Monk’s Music was the fifth Thelonious Monk LP released by Riverside Records across a strong mid-1950s stretch. It helped to increase the pianist-composer-bandleader’s visibility on the scene and repair an undeservedly formidable reputation, but even after it was selected for inclusion in the Original Jazz Classics series of reissues, it’s become one of the less celebrated masterpieces in Monk’s extensive discography. But a fresh mono edition by Craft Recordings should help raise the profile of an immensely pleasurable session with an august supporting cast. It’s available now on 180 gram vinyl, mastered from the original tapes in an attractive tip-on sleeve.
It might seem strange given Thelonious Monk’s secure position in the jazz pantheon, but the first two records he cut for Riverside consisted solely of standards, with his debut for the label entirely devoted to compositions by Duke Ellington and the second offering a blend of well-known selections from the American Songbook. Both hit stores in 1956.
Thelonious Monk debuted on record as a leader in 1951 for the Blue Note label with two 10-inch discs, each titled Genius of Modern Music. In 1956, those volumes were expanded into LPs with additional material from the original series of sessions Alfred Lion organized from 1947–’51, plus one more date from the following year. Those two albums, further expanded in the CD era, are the logical place to begin a solid Monk collection, but they didn’t a cause retail firestorm. The five records Monk cut for Prestige from ’52–’54 saw no curtailing of creative momentum but befell similar the same commercial fate.
In 1957, Riverside’s Orrin Keepnews pivoted with Brilliant Corners, which featured all Monk tunes save for one. Later in the year Thelonious Himself, a more balanced mix of originals and standards, was released. As the title suggests, Himself is a solo piano affair, with the exception of closing track “Monk’s Mood,” where tenor saxophonist John Coltrane and bassist Wilber Ware are added.
Coltrane and Ware stuck around for Monk’s Music, joining trumpeter Ray Copeland, alto saxophonist and arranger Gigi Gryce and drummer Art Blakey. Most importantly, there is tenor saxophonist Coleman Hawkins; described as Monk’s mentor, in whose quintet the young pianist made his recording debut in 1944, Hawkins was still in strong form at the point of Monk’s Music’s recording, and his presence reinforces that Monk’s music (and Monk’s Music) is in dialogue with the tradition.
Hawkins is also the only contributor on the album to play on every track. This doesn’t except Monk, who lays out for the opener, “Abide With Me,” an 19th century Christian hymn with music by English organist William Henry Monk. Today, the inclusion of the track might seem like a sly bit of humor, but as related in the album’s liner notes, the piece was a favorite of Thelonious; the shared surname is seemingly just coincidental.
The serene beauty of “Abide With Me” is followed by a version of “Well, You Needn’t” that still inspires excitement today, in part due to Monk audibly calling out to Coltrane to take his solo, but also the sheer unpredictability of the piece, as Blakey gets his showcase before the solos of Hawkins and Gryce. A warm reading of “Ruby, My Dear” is delivered by a quartet with Coltrane and Gryce laying out, a bit of additional respect to the elder horn perhaps but also sensible given Hawkins’ adeptness in the slower tempos.
But the consecutive “Off Minor,” “Epistrophy,” and “Crepuscle With Nellie” that shape up side two are effective in driving home the album’s titular focus, both compositionally and in terms of keyboard prowess. A big part of what makes Monk’s Music such a joy is that the leader never crowds out any of his support. As others have mentioned, Monk wasn’t a “flying fingers”-style player, and if unfairly branded as a challenge for non-jazzbo listeners, he remains outside of the straight ahead mainstream even today.
Due to Prestige holding Coltrane’s recording contract, the saxophonist’s name couldn’t appear on Monk’s Music’s front cover. This has allowed for Jazzland’s subsequent Thelonious Monk & John Coltrane, which pulls tracks from Monk’s Music, to become something of a thunder stealer. There is also a pair of unearthed live recordings with Monk and Coltrane together to consider. But Monk’s Music, particularly in its mono edition, recorded with a different microphone set up than the stereo mix, should take a back seat to none of them. In terms of Thelonious Monk’s discography, it is essential.
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