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Jazz - Verschenen op 19 mei 2017 | Sam Records

Hi-Res Booklet Onderscheidingen Choc de Classica - Indispensable JAZZ NEWS - Jazzwise Five-star review
Any occasion for unreleased Thelonious Monk recordings is one for celebration. The discovery of his excellent soundtrack sessions for Roger Vadim's film Les Liaisons Dangereuses 1960, an adaptation of Pierre Choderlos de Laclos' 18th century novel, happened by accident. Producers Zev Feldman, François Le Xuan, and Frederic Thomas found these tapes while searching French saxophonist Barney Wilen's manager's archives in search of unreleased material. What they found were the original soundtrack and full sessions cut in New York during a single day in 1959 -- the same fertile year that yielded the Monk's At Town Hall; 5 by Monk by 5, and Thelonious Alone in San Francisco. Like these recordings, this soundtrack showcases Monk at the very top of his game. For various reasons including health issues and legal troubles, Monk had no time to travel or compose original music for the film. For this session he brought along tunes from his repertoire -- as was his wont throughout his career -- and reinvented them for the film with his working quartet of saxophonist Charlie Rouse, drummer Art Taylor, and bassist Sam Jones, with the addition of Wilen (who should be far better known to American jazz fans). The album is one of the only occasions in the pianist's discography where he employed two tenor players: the other was Thelonious Monk at the Blackhawk, with Harold Land alongside Rouse. The first of these two discs includes the actual soundtrack music as used in sequence, but never released. "Rhythm-a-Ning" is followed by "Crepuscule with Nellie" (his wife was in the studio), "Six in One," and "Well You Needn't," all of which are sprightly and at times even hot. There are two solo takes of "Pannonica" also used along with a quintet version. It is notable to note that Baroness Pannonica de Koenigswarter, Monk's friend and patron, was also present. "Ba-Lue-Bolivar Ba-Lues-Are" is followed by a brief "Light Blue" and the short gospel hymn "By and By," which makes its first-ever appearance here. Disc two contains alternate takes, a pair of masters for a 45 rpm single, an edited version of "Well You Needn't," and the jewel: a 14-minute in-process recording of "Light Blue" complete with studio dialogue. It's a cousin to the making of "'Round Midnight" with Gerry Mulligan that showed up in the '80s: A one-of-a-kind revelatory document. This music was not only professionally recorded, but preserved with archival standards, making for an excellent fidelity reproduction. This handsome package contains a plethora of liner essays including one by Robin D.G. Kelley, author of Thelonious Monk: The Life and Times of an American Original. There are loads of photos in black-and white and color; all are intimate, and as revelatory as the music. This was made available during the centennial anniversary of Monk's birth; and given its quality, it makes for one of the most important jazz discoveries in recent years. © Thom Jurek /TiVo
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Jazz - Verschenen op 1 januari 1987 | Riverside

Onderscheidingen The Qobuz Ideal Discography - Le top 6 JAZZ NEWS - Qobuz Referentie
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Jazz - Verschenen op 29 september 2017 | Legacy Recordings

Onderscheidingen 4F de Télérama - Indispensable JAZZ NEWS
Thelonious Monk was 34 years old when he crossed the Atlantic for the first time. In that year of 1954, the American pianist, already considered a great trend-setter, was the guest of the Jazz Festival that takes place at the Salle Pleyel where he performed with drummer Jean-Louis Viale and bass player Jean-Marie Ingrand. This album released in 2017, Monk’s centennial year, offers the recording of five titles from this performance, but its true value lies elsewhere: Thelonious Monk solo on piano, that producer André Francis was wise enough to record. Even wiser since the musician had never been recorded solo before. And it’s like fireworks! Listening to such music blending chaos and passion, humor and intelligence is like watching a tightrope walker on the edge but of course never falling. And let’s not forget the genius of the compositions! All of Monk's art is already there, in this Parisian walk of 1954 that still sounds as modern as it did many decades ago… © MZ/Qobuz
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Jazz - Verschenen op 1 juli 2014 | CM BLUE NOTE (A92)

Hi-Res Booklet Onderscheidingen The Qobuz Ideal Discography
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Jazz - Verschenen op 23 september 2002 | Columbia - Legacy

Onderscheidingen The Qobuz Ideal Discography
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Jazz - Verschenen op 3 maart 2003 | CM BLUE NOTE (A92)

Hi-Res Booklet Onderscheidingen The Qobuz Ideal Discography
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Jazz - Verschenen op 3 maart 2003 | Blue Note Records

