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1. My Melancholy Baby 3:26 8. Willow Weep For Me 3:02 15. Bye-Ya 2:49 18. These Foolish Things 2:49 (George A. Norton–Maybelle E. Watson– (Ann Ronell) (Thelonious Monk) (Holt Marvell–Jack Strachey–Harry Link) Ernie Burnett) Thelonious Monk Quartet featuring Milt Thelonious Monk Trio Thelonious Monk Trio Charlie Parker & His Orchestra Jackson Prestige 795, mx 369 Prestige 838, mx 400 Mercury 11058, mx C-413-2 Blue Note 1591, mx BN 397-2 Recorded 15 October 1952 Recorded 18 December 1952 Recorded 6 June 1950 Recorded 23 July 1951 16. Monk’s Dream 3:09 19. Reflections 2:49 2. Relaxin’ With Lee 2:51 9. Skippy 3:02 (Thelonious Monk) (Thelonious Monk) (Charlie Parker) (Thelonious Monk) Thelonious Monk Trio Thelonious Monk Trio Charlie Parker & His Orchestra Thelonious Monk Sextet Prestige 850, mx 370 Prestige LP 142, mx 402 Mercury 11076, mx C 425-3 Blue Note 1602, mx BN 434-1 Recorded 15 October 1952 Recorded 18 December 1952 Recorded 6 June 1950 Recorded 30 May 1952 17. Trinkle, Trinkle 2:51 20. Bemsha Swing 3:11 3. Four In One 3:32 10. Hornin’ In 3:17 (Thelonious Monk) (Thelonious Monk–Denzil Best) (Thelonious Monk) (Thelonious Monk) Thelonious Monk Trio Thelonious Monk Trio Thelonious Monk Quintet Thelonious Monk Sextet Prestige 838, mx 399 Prestige LP 142, mx 401 Blue Note 1589, mx BN 392-1 Blue Note 1603, mx BN 435-3 Recorded 18 December 1952 Recorded 18 December 1952 Recorded 23 July 1951 Recorded 30 May 1952 All selections recorded in New York. 4. Criss Cross 3:00 11. Carolina Moon 3:29 Transfers & Production: David Lennick. Digital Restoration: Graham Newton (Thelonious Monk) (Benny Davis–Joe Burke) Thelonious Monk Quintet Thelonious Monk Sextet Blue Note 1590, mx BN 393 Blue Note 1603, mx BN 437 Also available in the Naxos Jazz Legends series ... Recorded 23 July 1951 Recorded 30 May 1952 5. Eronel 3:06 12. Let’s Cool One 3:49 (Thelonious Monk) (Thelonious Monk) Thelonious Monk Quintet Thelonious Monk Sextet Blue Note 1590, mx BN 394 Blue Note 1602, mx BN 438 Recorded 23 July 1951 Recorded 30 May 1952 6. Straight No Chaser 2:59 13. Little Rootie Tootie 3:08 (Thelonious Monk) (Thelonious Monk) Thelonious Monk Quintet Thelonious Monk Trio Blue Note 1589, mx BN 395-1 Prestige 850, mx 367 Recorded 23 July 1951 Recorded 15 October 1952 7. Ask Me Now 3:16 14. Sweet And Lovely 3:36 8.120588* 8.120700* 8.120708* (Thelonious Monk) (Gus Arnheim–Harry Tobias–Jules Lemare) Thelonious Monk Trio Thelonious Monk Trio * Not available in the USA Blue Note 1591, mx BN 396-1 Prestige 795, mx 368 NAXOS RADIO Over 70 Channels of Classical Music • Jazz, Folk/World, Nostalgia Recorded 23 July 1951 Recorded 15 October 1952 www.naxosradio.com Accessible Anywhere, Anytime • Near-CD Quality 5 8.120673 6 8.120673 120673bk Monk2/REV 22/1/05 12:03 PM Page 1
THELONIOUS MONK style that was unchanged from a decade earlier, work but this version is definitive. Monk always 1919, is turned into a double-time waltz. Monk’s world in the 1960s with his quartet and Vol. 2 he was finally recognized as a musical genius. believed in keeping the melody close by (in bebop Let’s Cool One is a contrast to most of his other appearing on the cover of Time Magazine in 1964. ‘Let’s Cool One’ Original Recordings 1950-1952 The music on this collection is from Monk’s the theme is often discarded during solos) and tunes in that it is one of the most singable of all But after working with Dizzy Gillespie in a sextet neglected years. The session from 1950 was the one can hear the complex lines of Criss Cross of his compositions. called The Giants Of Jazz in 1971-72 and making Jazz has usually been a music that has celebrated dramatically. The Cootie Williams Orchestra only time that the pianist recorded with either hinted at throughout this performance’s solos. Completing this collection are eight selections a final series of recordings, Monk retired and its great individualists, the innovators who choose became the first to record a couple of his altoist Charlie Parker or drummer Buddy Rich and Criss Cross is one of Monk’s most advanced including six Monk tunes, performed by the little was heard from him during the decade to go their own way and be themselves rather compositions, “Epistrophy” (which became it also features Dizzy Gillespie on trumpet and pieces, an original with an unpredictable but pianist in 1952 in trios with bassist Gary Mapp preceding his 17 February 1982 death at age 64. than follow