Thelonious Monk Riverside

Despite various reissue formats over several decades, the seven original LPs contained in Thelonious Monk - The Riverside Tenor Sessions stood perfectly well on their own at the time of initial release and remain among the highest achievements of a truly golden age. Recorded and released between 1956 and 1961, these seven Monk combo albums were critical in Monk's emergence from a decade of ridicule and neglect to his status at the pinnacle of the jazz pantheon. In addition to some of his best recorded piano performances and more than two dozen of his profoundly personal compositions, these albums provide an overview of the era's major tenor saxophonists, with contributions by Sonny Rollins, Coleman Hawkins, John Coltrane, Johnny Griffin, Charlie Rouse and Harold Land…

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.

On each of his first three recordings for Riverside, Thelonious Monk included a solo piano presentation, and for many listeners, these were the highlights of each recital. And so it was decided that Monk's fourth Riverside recording, Thelonious Himself, would be composed entirely of solo interpretations; well, almost. Like a great actor finding heretofore obscure layers of meaning in a familiar soliloquy, Monk takes familiar themes such as "April in Paris," "I Should Care," and "Almost Alone" and distills them down to a single essence. Where most pianists would simply expand upon the tune (or employ the chord changes as a showcase for their own variations), Monk keeps everything focused on thematic materials. For his final selection, "Monk's Mood," the pianist insisted on adding bassist Wilbur Ware and an up-and-coming tenor saxophonist named John Coltrane…

Although Brilliant Corners is Thelonious Monk's third disc for Riverside, it's the first on the label to weigh in with such heavy original material. Enthusiasts who become jaded to the idiosyncratic nature of Monk's playing or his practically arithmetical chord progressions should occasionally revisit Brilliant Corners. There is an inescapable freshness and vitality saturated into every measure of every song. The passage of time makes it all the more difficult to imagine any other musicians bearing the capacity to support Monk with such ironic precision. The assembled quartet for the lion's share of the sessions included Max Roach (percussion), Sonny Rollins (tenor sax), Oscar Pettiford (bass), and Ernie Henry (alto sax)…

Universally regarded as one of the greatest collaborations between the two most influential musicians in modern jazz (Miles Davis notwithstanding), the Jazzland sessions from Thelonious Monk and John Coltrane should be recognized on other levels. While the mastery of the principals is beyond reproach, credit should also be given to peerless bassist Wilbur Ware, as mighty an anchor as anyone could want. These 1957 dates also sport a variety in drummerless trio, quartet, septet, or solo piano settings, all emphasizing the compelling and quirky compositions of Monk. A shouted-out, pronounced "Off Minor" and robust, three-minute "Epistrophy" with legendary saxophonists Coleman Hawkins, Gigi Gryce, and the brilliant, underappreciated trumpeter Ray Copeland are hallmark tracks that every jazz fan should revere…

Although the contents of the original Thelonious in Action vinyl comes from the August 7, 1958 show, the CD reissue, which was released three decades later, incorporates over 20 minutes of extras from a July 9 gig that had been previously rejected by the artist. While in exceptional form, Monk is far from casting the only or even the brightest light during these unforgettable sides. Joining him on-stage at the legendary Five Spot club are: Johnny Griffin (tenor sax), Ahmed Abdul-Malik (bass), and Roy Haynes. It's unfortunate that this unit did not remain together for any length of time as they are able to launch Monk's compositions into some fairly significant places. Johnny Griffin's aggressive performance style incorporates a lyrical and melodic undertone perfectly complementing Monk's sporadic inflections…

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.

This is one of Thelonious Monk's most important records, even though it was his last studio session. He went out with a bang, with old friends Art Blakey and Al McKibbon on board in late 1971…