jazz, this compilation is a 14-track introduction to Thelonious Monk's music. As with the other 21 single-CD compilations, the music here is, as the packaging says, definitive. Important tracks from Monk's work on Blue Note, Prestige, Riverside, Columbia, and even Black Lion are collected onto this nicely packaged, reasonably priced, remastered album. Here, newcomers and experts can dig into the work of this great American composer through such important jazz classics as "'Round Midnight" (which gets a solo reading here), "Straight, No Chaser," "Brilliant Corners," and "Ruby, My Dear." Of course, along with his being a prodigious composer, Monk's singular playing style is arguably one of the most recognized in jazz, regardless of instruments, and this disc showcases Monk's angular phrasing and ability to smudge his patented between-the-key notes. This seemingly awkward style may seem odd at first, but one stroll through this album is enough to prove the genius of Monk, who is one of jazz's greatest. --Tad HendricksonCustomer Reviews:
was there a better composer in the classic period than Monk?.......2003-10-02
A great comp........2003-01-04
Undeniable Proof of Monk's Greatness.......2002-07-20
The first important piece of Monk's career is the Blue Note recordings where he was the session leader. These are all pretty famous Monk tunes, such as "Well You Needn't", "Epistrophy", and "Straight, No Chaser". These recordings are comparatively short because at the time these were made, songs couldn't be longer than 3 or 4 minutes, so solos had to be cut considerably. However, I think the importance of these tracks is just as valid. Monk was once called the greatest jazz composer since Duke Ellington, and I think those tunes can show that, especially "Epistrophy". Songs from the rest of his career give that description more credibility.
"Blue Monk" is sort of the oddball on this anthology, taken from The Thelonious Monk Trio. It's a 7+ minute recording of "Blue Monk", which is one of my favorite Monk tunes, featuring impressive solos from Monk, bassist Percy Heath, and legendary drummer Art Blakey. This is not the best performance of this song; I personally think the performance from the 1963 Newport Jazz Festival is the best, but that doesn't have so much importance in the catelog of Monk tunes, so I can understand why they placed this performance here; it's sort of an introduction to the longer Monk performances.
The next is one of the weirdest Monk tunes I have ever heard: "Brilliant Corners", taken by the album of the same name. The power of this song and the odd-sounding harmonies really make this a standout on the CD.
The next important segment of Monk's career is the career-changing gig at New York's Five Spot Cafe in 1957, where for five months Monk's quartet featured the relatively unknown John Coltrane. This was not only important in Monk's career, but also in Coltrane's, where Coltrane began experimenting with "sheets of sound". This anthology features Monk and Coltrane doing takes of two tunes: the gorgeous "Ruby My Dear" and the catchy "Trinkle Tinkle".
"Off Minor" is also here, taken from the Thelonious Monk Orchestra at Town Hall, showing once again how catchy and different Monk's music is.
The next three songs feature tenor saxophone player Charlie Rouse, who was with Monk throughout his Columbia career; in fact, all three tunes are taken from his Columbia career ("Rhythm-a-Ning", "Criss Cross" (a favorite of mine), and "Green Chimneys"). They demonstrate Monk's freshness, even after 15 years of recording since "Well You Needn't" in 1947.
The final two tracks are solo Monk, which is really something to write home about. The first is his most famous song and a classic jazz standard, "Round Midnight". This is my favorite Monk performance of this song (and I've heard a lot, trust me). Miles would do the best performance of this song in 1955 on his "Round Bout Midnight" CD. The final track is a Gershwin standard, "Nice Work If You Can Get It", where Monk shows he can adapt other people's standards to his own unique style.
Monk's style is the most unique in jazz. You will notice his soloing is quite different from most bebop jazz pianists. Silence, instead of speed, has always been Monk's trademark. His solos sometimes consist of him reharmonizing the melody or hitting odd-sounding notes in a way that you think he sounds clumsy. He was so ahead of his time that when he first came about, people didn't like him because they thought he just couldn't play. Monk is unpredictable in his soloing, and his style is easily identifiable. His songs are pretty much all catchy and gorgeous, and his influence on not only jazz piano players, but jazz musicians and composers is profound.
I recommend this album for all jazz fans and people who want to check out what Monk is all about.