Hi-Res Booklet Onderscheidingen The Qobuz Ideal Discography
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Jazz - Verschenen op 1 januari 1987 | Original Jazz Classics

Onderscheidingen Le top 6 JAZZ NEWS
With the robust ambience of Fugazi Hall in San Francisco at his disposal, Thelonious Monk recorded ten unaccompanied tracks over two days to create a long-awaited sequel to his immensely endearing Thelonious Himself long-player. As had become somewhat customary for Monk, he brought with him a healthy sampling from his voluminous back catalog, cover tunes, as well as a few new compositions. What is most immediately striking about these recordings is the rich and accurate sound stage at Fugazi Hall. The overtones are rich and thoughtful in their ability to animate Monk's recreations of some of his most endearing works, such as the pair that opens this set. "Blue Monk" still retains the proud stride and walking blues heritage of previous renderings. Adding a bit of off-tempo improvisation, Monk propels and emphasizes the rhythmic swing even harder. He is obviously also enjoying what he is hearing. The audible maturity guiding Monk through the familiar, albeit offbeat, chord progressions of "Ruby, My Dear" is striking. His nimble reflexes and split-second timing render this version superior. Again, the sound of the hall offers even more to enjoy from this performance. It is unfortunate that the playful solitude of "Round Lights" was never revisited. This freeform composition is framed within a blues structure, yet reveals all of the slightly askew freedom of a Monk original. The recreation of an old 1920s hit, "There's Danger in Your Eyes, Cherie," is another of the highlights from Thelonious Alone in San Francisco that was never recorded again by Monk. The noir qualities are immeasurably enhanced by Monk's oblique phrasings as well as the eerie resonance of the Fugazi. This is an absolute must-own recording -- Monk enthusiast or not. © Lindsay Planer /TiVo
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Jazz - Verschenen op 23 september 2002 | Columbia - Legacy

Onderscheidingen De Muzikale Rariteiten
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Jazz - Verschenen op 1 januari 2013 | Blue Note (BLU)

Onderscheidingen Qobuz Referentie
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Jazz - Verschenen op 18 september 2020 | Legacy Recordings

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In 2020, the release of a late-era Thelonious Monk live show recorded at a high school by a custodian may seem like, at best, a historical curio or, at worst, the very epitome of barrel-scraping. But from the first moments of this 45-minute set, it's clear that this unique recording has far more going for it than its provenance or its rarity. But, to be sure, both the provenance and rarity of the recording are worth noting: In the heightened, revolution-ready atmosphere of 1968, a senior at an affluent and predominantly white high school bringing a jazz legend to campus seems like an absurd idea, but this senior was Danny Scher, and this wasn't even the first jazz gig he booked at Palo Alto High (he brought in Cal Tjader during his junior year and would book Duke Ellington a few months after this Monk show). Scher would go on to work for more than two decades with concert promoter Bill Graham, but in 1968, he was a driven and passionate young jazz fan who didn't take no for an answer. So, with Thelonious Monk booked for a two-week stand at the Jazz Workshop in San Francisco, Scher didn't see why he couldn't bring the iconic pianist into Palo Alto for a Sunday afternoon side gig at his high school. Monk, having recently released what would be his last Columbia album (Underground), was on the cusp of forced retirement due both to his struggles with mental illness and the generally waning relevance of bop-era jazz icons; at this point in his career, he wasn't turning down a well-paying gig, regardless of the venue. With mthe rest of his quartet in tow, Monk put on a jubilant, tight, and joyous performance in a high school gym on a rainy Sunday afternoon. It's a pretty standard Monk set for the time—just six songs, mostly Monk-penned stalwarts from '40s and '50s like "Epistrophy" and "Blue Monk," as well as a brief and lovely solo piano take on "I Love You Sweetheart of All My Dreams"—but Monk and the quartet (saxophonist Charlie Rouse, bassist Larry Gales, and drummer Ben Riley) are in light spirit and great form throughout, full of energy and interplay. The quality of the recording— which, again, was made by the school's custodian!—is excellent, with rich low end and a shining clarity showcasing the melodic conversations between Monk's piano and Rouse's tenor sax. The crowd noise is pretty low in the mix compared to many live recordings, and there are occasional moments of audible degradation due to the age of the tape, but overall, this is an incredible recording. The sound is clear, warm, immersive, and enveloping, right down to the audible squeaks of Monk's piano bench, putting the listener right in the middle of a truly unique performance. © Jason Ferguson/Qobuz
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Jazz - Verschenen op 27 augustus 1996 | Columbia - Legacy

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Jazz - Verschenen op 15 april 1968 | Columbia

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Jazz - Verschenen op 19 augustus 2003 | Columbia - Legacy