musical trends. However even in the Monk’s theme song) in 1942 and “’Round fine backup work from bassist Curly Russell. The somehow logical melody and a very tricky chord and either Art Blakey or Max Roach on drums. Since his passing, Thelonious Monk has again liberal atmosphere of jazz, some brilliant Midnight” two years later. ancient standard My Melancholy Baby is given a sequence. It was never designed to become a Little Rootie Tootie (with its humorous disson- been rediscovered, his compositions extensively musicians get overlooked or misinterpreted and Monk worked for a few months with Lucky tongue-in-cheek treatment. The opening piano standard or be sung but it is a jazz masterpiece. ance), Bye Ya, Monk’s Dream, Trinkle Tinkle explored and his music regarded as the work of a spend years being neglected. That was the case Millinder’s orchestra in 1942 and made his introduction could be by no one but Monk. In contrast, Eronel (‘Lenore’ spelled backwards) and the catchy Bemsha Swing would become highly individual genius. He is actually more for Thelonious Sphere Monk. recording debut in 1944 (other than some private Parker’s Relaxin’ With Lee (a new melody over has a joyful theme that cries out for lyrics. permanent parts of Monk’s repertoire while famous today than he was during his lifetime and Even during the bebop era, a period when jazz recordings from Minton’s) when he spent a the chord changes of “Stompin’ At The Savoy”) Straight No Chaser, due to being a medium- Reflections would slip into obscurity. Sweet And his music, as evidenced by the recordings on this was moving forward quickly, Monk was ahead of period as pianist with tenor-saxophonist Coleman has inventive choruses from Parker and Gillespie tempo blues, did become a standard. Notice how Lovely and These Foolish Things are heard in reissue, are as timeless as ever. the crowd and considered by many to be too ‘far Hawkins’ quartet. While Hawkins recognized along with drum breaks from Rich but Monk’s Monk’s solo is a logical outgrowth of his theme. particularly unique yet melodic versions that out’ to be taken seriously. His piano playing was Monk’s talent from the start, as did Dizzy solo takes honours. Despite his brilliant playing From the same date, Ask Me Now (one of the show what Monk could do to 1930s standards. Scott Yanow not in the dominant Bud Powell style and seemed Gillespie and Charlie Parker, many other so-called on this date, other than two songs backing pianist’s most memorable ballads) features Monk After his long overdue discovery in 1957, author of 8 jazz books including Jazz On Film, Swing, to look forwards and backwards in time modern jazz musicians did not understand what Frankie Passions, Monk made no appearances in in a trio while Milt Jackson (who would soon join Monk became an unlikely celebrity, touring the Bebop, Trumpet Kings and Jazz On Record 1917-76 simultaneously while his compositions were they were hearing, even claiming that Monk did the recording studios during 1949-50. the Modern Jazz Quartet) is showcased on thought of as too difficult to play. Monk would not know how to play piano very well. Alfred Lion of the Blue Note label knew early Willow Weep For Me. Personnel have to wait for the jazz world to catch up to him. Thelonious’ introverted and sometimes- on that Thelonious Monk was a significant new Moving ahead a year, of the four songs that Thelonious Monk was born 10 October 1917 uncommunicative personality did not help, and he voice in jazz and he recorded his first four dates Monk performed during his final Blue Note date Tracks 1 & 2: Dizzy Gillespie, trumpet; Charlie Tracks 9-12: Kenny Dorham, trumpet; Lou in Rocky Mount, North Carolina, growing up in became known as an eccentric. as a leader during 1947-48. Selections 3–12 on (not counting two others not released until Parker, alto sax; Thelonious Monk, piano; Donaldson, alto sax; Lucky Thompson, tenor New York City. He began playing piano when he The 1945-54 period was a difficult one for this set are from two slightly later Blue Note decades later), only Let’s Cool One was recorded Curly Russell, bass; Buddy Rich, drums sax; Thelonious Monk, piano; Nelson Boyd, was six and was initially influenced by both the Monk. While some of his songs, particularly sessions. The 23 July 1951 session (his only by the pianist again. Skippy is remarkably Tracks 3-7: Sahib Shibab, alto sax; Milt Jackson, bass; Max Roach, drums masterful stride