Thelonious Monk - Essential Works 1952-1962

Tracklist

1
Face A
1.
Little Rootie Tootie
Thelonious Monk
03:06
2.
Monk’s Dream
Thelonious Monk
03:06
3.
Sweet And Lovely
Arnheim, Lemare, Tobias - New York, October 15, 1952 Thelonious Monk Trio : Thelonious Monk (p), Gary Mapp(b), Art Blakey (d)
03:35
4.
Hornin’ In
Thelonious Monk - New York, May 30, 1952, Thelonious Monk Sextet : Kenny Dorham (tp), Lou Donaldson (as), Lucky Thompson (ts), Thelonious Monk (p), Nelson Boyd (b), Max Roach (d)
03:16
5.
Bemsha Swing
Thelonious Monk - New York, December 8, 1952, Thelonious Monk Trio : Thelonious Monk (p), Gary Mapp (b), Max Roach (d)
03:11
6.
Smoke Gets In Your Eyes
Kern, Harbach - Hackensack, New Jersey, May 11, 1954, Thelonious Monk Quintet : Ray Copeland (tp), Frank Foster (ts), Thelonious Monk (p), Curly Russell (b), Art Blakey (d)
04:31
Face B
1.
Round About Midnight
Thelonious Monk - Hackensack, New Jersey, November 21, 1947, Thelonious Monk quintet : George Taitt (tp), Sahib Shihab (as), Thelonious Monk (p), Bob Paige (b), Art Blakey (d)
03:11
2.
I Mean You
Thelonious Monk
02:46
3.
Epistrophy
Thelonious Monk
03:07
4.
Misterioso
Thelonious Monk - New York, July 2, 1948, Thelonious Monk Quartet : Milt Jackson (vib), Thelonious Monk (p), John Simmons (b), Shadow Wilson (d)
03:21
5.
Well, You Needn’t
Thelonious Monk
02:57
6.
April In Paris
Vernon Duke - New York, October 24, 1947, Thelonious Monk Trio : Thelonious Monk (p), Gene Ramey (b), Art Blakey (d)
03:21
7.
Straight No Chaser
Thelonious Monk
02:59
2
Face C
1.
Caravan
Duke Ellington
06:00
2.
I Got It Bad And That Ain’t Good
Duke Ellington
05:57
3.
It Don’t Mean A Thing
Duke Ellington - Hackensack, New Jersey, July 21 & 27, 1955, Thelonious Monk Trio : Thelonious Monk (p), Oscar Pettiford (b), Kenny Clarke (d)
04:41
4.
Solitude
Duke Ellington - Hackensack, New Jersey, July 27, 1955, Thelonious Monk piano solo
03:46
Face D
1.
Blue Monk
Thelonious Monk - Hackensack, New Jersey, September 22, 1954, Thelonious Monk Trio : Thelonious Monk (p), Percy Heath (b), Art Blakey (d)
07:39
2.
Straight No Chaser
Thelonious Monk - New York, June, 2, 1959, Thad Jones (cornet), Charlie Rouse (ts), Thelonious Monk (p), Sam Jones (b), Art Taylor (d)
09:23

Autres produits


Thelonious Monk

Informations


Description

THELONIOUS MONK (1917 - 1982)

Thelonious Sphere Monk est un compositeur et un instrumentiste unique, un esprit newyorkais formé et muri au cœur de la ville du jazz où sa famille s’installe lorsqu’il a quatre ans. Une capitale cosmopolite comme New York, en passe de devenir le centre du monde, ne forme pas un esprit comme le fait une ville moyenne du Middle-West. Monk prend, dès son plus jeune âge de musicien de jazz, un chemin unique et personnel. A vingt ans, il est déjà hors norme et dans les années quarante il est baptisé « high priest of bebop ». Mais il est déjà parti ailleurs, sur une route que personne ne connait. A peine a-t-il participé, à titre éminent, à l’élaboration du bebop, sans en avoir tiré la reconnaissance qu’il mérite, qu’il s’en écarte pour trouver une voie que nul ne peut identifier pour la raison évidente qu’il ne recycle pas les recettes élaborées par les musiciens bebop, recettes qui sont déjà du passé pour lui, alors même que ce bebop est encore trop obscure pour une grande majorité d’amateur de jazz blancs. Ce qu’il veut, c’est explorer de nouvelles contrées de la musique. Il veut jouer un jazz unique, pour le public, lui offrir sa musique, mais pas dans le confort de la recette connue et éprouvée, dans la découverte, la création et l’invention. Monk est en recherche permanente d’une nouvelle esthétique. Il est à bon droit considéré par un grand nombre de musiciens de jazz comme le premier d’entr’eux.

Thelonious Sphere Monk was unique as a composer and instrumentalist, a New York spirit formed and matured in the heart of the city where his family had lived since he was four years old. A cosmopolitan capital like New York, in the throes of becoming the centre of the world, did not form spirits in the same way as a midsized Midwestern city does. From the beginning of his youngest days as a jazz musician, Monk was treading a unique personal path. At twenty he was already outside the norm, and by the Forties he’d been christened the “high priest of bebop.” But he’d already moved elsewhere, taking a road that nobody knew. No sooner had he played a part, with distinction, in the evolution of bebop (without earning the recognition he deserved) than he strayed from that path to find another that nobody could identify, for the obvious reason that he did not recycle the recipes developed by bebop musicians. To him, they belonged to the past, even if that bebop was still too obscure for a large majority of white jazz fans. What Monk wanted was to explore the new lands of music. He wanted to play a unique jazz for the public, and offer people his music; not in the comfort of the tried and tested formula, but through discovery, creation and invention. Monk was on a permanent quest for a new aesthetic. A great number of jazz musicians rightly consider him the foremost of their kind.

The history of music shows us that different kinds and forms follow each other. And that the latest trend overshadows the one that came before it. Today it's difficult to say exactly which trend dominates, as there are so many music currents that overlap and intersect. Mainstream exists no longer. Yet one thing is certain: each music form is built on the music that precedes it. There would be no jazz without classical music, no rock without blues, no rock without jazz, no rap without soul music, no sampling without the riffs of either soul or rock… and therefore, inside each genre you find different chapters in the history of music. And that is why it is so important to understand their origins: they shed the light that is necessary for an understanding of the music born every day.
The richness of jazz lies at the origin of so much music today that it is essential to discover this creative wealth. The Essential Works of Masters of Jazz bring to light those 20th century creations that still exert an influence on the majority of musicians today — whether they are aware of it or not.

The Essential Works of Masters of Jazz gather the fundamental creations of the music of today.