(JazzPlanet) Thelonious Monk - Monk's Dream (Eac S Flac Cue) (UF)

Thelonious Monk - Monk's Dream















Artist: Thelonious Monk

Guest Artists: Charlie Rouse

Genre Jazz

Styles Hard Bop, Bop

Label: Legacy Recordings

Catalog No: LEGC 63536

New Release: No

Previous Release: No

Format: CD

Release Date: 2002-08-27

(Original ~ 1962)



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Source: Original CD

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Artwork Incluse







Track List



Monk's Dream - (take 8)

Body and Soul - (re-take 2)

Bright Mississippi - (take 1)

Five Spot Blues

Blue Bolivar Blues - (take 2)

Just a Gigolo

Bye-Ya

Sweet and Lovely

Monk's Dream - (take 3)

Body and Soul - (previously unreleased, take 1)

Bright Mississippi - (previously unreleased, take 3)

Blue Bolivar Blues - (previously unreleased, take 1)





Personnel



Thelonious Monk (piano);

Charlie Rouse (tenor saxophone);

John Ore (bass);

Frankie Dunlop (drums).



Listen to samples



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reviews



Monk's Dream is the Columbia Records debut release featuring the Thelonious Monk Quartet: Monk (piano), Charlie Rouse (tenor sax), John Ore (bass), and Frankie Dunlop (drums). Jazz scholars and enthusiasts alike also heralded this combo as the best Monk had been involved with for several years. Although he would perform and record supported by various other musicians, the tight -- almost telepathic -- dimensions that these four shared has rarely been equalled in any genre. By the early '60s, bop had become considered passé by artists as well as fans looking for the next musical trend. This is coupled with the fact that discerning Monk fans would have undoubtedly recognized many of these titles from several live recordings issued at the end of his tenure on Riverside. Not to belabor the point, however, but precious few musicians understood the layer upon layer of complexities and challenges that Monk's music created. On tracks such as "Five Spot Blues" and "Bolivar Blues," Rouse and Dunlop demonstrate their uncanny abilities by squeezing in well-placed instrumental fills, while never getting hit by the unpredictable rhythmic frisbees being tossed about by Monk. Augmenting the six quartet recordings are two solo sides: "Just a Gigolo" and "Body and Soul." Most notable about Monk's solo work is how much he retained the same extreme level of intuition throughout the nearly two decades that separate these recordings from his initial renderings on Prestige in the late '40s. Monk's Dream is recommended, with something for every degree of Monk enthusiast. [The expanded edition features alternate takes of "Monk's Dream," "Body and Soul," "Bright Mississippi," and "Blue Bolivar Blues.">



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Monk's Dream marked the beginning of Thelonious Monk's six-year association with Columbia, and though it broke little new ground with the appearance of only one new composition ("Bright Mississippi," based on the chord changes to "Sweet Georgia Brown"), he finally began to reach a wider audience with his first major-label contract. Accompanied by tenor saxophonist Charlie Rouse, bassist John Ore, and drummer Frankie Dunlop, the album became Monk's best-selling release of his entire career. The quartet is in top notch form during the four studio sessions taped in the fall of 1962 which make up the disc. Although the focus is frequently on Rouse's enthusiastic solos, Monk's solo tracks prove to be the most interesting selections. His jagged reworking of "Body and Soul" shows his mixes stride piano with an inventive, unpredictable right hand, while Monk's often hesitant approach to "Just a Gigolo" proves to be quite humorous, whether or not it was his intention. This expanded 2002 reissue adds four alternate takes, three of which are previously unreleased, and it should be considered an essential purchase for anyone interested in his works.



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n 1958, Thelonious Monk's appearance at the Newport Festival finally alerted a world beyond the demi-monde of beatniks and jazz cognoscenti to his unique abilities. By 1962 his glory days were over.

Still, Monk remained an inimitable pianist. His 50's albums for Prestige were great by ordinary standards, displaying flashes of his compositional genius. But the iconoclastic fire that forged his legacy of innovation had infrequently risen above a steadily glowing ember since the 40s, when works like "Mysterioso", "Round Midnight" and "In Walked Bud" had struck like weird electric cattle prods at the spine of a bewildered musical establishment.

By 1962 Monk had spent twenty years not so much ahead of the curve of jazz as at angles to it. Approbation flowered too late to prevent his questioning the sense of working so hard in the face of scant recognition, and so the latter stage of his career commenced. Its beginning can be traced roughly to this album, here reissued with 27 minutes of alternate takes. Entering the studio for his first Columbia session, it's tempting to wonder if Monk found irony in recollections of the composition lessons that he'd once given to now all-conquering new labelmate Miles Davis when they were alchemists together at the crucible of long-gone bebop.

Monk's skew-wiff timing and harmony saddled him with a serial hanging-on-to-sidemen snafu. Lately, intuitive bassist John Ore, deceptively loose-sounding drummer Frankie Dunlop and equal parts funky and angular tenor man Charlie Rouse had hung tough over months of club dates, and their broken-in sympatico thwacks all the often chestnutty tunes of "Monk's Dream" bang in the centre pocket. The magic works best on devilish riff-fest "Bye-Ya".

Listening now to Monk parley "Body & Soul", "Just a Gigolo" or "Sweet & Lovely", it almost seems funny he was considered a radical modernist. Straight-up blues underpins almost all; pointedly amateurish technique regularly recalls original model James P. Johnson.



Then, Thelonious himself; aching, spring-day romanticism of fleeting substitutions in ballads. Blanging, wide, not-quite-dissonant chord interjections, as if a chord were some exotic beetle to be turned over just long enough to see how many legs it had before throwing it down. Monk's unique contribution to music, and "Monks Dream" itself, is founded on these motifs, which purely expressed his madcap, avuncular presence and which he would never attempt to expand upon again after this record.