pianist James P. Johnson and the “’Round Midnight,” caught on in jazz, he did not recordings of that year) has the debut of five of complex, with the chords changing every two vibraphone; Thelonious Monk, piano; Al Tracks 13-16: Thelonious Monk, piano; Gary influential swing stylist Teddy Wilson. Monk’s get opportunities to play in public that frequently. Monk’s songs plus a reworking of the standard beats and the melody matching Criss Cross in its McKibbon, bass; Art Blakey, drums Mapp, bass; Art Blakey, drums first professional job was going on the road with Monk worked during a couple of brief stints with Willow Weep For Me. Monk’s quintet features difficulty. Tenor-saxophonist Lucky Thompson Tracks 8: Milt Jackson, vibraphone; Thelonious Tracks 17-20: Thelonious Monk, piano; Gary an evangelist, accompanying her sermons. He the Dizzy Gillespie big band of the 1940s and he such sympathetic players as vibraphonist Milt and trumpeter Kenny Dorham fare well but only Monk, piano; Al McKibbon, bass; Art Blakey, Mapp, bass; Max Roach, drums was a member of the house band at Minton’s had occasional gigs with his trio but, by the early Jackson, bassist Al McKibbon and drummer Art Monk really masters the composition. The same drums Playhouse during 1940-43, participating in many 1950s, he was spending most of his time at Blakey, with Sahib Shihab (who would become can be said for Hornin’ In, which also has a spot jam sessions that helped lead to the music soon home, practising and writing new songs. It was better known as a baritonist) often in the lead on for altoist Lou Donaldson and has a mysterious Producer’s Note called ‘bebop’. During this time, Monk pared not until 1957, when he spent the summer alto. Musicians who felt that Monk’s music was feel to the melody and the unusual voicings. The audio defects in tracks 9-12 are not processing faults or the result of deteriorated master tapes. down his style drastically, developing fresh new leading a quartet at New York’s Five Spot that too difficult to play were given strong evidence Throughout his career, Monk enjoyed taking Dropouts and tape twists are in fact audible on the original 78 pressings from this session. chord voicings, developing an unpredictable and featured tenor-saxophonist John Coltrane, that during the first two numbers. Four In One is not vintage tunes and altering them in unexpected percussive approach, and using space and silence Monk finally had his breakthrough. Playing in a the type of song one can perform without a bit of ways. Carolina Moon, which was written in Original monochrome photo of Thelonious Monk from Michael Ochs Archives / Redferns 2 8.120673 3 8.120673 4 8.120673 120673bk Monk2/REV 22/1/05 12:03 PM Page 1
THELONIOUS MONK style that was unchanged from a decade earlier, work but this version is definitive. Monk always 1919, is turned into a double-time waltz. Monk’s world in the 1960s with his quartet and Vol. 2 he was finally recognized as a musical genius. believed in keeping the melody close by (in bebop Let’s Cool One is a contrast to most of his other appearing on the cover of Time Magazine in 1964. ‘Let’s Cool One’ Original Recordings 1950-1952 The music on this collection is from Monk’s the theme is often discarded during solos) and tunes in that it is one of the most singable of all But after working with Dizzy Gillespie in a sextet neglected years. The session from 1950 was the one can hear the complex lines of Criss Cross of his compositions. called The Giants Of Jazz in 1971-72 and making Jazz has usually been a music that has celebrated dramatically. The Cootie Williams Orchestra only time that the pianist recorded with either hinted at throughout this performance’s solos. Completing this collection are eight selections a final series of recordings, Monk retired and its great individualists, the innovators who choose became the first to record a couple of his altoist Charlie Parker or drummer Buddy Rich and Criss Cross is one of Monk’s most advanced including six Monk tunes, performed by the little was heard from him during the decade to go their own way and be themselves rather compositions, “Epistrophy” (which became it also features Dizzy Gillespie on trumpet and pieces, an original with an unpredictable but pianist in 1952 in trios with bassist Gary Mapp preceding his 17 February 1982 death at age 64. than follow musical trends. However even in the Monk’s theme song) in 1942 and “’Round fine backup work from