WARNING!.......2002-03-14
Excellent Compilation of Monk.......2002-01-19
The first two songs have only fair sound quality, on "Well You Needn't (1947), the drums and bass are not quite as clear as they could be. Still, you can hear Monk's famed scattered vocalizing to his playing. "Epistrophy" (1948) with Milt Jackson doing a fine counter-melody on vibes. This is a driving blues-based song that goes all over the map. Still, it's not quite as varied as some other pieces and seems a bit long at 3:20. The real magic begins with "Misterioso," which begins with an MJQ chamber music sound and restrained energy that breaks into a Milt Jackson solo after the first 45 seconds. Jackson is more fluid and inventive than on "Epistrophy." This is a good song to hear Monk's famous "angularity along, of course, with "Brilliant Corners." It's definitely the best of the first three songs.
The classic "Straight, No Chaser" (1951) is instantly recognizable. Almost an anthem for jazz, it was used as the title of the 1989 documentary (highly recommended). A more swinging approach, less sparse, with Al McKibbon's richly toned bass and Sahib Shihab's solid alto sax. There are more experiments with time, but the emphasis is on the swing. "Blue Monk" (1954) is more old-fashioned, with some stride/boogie woogie sand then some great Monk dissonance. A fairly mellow outing, but ends with a very Duke Ellington sound: Smooth, swinging, (though there are only 3 instruments!) and then some prototypical post-bebop drumming style by the great Art Blakey (who puts on a clinic). With an amazing opening, as piano and horns play counter-times, "Brilliant Corners" goes into overdrive at about the 1-minute mark, then slows back down for a thoughtful and rich sounding sax by Sonnie Rollins (tenor) and Ernie Henry (alto). Brubeck fans take note! A touch of the avant-garde and post bebop, and, like most of his work, a wholly Monkish piece-it's as fresh as ever.
Two of the best songs are taken from the album "Thelonious Monk with John Coltrane." "Ruby, My Dear" (6:18; 1957) is perfect film noir music and hence a forebear of Charlie Haden's contemporary work with Quartet West. Soulful sounds from John Coltrane (sounding a little dry a la Sonny Rollins) on tenor sax, and superb solos considering the variations in melody and harmony (or maybe that helped Coltrane!). The song just a little after about 4 or 5 minutes. "Trinkle Trinkle (6:38; 1957)) is as satisfying as "Straight No Chaser," with Monk tickling the keyboard and Coltrane playing strong supple beautifully-toned sax in a fast bebop style. There is amazing interplay and empathy among the two. "Trinkle" is one of the best songs of the bop/post-bop period-endlessly inventive, technically perfection-- and highlighted by Coltrane's dazzling accompaniment to Monk (with Wilbur Ware on bass and Shadow Wilson on drums) It's both abstract but completely swinging. A bass solo extends the piece a little longer than it should have gone, but this is glorious stuff.
"Off Minor" recalls Mingus (as do a few other songs here...): Playful, with a parade of bravado, and more than a dash of Ellington. The nine- instrument sound "orchestra" features great solo and section work. The saxes of Charlie Rouse, Pepper Adams, and Phil Woods comes out of this brew, evoking a New York City street. Excellently paced backing by Monk, he has another great fast solo that is never but compliments the emotional needs of the composition. This cut, from 1959's "The Thelonious Monk Orchestra at Town Hall," continues the energy from the previous song. Rouse is featured on the next three songs, including excellent work on "Rhythm-A-Ning" and "Green Chimneys" (1967). The latter is also reminiscent of Mingus, with a big driving bass and delicate piano, coupled with a vigorous saxophone
The final two works return to unaccompanied Monk. "Round Midnight" (recorded 1968) is one of the most famous compositions in all of jazz, there's even an album that is nothing but covers of it. Here, Monk's somewhat restrained, "baroque" sound generates some interesting variations that may have you thinking Bach, and he finishes with an old-fashioned flourish. This shows why Monk fits the tradition of great classic composers who write for jazz. "Nice Work If You Can Get It" is a delightful and playful (almost impish) version of the Gershwin tune. Soft and mellow, you could actually sing along with this one, yet it has the great touches show how Monk can elevate any song.
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