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Jazz - Verschenen op 1 januari 1961 | Jazzland

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Jazz - Verschenen op 15 december 2017 | Prestige

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It’s surprising to hear that since the dawn of the ‘50s, Thelonious Monk already wasn’t a pianist like the others. Or even a musician like the others… With The Complete Prestige 10-Inch LP Collection, we find five 10-Inches made for the label Prestige which have been reunited, restored and remastered from original tapes by Joe Tarantino: Thelonious Monk Trio: Thelonious (1952), Thelonious Monk Quintet Blows For LP, Featuring Sonny Rollins (1953), Thelonious Monk Quintet (1954), Thelonious Monk Plays (1954) and Sonny Rollins and Thelonious Monk (1954). Artistically, Monk was already in his honeymoon period even though this perhaps wasn’t the most joyous time in the musician’s life. The law had confiscated his professional card, forbidding him from playing in clubs in New York. But the contract that Bob Weinstock made him sign with Prestige allowed him to shine during this time in the recording studios. So here we find a musician who’s hungrier than ever before. He’s adventurous too. Not to mention being ahead of the jazz of his time. Already, on a few recordings for Blue Note carried out between the end of the 40s and 1952, Monk went down jazz paths less trodden without ever straying off the route. Here, the whole affair is even more striking. Most of all in the pieces where he is joined by another genius, Sonny Rollins, who also devoted himself to shaking up the rules of a thriving musical genre that was at its most intense and revolutionising age. © MD/Qobuz
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Jazz - Verschenen op 15 april 2019 | RevOla

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Jazz - Verschenen op 1 juni 2006 | Riverside

Hi-Res Booklet
1957. The two giants of jazz often meet at night on the stage of the Five Spot Café. At the start of this avalanche of New York concerts, they hit the studio, where they would record a dozen pieces for trio, quartet and septet. Incredible but true, these sessions with Art Blakey, Wilbur Ware, Coleman Hawkins, Shadow Wilson, Ray Copeland et Gigi Gryce, will be the only ones where Thelonious Monk and John Coltrane ever play together. If this double-act seems too good to be true, it's worth bearing in mind that at the time, the real star was Monk! Coltrane's name was certainly known among jazz specialists of his time, but his fame was nothing like what it would become. "Working with Monk", the saxophonist would later tell the magazine DownBeat, "brought me close to a musical architect of the highest order. I learned from him in every way.". As the name indicates, Complete 1957 Riverside Recordings is a collection of the recordings of these sessions, which were made up of themes almost all written by Monk. Initial recordings, false starts, alternative versions, studio conversation: it's all there! It's a pretty fascinating document, especially for the way that the pianist welcomes all his young colleagues into his unique musical world, so openly and so freely. © MZ/Qobuz
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Jazz - Verschenen op 12 augustus 1963 | Columbia - Legacy

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Jazz - Verschenen op 1 januari 1955 | Prestige

Hi-Res Booklet
This disc contains an all-star cast headed up by Thelonious Monk (piano) and includes some collaborative efforts with Sonny Rollins (tenor sax) that go beyond simply inspired and into a realm of musical telepathy. The five tunes included on Work are derived from three separate sessions held between November of 1953 and September of the following year. As is often the case, this likewise means that there are three distinct groups of musicians featured. Whether by design or happenstance, the tracks compiled for this EP present Monk in the favorable confines and settings of smaller combos, ranging from the intimacy of the Percy Heath (bass) and Art Blakey (drums) trio on "Nutty" as well as the equally grooving title track. Both utilize Monk's uncanny and distinct sense of melody and are conspicuous for Blakey's rollicking percussive contributions -- which, at times, become thrust between Monk's disjointed chord work. The larger quartet and quintet settings are equally as inventive, retaining the highly inventive atmosphere. However, the undeniable highlight is the interaction between Monk and Rollins. Leading off the disc is a definitive and freewheeling reading of the pop standard "The Way You Look Tonight." Equally as scintillating is "I Want to Be Happy," both of which are also highlighted by Art Taylor (drums) and Tommy Potter (bass). They provide a supple and unencumbered framework for the soloists to weave their inimitable and often contrasting contributions. The final track is the beautifully dissonant and extended "Friday the Thirteenth," which is ironically the first fortuitous collaboration between the two co-leads. Rollins is able to entwine a sinuous lead throughout Monk's contrasting chord counterpoint. Enthusiasts seeking additional tracks from these and the remainder of Monk's sessions during his brief residency with Prestige should consider the suitably titled four-CD Complete Prestige Recordings compilation. © Lindsay Planer /TiVo