bassist Curly Russell. The somehow logical melody and a very tricky chord and either Art Blakey or Max Roach on drums. Since his passing, Thelonious Monk has again liberal atmosphere of jazz, some brilliant Midnight” two years later. ancient standard My Melancholy Baby is given a sequence. It was never designed to become a Little Rootie Tootie (with its humorous disson- been rediscovered, his compositions extensively musicians get overlooked or misinterpreted and Monk worked for a few months with Lucky tongue-in-cheek treatment. The opening piano standard or be sung but it is a jazz masterpiece. ance), Bye Ya, Monk’s Dream, Trinkle Tinkle explored and his music regarded as the work of a spend years being neglected. That was the case Millinder’s orchestra in 1942 and made his introduction could be by no one but Monk. In contrast, Eronel (‘Lenore’ spelled backwards) and the catchy Bemsha Swing would become highly individual genius. He is actually more for Thelonious Sphere Monk. recording debut in 1944 (other than some private Parker’s Relaxin’ With Lee (a new melody over has a joyful theme that cries out for lyrics. permanent parts of Monk’s repertoire while famous today than he was during his lifetime and Even during the bebop era, a period when jazz recordings from Minton’s) when he spent a the chord changes of “Stompin’ At The Savoy”) Straight No Chaser, due to being a medium- Reflections would slip into obscurity. Sweet And his music, as evidenced by the recordings on this was moving forward quickly, Monk was ahead of period as pianist with tenor-saxophonist Coleman has inventive choruses from Parker and Gillespie tempo blues, did become a standard. Notice how Lovely and These Foolish Things are heard in reissue, are as timeless as ever. the crowd and considered by many to be too ‘far Hawkins’ quartet. While Hawkins recognized along with drum breaks from Rich but Monk’s Monk’s solo is a logical outgrowth of his theme. particularly unique yet melodic versions that out’ to be taken seriously. His piano playing was Monk’s talent from the start, as did Dizzy solo takes honours. Despite his brilliant playing From the same date, Ask Me Now (one of the show what Monk could do to 1930s standards. Scott Yanow not in the dominant Bud Powell style and seemed Gillespie and Charlie Parker, many other so-called on this date, other than two songs backing pianist’s most memorable ballads) features Monk After his long overdue discovery in 1957, author of 8 jazz books including Jazz On Film, Swing, to look forwards and backwards in time modern jazz musicians did not understand what Frankie Passions, Monk made no appearances in in a trio while Milt Jackson (who would soon join Monk became an unlikely celebrity, touring the Bebop, Trumpet Kings and Jazz On Record 1917-76 simultaneously while his compositions were they were hearing, even claiming that Monk did the recording studios during 1949-50. the Modern Jazz Quartet) is showcased on thought of as too difficult to play. Monk would not know how to play piano very well. Alfred Lion of the Blue Note label knew early Willow Weep For Me. Personnel have to wait for the jazz world to catch up to him. Thelonious’ introverted and sometimes- on that Thelonious Monk was a significant new Moving ahead a year, of the four songs that Thelonious Monk was born 10 October 1917 uncommunicative personality did not help, and he voice in jazz and he recorded his first four dates Monk performed during his final Blue Note date Tracks 1 & 2: Dizzy Gillespie, trumpet; Charlie Tracks 9-12: Kenny Dorham, trumpet; Lou in Rocky Mount, North Carolina, growing up in became known as an eccentric. as a leader during 1947-48. Selections 3–12 on (not counting two others not released until Parker, alto sax; Thelonious Monk, piano; Donaldson, alto sax; Lucky Thompson, tenor New York City. He began playing piano when he The 1945-54 period was a difficult one for this set are from two slightly later Blue Note decades later), only Let’s Cool One was recorded Curly Russell, bass; Buddy Rich, drums sax; Thelonious Monk, piano; Nelson Boyd, was six and was initially influenced by both the Monk. While some of his songs, particularly sessions. The 23 July 1951 session (his only by the pianist again. Skippy is remarkably Tracks 3-7: Sahib Shibab, alto sax; Milt Jackson, bass; Max Roach, drums masterful stride pianist James P. Johnson and the “’Round Midnight,” caught on in jazz, he did not recordings of that