简介 · · · · · ·
Thelonious Monk's music is striking as much for its logic and lyricism as it is for its idiosyncrasy and peculiarity. It often recalls the Salvador Dali painting that looks like a murky portrait of the artist's wife from close up, but from a few yards away reveals the clear image of Abraham Lincoln. Take "We See," for instance: it sounds a bit odd on a micro level, but pan out and you hear a very appealing melody with the charm of a Tin Pan Alley standard. Monk was in on seven sessions for Prestige as a leader and sideman between October 1952 (after leaving Blue Note) and December 1954 (before bolting for Riverside). Prestige's initial LPs sliced and diced these sessions, so the chronological format of this three-CD box gives the music a welcome cohesion. Of the seven dates, four are particularly rewarding, all of them under Monk's leadership. The October 1952 trio session with trivia-question-answer Gary Mapp on bass and drummer Art Blakey yielded wonderful Monk compositions like "Bye-Ya" and "Monk's Dream." He returned to the trio format two months later (with Max Roach in Blakey's spot) and produced "Trinkle Tinkle," "Reflections," and "Bemsha Swing."
The peak of Monk's Prestige tenure came in 1954. In May, he led a quintet through the originals "We See," "Locomotive," and "Hackensack" (plus "Smoke Gets in Your Eyes"), and four months later, he brought in an exceptional trio (with bassist Percy Heath and Blakey) for readings of "Nutty," "Work," and "Blue Monk." His stunning solo version of "Just a Gigolo" from that session is a perfect illustration of his way of dissecting standards. It's telling that Blakey was the drummer on three of these four sessions. No one knew how to make Monk's quirkiness swing and flow as well as Blakey, who was able to be both proactive and responsive to Monk's unique vision. The box is rounded out by Monk's sideman work behind Sonny Rollins and Miles Davis, plus four 1944 bonus cuts in support of Coleman Hawkins (made for the Joe Davis label) that are pleasant curiosities offering proof of a young Monk's (and Hawkins's) open mind. Though not as celebrated (or consistent) as his other periods, Monk's Prestige tenure includes some of his greatest triumphs. --Marc Greilsamer
The peak of Monk's Prestige tenure came in 1954. In May, he led a quintet through the originals "We See," "Locomotive," and "Hackensack" (plus "Smoke Gets in Your Eyes"), and four months later, he brought in an exceptional trio (with bassist Percy Heath and Blakey) for readings of "Nutty," "Work," and "Blue Monk." His stunning solo version of "Just a Gigolo" from that session is a perfect illustration of his way of dissecting standards. It's telling that Blakey was the drummer on three of these four sessions. No one knew how to make Monk's quirkiness swing and flow as well as Blakey, who was able to be both proactive and responsive to Monk's unique vision. The box is rounded out by Monk's sideman work behind Sonny Rollins and Miles Davis, plus four 1944 bonus cuts in support of Coleman Hawkins (made for the Joe Davis label) that are pleasant curiosities offering proof of a young Monk's (and Hawkins's) open mind. Though not as celebrated (or consistent) as his other periods, Monk's Prestige tenure includes some of his greatest triumphs. --Marc Greilsamer
曲目 · · · · · ·
Flyin' Hawk
Recollections
Drifting On A Reed
On The Bean
Bye-Ya
Monk's Dream
Sweet And Lovely
Little Rootie Tootie
Bemsha Swing
Reflections
These Foolish Things
Trinkle, Tinkle
Think Of One (Take 1)
Let's Call This
Think Of One (Take 2)
Friday The 13th
Bags' Groove (Take 1)
Swing
The Man I Love (Take 1)
Swing Spring
Bags' Groove (Take 2)
The Man I Love (Take 2)
We See
Locomotive
Smoke Gets In Your Eyes
Hackensack
Nutty
Just A Gigolo
Work
Blue Monk
I Want To Be Happy
The Way You Look Tonight
More Than You Know
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