Thelonious Monk: Straight, No Chaser

With his odd rhythmic spacing, discordant resolves and his circular yet angular compositional style, Thelonious Monk remains one of the most singular figures in all of jazz, and virtually every one of his recordings is as enigmatic as the pianist himself was. This set combines his five albums for Columbia Records, 1962's Criss Cross and Monk's Dream, 1964's Solo Monk, 1966's Straight, No Chaser, and 1967's Underground, in a single package, and anyone thinking Monk wasn't as vital during those years really needs to hear this stuff. It's classic Monk, and this collection is a great way to get it in a single swoop.

Thelonious Sphere Monk brought a unique rhythmic and compositional sensibility to jazz, bridging the bop revolution of the late '40s and the free jazz experiments of Albert Ayler and others in the '60s. Where Ellington was absorbing the influence of classical music, Monk seemed to be fonder of dissonant 20th century European composers.This excellent, chronologically sequenced 15-track compilation of Monk's late-'40s and -'50s work for Blue Note Records focuses on Monk's small group settings, where he's most often in the company of legendary bop drummer Art Blakey and bassist Gene Ramsey. The collection's highlights include two tracks from a legendary date at the Five Spot Cafe with John Coltrane as part of Monk's quartet, "Crepuscule With Nellie" and Monk's signature piece, "Epistrophy." These performances, like this entire collection, are essential.

Although Greatest Hits samplers of jazz artists, particularly hard bop musicians, usually don't work particularly well, Columbia's attempt at compiling a Thelonious Monk Greatest Hits album actually succeeds in offering a good sampling of his some of his most familiar material. The collection contains many of his best-known songs, including "Well You Needn't," "Misterioso," "Round Midnight," "Ruby, My Dear," "Blue Monk," and "Straight, No Chaser." While this doesn't find Monk at his most adventurous, it does include some of his most accessible performances, and that makes it a good entry point for the curious.

Thelonious Monk played at the Monterey Jazz Festival in 1963 and created a buzz so strong he was invited back the following year. His one-hour set from 1964 is available here, featuring his quartet through the first forty minutes. Tenor saxophonist Charlie Rouse and drummer Ben Riley are joined by Steve Swallow on upright acoustic bass loaned from the Art Farmer group, whom he performed with at the event. Having studied Monk's music and played it with Steve Lacy, Swallow was ready to jump into the fray for his first-ever performance with Monk, having not even spoken with the pianist up to show time. He sounds very comfortable, swinging effortlessly, playing mostly quarter notes throughout the concert, but rarely straying off the path…

Thelonious Monk was having a rough time of it during the latter 1960s. Experiencing health and some economic problems, he was also in dispute with Columbia Records, whose marketing department was trying to re-create him in the image of a rock star (see the cover of Underground). On top of this, he had lost his core rhythm section, bassist Larry Gales and drummer Ben Riley. For his eighth European tour, the pianist hired young, unknown players as accompanists for himself and saxophonist Charlie Rouse: Berklee music school student Nate "Lloyd" Hygelund on bass and 17-year-old drummer Paris Wright - son of bassist Herman Wright. This date was recorded on the last night of the tour at the 3,800 seat Salle Pleyel (the same theater in which a far lesser-known Monk, playing with a local rhythm section, had bombed badly in 1954), and was filmed for French television broadcast…

Mulligan Meets Monk documents the 1957 meeting of two sharp musical minds. Though the pairing may seem unlikely, baritone saxophonist Gerry Mulligan - whose cool, West Coast style blends dexterity with laid-back grace - and Thelonious Monk - whose radical, angular piano playing and thoroughly modern compositions are blueprints for the possibilities of bop - sound remarkable together. In fact, it is the contrast between the players' styles that lends this set its balance and appeal. The program, which includes four compositions by Monk and one by Mulligan, is unassailable. Mulligan acquits himself admirably on the Monk classics "'Round Midnight," "Rhythm-a-ning," and "Straight, No Chaser," unfurling his smooth tone over their zigzagging melodies and ambitious scalar architecture…