year) has the debut of five of complex, with the chords changing every two vibraphone; Thelonious Monk, piano; Al Tracks 13-16: Thelonious Monk, piano; Gary influential swing stylist Teddy Wilson. Monk’s get opportunities to play in public that frequently. Monk’s songs plus a reworking of the standard beats and the melody matching Criss Cross in its McKibbon, bass; Art Blakey, drums Mapp, bass; Art Blakey, drums first professional job was going on the road with Monk worked during a couple of brief stints with Willow Weep For Me. Monk’s quintet features difficulty. Tenor-saxophonist Lucky Thompson Tracks 8: Milt Jackson, vibraphone; Thelonious Tracks 17-20: Thelonious Monk, piano; Gary an evangelist, accompanying her sermons. He the Dizzy Gillespie big band of the 1940s and he such sympathetic players as vibraphonist Milt and trumpeter Kenny Dorham fare well but only Monk, piano; Al McKibbon, bass; Art Blakey, Mapp, bass; Max Roach, drums was a member of the house band at Minton’s had occasional gigs with his trio but, by the early Jackson, bassist Al McKibbon and drummer Art Monk really masters the composition. The same drums Playhouse during 1940-43, participating in many 1950s, he was spending most of his time at Blakey, with Sahib Shihab (who would become can be said for Hornin’ In, which also has a spot jam sessions that helped lead to the music soon home, practising and writing new songs. It was better known as a baritonist) often in the lead on for altoist Lou Donaldson and has a mysterious Producer’s Note called ‘bebop’. During this time, Monk pared not until 1957, when he spent the summer alto. Musicians who felt that Monk’s music was feel to the melody and the unusual voicings. The audio defects in tracks 9-12 are not processing faults or the result of deteriorated master tapes. down his style drastically, developing fresh new leading a quartet at New York’s Five Spot that too difficult to play were given strong evidence Throughout his career, Monk enjoyed taking Dropouts and tape twists are in fact audible on the original 78 pressings from this session. chord voicings, developing an unpredictable and featured tenor-saxophonist John Coltrane, that during the first two numbers. Four In One is not vintage tunes and altering them in unexpected percussive approach, and using space and silence Monk finally had his breakthrough. Playing in a the type of song one can perform without a bit of ways. Carolina Moon, which was written in Original monochrome photo of Thelonious Monk from Michael Ochs Archives / Redferns 2 8.120673 3 8.120673 4 8.120673 120673bk Monk2/REV 22/1/05 12:03 PM Page 1
THELONIOUS MONK style that was unchanged from a decade earlier, work but this version is definitive. Monk always 1919, is turned into a double-time waltz. Monk’s world in the 1960s with his quartet and Vol. 2 he was finally recognized as a musical genius. believed in keeping the melody close by (in bebop Let’s Cool One is a contrast to most of his other appearing on the cover of Time Magazine in 1964. ‘Let’s Cool One’ Original Recordings 1950-1952 The music on this collection is from Monk’s the theme is often discarded during solos) and tunes in that it is one of the most singable of all But after working with Dizzy Gillespie in a sextet neglected years. The session from 1950 was the one can hear the complex lines of Criss Cross of his compositions. called The Giants Of Jazz in 1971-72 and making Jazz has usually been a music that has celebrated dramatically. The Cootie Williams Orchestra only time that the pianist recorded with either hinted at throughout this performance’s solos. Completing this collection are eight selections a final series of recordings, Monk retired and its great individualists, the innovators who choose became the first to record a couple of his altoist Charlie Parker or drummer Buddy Rich and Criss Cross is one of Monk’s most advanced including six Monk tunes, performed by the little was heard from him during the decade to go their own way and be themselves rather compositions, “Epistrophy” (which became it also features Dizzy Gillespie on trumpet and pieces, an original with an unpredictable but pianist in 1952 in trios with bassist Gary Mapp preceding his 17 February 1982 death at age 64. than follow musical trends. However even in the Monk’s theme song) in 1942 and “’Round fine backup work from bassist Curly Russell. The somehow logical melody and a very tricky chord and either Art Blakey or Max Roach on drums. Since his passing, Thelonious Monk has again liberal atmosphere of jazz, some brilliant Midnight” two years later. ancient standard My Melancholy Baby is given a sequence. It was never designed to become a Little Rootie Tootie (with its humorous disson- been rediscovered, his compositions extensively musicians get overlooked or misinterpreted and Monk worked for a few months with Lucky tongue-in-cheek treatment. The opening piano standard or be sung but it is a jazz masterpiece. ance), Bye Ya, Monk’s Dream, Trinkle Tinkle explored and his music regarded as the work of a spend years being neglected. That was the case Millinder’s orchestra in 1942 and made his introduction could be by no one but Monk. In contrast, Eronel (‘Lenore’ spelled backwards) and the catchy Bemsha Swing would become highly individual genius. He is actually more for Thelonious Sphere Monk. recording debut in 1944 (other than some private Parker’s Relaxin’ With Lee (a new melody over has a joyful theme that cries out for lyrics. permanent parts of Monk’s repertoire while famous today than he was during his lifetime and Even during the bebop era, a period when jazz recordings from Minton’s) when he spent a the chord changes of “Stompin’ At The Savoy”) Straight No Chaser, due to being a medium- Reflections would slip into obscurity. Sweet And his music, as evidenced by the recordings on this was moving forward quickly, Monk was ahead of period as pianist with tenor-saxophonist Coleman has inventive choruses from Parker and Gillespie tempo blues, did become a standard. Notice how Lovely and These Foolish Things are heard in reissue, are as timeless as ever. the crowd and considered by many to be too ‘far Hawkins’ quartet. While Hawkins recognized along with drum breaks from Rich but Monk’s Monk’s solo is a logical outgrowth of his theme. particularly unique yet melodic versions that out’ to be taken seriously. His piano playing was Monk’s talent from the start, as did Dizzy solo takes honours. Despite his brilliant playing From the same date, Ask Me Now (one of the show what Monk could do to 1930s standards. Scott Yanow not in the dominant Bud Powell style and seemed Gillespie and Charlie Parker, many other so-called on this date, other than two songs backing pianist’s most memorable ballads) features Monk After his long overdue discovery in 1957, author of 8 jazz books including Jazz On Film, Swing, to look forwards and backwards in time modern jazz musicians did not understand what Frankie Passions, Monk made no appearances in in a trio while Milt Jackson (who would soon join Monk became an unlikely celebrity, touring the Bebop, Trumpet Kings and Jazz On Record 1917-76 simultaneously while his compositions were they were hearing, even claiming that Monk did the recording studios during 1949-50. the Modern Jazz Quartet) is showcased on thought of as too difficult to play. Monk would not know how to play piano very well. Alfred Lion of the Blue Note label knew early Willow Weep For Me. Personnel have to wait for the jazz world to catch up to him. Thelonious’ introverted and sometimes- on that Thelonious Monk was a significant new Moving ahead a year, of the four songs that Thelonious Monk was born 10 October 1917 uncommunicative personality did not help, and he voice in jazz and he recorded his first four dates Monk performed during his final Blue Note date Tracks 1 & 2: Dizzy Gillespie, trumpet; Charlie Tracks 9-12: Kenny Dorham, trumpet; Lou in Rocky Mount, North Carolina, growing up in became known as an eccentric. as a leader during 1947-48. Selections 3–12 on (not counting two others not released until Parker, alto sax; Thelonious Monk, piano; Donaldson, alto sax; Lucky Thompson, tenor New York City. He began playing piano when he The 1945-54 period was a difficult one for this set are from two slightly later Blue Note decades later), only Let’s Cool One was recorded Curly Russell, bass; Buddy Rich, drums sax; Thelonious Monk, piano; Nelson Boyd, was six and was initially influenced by both the Monk. While some of his songs, particularly sessions. The 23 July 1951 session (his only by the pianist again. Skippy is remarkably Tracks 3-7: Sahib Shibab, alto sax; Milt Jackson, bass; Max Roach, drums masterful stride pianist James P. Johnson and the “’Round Midnight,” caught on in jazz, he did not recordings of that year) has the debut of five of complex, with the chords changing every two vibraphone; Thelonious Monk, piano; Al Tracks 13-16: Thelonious Monk, piano; Gary influential swing stylist Teddy Wilson. Monk’s get opportunities to play in public that frequently. Monk’s songs plus a reworking of the standard beats and the melody matching Criss Cross in its McKibbon, bass; Art Blakey, drums Mapp, bass; Art Blakey, drums first professional job was going on the road with Monk worked during a couple of brief stints with Willow Weep For Me. Monk’s quintet features difficulty. Tenor-saxophonist Lucky Thompson Tracks 8: Milt Jackson, vibraphone; Thelonious Tracks 17-20: Thelonious Monk, piano; Gary an evangelist, accompanying her sermons. He the Dizzy Gillespie big band of the 1940s and he such sympathetic players as vibraphonist Milt and trumpeter Kenny Dorham fare well but only Monk, piano; Al McKibbon, bass; Art Blakey, Mapp, bass; Max Roach, drums was a member of the house band at Minton’s had occasional gigs with his trio but, by the early Jackson, bassist Al McKibbon and drummer Art Monk really masters the composition. The same drums Playhouse during 1940-43, participating in many 1950s, he was spending most of his time at Blakey, with Sahib Shihab (who would become can be said for Hornin’ In, which also has a spot jam sessions that helped lead to the music soon home, practising and writing new songs. It was better known as a baritonist) often in the lead on for altoist Lou Donaldson and has a mysterious Producer’s Note called ‘bebop’. During this time, Monk pared not until 1957, when he spent the summer alto. Musicians who felt that Monk’s music was feel to the melody and the unusual voicings. The audio defects in tracks 9-12 are not processing faults or the result of deteriorated master tapes. down his style drastically, developing fresh new leading a quartet at New York’s Five Spot that too difficult to play were given strong evidence Throughout his career, Monk enjoyed taking Dropouts and tape twists are in fact audible on the original 78 pressings from this session. chord voicings, developing an unpredictable and featured tenor-saxophonist John Coltrane, that during the first two numbers. Four In One is not vintage tunes and altering them in unexpected percussive approach, and using space and silence Monk finally had his breakthrough. Playing in a the type of song one can perform without a bit of ways. Carolina Moon, which was written in Original monochrome photo of Thelonious Monk from Michael Ochs Archives / Redferns 2 8.120673 3 8.120673 4 8.120673 120673bk Monk2/REV 22/1/05 12:03 PM Page 2
1. My Melancholy Baby 3:26 8. Willow Weep For Me 3:02 15. Bye-Ya 2:49 18. These Foolish Things 2:49 (George A. Norton–Maybelle E. Watson– (Ann Ronell) (Thelonious Monk) (Holt Marvell–Jack Strachey–Harry Link) Ernie Burnett) Thelonious Monk Quartet featuring Milt Thelonious Monk Trio Thelonious Monk Trio Charlie Parker & His Orchestra Jackson Prestige 795, mx 369 Prestige 838, mx 400 Mercury 11058, mx C-413-2 Blue Note 1591, mx BN 397-2 Recorded 15 October 1952 Recorded 18 December 1952 Recorded 6 June 1950 Recorded 23 July 1951 16. Monk’s Dream 3:09 19. Reflections 2:49 2. Relaxin’ With Lee 2:51 9. Skippy 3:02 (Thelonious Monk) (Thelonious Monk) (Charlie Parker) (Thelonious Monk) Thelonious Monk Trio Thelonious Monk Trio Charlie Parker & His Orchestra Thelonious Monk Sextet Prestige 850, mx 370 Prestige LP 142, mx 402 Mercury 11076, mx C 425-3 Blue Note 1602, mx BN 434-1 Recorded 15 October 1952 Recorded 18 December 1952 Recorded 6 June 1950 Recorded 30 May 1952 17. Trinkle, Trinkle 2:51 20. Bemsha Swing 3:11 3. Four In One 3:32 10. Hornin’ In 3:17 (Thelonious Monk) (Thelonious Monk–Denzil Best) (Thelonious Monk) (Thelonious Monk) Thelonious Monk Trio Thelonious Monk Trio Thelonious Monk Quintet Thelonious Monk Sextet Prestige 838, mx 399 Prestige LP 142, mx 401 Blue Note 1589, mx BN 392-1 Blue Note 1603, mx BN 435-3 Recorded 18 December 1952 Recorded 18 December 1952 Recorded 23 July 1951 Recorded 30 May 1952 All selections recorded in New York. 4. Criss Cross 3:00 11. Carolina Moon 3:29 Transfers & Production: David Lennick. Digital Restoration: Graham Newton (Thelonious Monk) (Benny Davis–Joe Burke) Thelonious Monk Quintet Thelonious Monk Sextet Blue Note 1590, mx BN 393 Blue Note 1603, mx BN 437 Also available in the Naxos Jazz Legends series ... Recorded 23 July 1951 Recorded 30 May 1952 5. Eronel 3:06 12. Let’s Cool One 3:49 (Thelonious Monk) (Thelonious Monk) Thelonious Monk Quintet Thelonious Monk Sextet Blue Note 1590, mx BN 394 Blue Note 1602, mx BN 438 Recorded 23 July 1951 Recorded 30 May 1952 6. Straight No Chaser 2:59 13. Little Rootie Tootie 3:08 (Thelonious Monk) (Thelonious Monk) Thelonious Monk Quintet Thelonious Monk Trio Blue Note 1589, mx BN 395-1 Prestige 850, mx 367 Recorded 23 July 1951 Recorded 15 October 1952 7. Ask Me Now 3:16 14. Sweet And Lovely 3:36 8.120588* 8.120700* 8.120708* (Thelonious Monk) (Gus Arnheim–Harry Tobias–Jules Lemare) Thelonious Monk Trio Thelonious Monk Trio * Not available in the USA Blue Note 1591, mx BN 396-1 Prestige 795, mx 368 NAXOS RADIO Over 70 Channels of Classical Music • Jazz, Folk/World, Nostalgia Recorded 23 July 1951 Recorded 15 October 1952 www.naxosradio.com Accessible Anywhere, Anytime • Near-CD Quality 5 8.120673 6 8.120673 120673bk Monk2/REV 22/1/05 12:03 PM Page 2
1. My Melancholy Baby 3:26 8. Willow Weep For Me 3:02 15. Bye-Ya 2:49 18. These Foolish Things 2:49 (George A. Norton–Maybelle E. Watson– (Ann Ronell) (Thelonious Monk) (Holt Marvell–Jack Strachey–Harry Link) Ernie Burnett) Thelonious Monk Quartet featuring Milt Thelonious Monk Trio Thelonious Monk Trio Charlie Parker & His Orchestra Jackson Prestige 795, mx 369 Prestige 838, mx 400 Mercury 11058, mx C-413-2 Blue Note 1591, mx BN 397-2 Recorded 15 October 1952 Recorded 18 December 1952 Recorded 6 June 1950 Recorded 23 July 1951 16. Monk’s Dream 3:09 19. Reflections 2:49 2. Relaxin’ With Lee 2:51 9. Skippy 3:02 (Thelonious Monk) (Thelonious Monk) (Charlie Parker) (Thelonious Monk) Thelonious Monk Trio Thelonious Monk Trio Charlie Parker & His Orchestra Thelonious Monk Sextet Prestige 850, mx 370 Prestige LP 142, mx 402 Mercury 11076, mx C 425-3 Blue Note 1602, mx BN 434-1 Recorded 15 October 1952 Recorded 18 December 1952 Recorded 6 June 1950 Recorded 30 May 1952 17. Trinkle, Trinkle 2:51 20. Bemsha Swing 3:11 3. Four In One 3:32 10. Hornin’ In 3:17 (Thelonious Monk) (Thelonious Monk–Denzil Best) (Thelonious Monk) (Thelonious Monk) Thelonious Monk Trio Thelonious Monk Trio Thelonious Monk Quintet Thelonious Monk Sextet Prestige 838, mx 399 Prestige LP 142, mx 401 Blue Note 1589, mx BN 392-1 Blue Note 1603, mx BN 435-3 Recorded 18 December 1952 Recorded 18 December 1952 Recorded 23 July 1951 Recorded 30 May 1952 All selections recorded in New York. 4. Criss Cross 3:00 11. Carolina Moon 3:29 Transfers & Production: David Lennick. Digital Restoration: Graham Newton (Thelonious Monk) (Benny Davis–Joe Burke) Thelonious Monk Quintet Thelonious Monk Sextet Blue Note 1590, mx BN 393 Blue Note 1603, mx BN 437 Also available in the Naxos Jazz Legends series ... Recorded 23 July 1951 Recorded 30 May 1952 5. Eronel 3:06 12. Let’s Cool One 3:49 (Thelonious Monk) (Thelonious Monk) Thelonious Monk Quintet Thelonious Monk Sextet Blue Note 1590, mx BN 394 Blue Note 1602, mx BN 438 Recorded 23 July 1951 Recorded 30 May 1952 6. Straight No Chaser 2:59 13. Little Rootie Tootie 3:08 (Thelonious Monk) (Thelonious Monk) Thelonious Monk Quintet Thelonious Monk Trio Blue Note 1589, mx BN 395-1 Prestige 850, mx 367 Recorded 23 July 1951 Recorded 15 October 1952 7. Ask Me Now 3:16 14. Sweet And Lovely 3:36 8.120588* 8.120700* 8.120708* (Thelonious Monk) (Gus Arnheim–Harry Tobias–Jules Lemare) Thelonious Monk Trio Thelonious Monk Trio * Not available in the USA Blue Note 1591, mx BN 396-1 Prestige 795, mx 368 NAXOS RADIO Over 70 Channels of Classical Music • Jazz, Folk/World, Nostalgia Recorded 23 July 1951 Recorded 15 October 1952 www.naxosradio.com Accessible Anywhere, Anytime • Near-CD Quality 5 8.120673 6 8.120673 THELONIOUS MONK Let’s Cool One 8.120673 “LET’S COOLONE” MONK THELONIOUS www. NOTES ANDFULLRECORDING DETAILS INCLUDED Newton byGraham Restoration Digital Transfers andProductionbyDavid Lennick h 0 BemshaSwing 20. Reflections 19. TheseFoolishThings 18. Trinkle, Trinkle 17. Monk’sDream 16. Bye-Ya 15. SweetAnd Lovely 14. LittleRootieTootie 13. Let’sCoolOne 12. Hornin’In 10. 1 CarolinaMoon 11. .Skippy 9. WillowWeep ForMe 8. AskMeNow 7. NoChaser Straight 6. Eronel 5. CrissCross 4. FourInOne 3. Relaxin’WithLee 2. .MyMelancholyBaby 1. & g 05NxsRgt nentoa t Design:RonHoares 2005 NaxosRightsInternationalLtd naxos.com 3:06 3:02 2:49 3:17 2:49 3:00 3:32 3:16 3:11 3:09 2:51 3:49 3:29 3:36 2:51 2:59 3:08 3:26 2:49 3:02 Made intheEU Original 1950-1952Original Recordings 63:11 ADD Total Time o.2 Vol.
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THELONIOUS MONK Let’s Cool One Cool Let’s MONK THELONIOUS 8.120673