These are the questions that occurred to me as I wrote this articlea fitting tribute in Monk's centenary year. Does improvisation sound more inviting now?
Recorded New York, Oct & Nov 1947, July 1948, June 1950, July 1951.Music and improvisationthat comes naturally to our ears but what if we say life and improvisation? Huh? Well, life is improvisation is it not? How do we deal best with that period of time between birth and death that we call life? Life is a strange dance partnerit offers one fun, friends, food, love, knowledge, discovery but lets you know throughout that death is part of this deal called life. Monk (p) with Gene Ramey (b) Art Blakey(d) George Taitt (tp) Sahib Shihab (as) Bob Paige(b) Milt Jackson (vib) John Simmons (b) Shadow Wilson (d) Al McKibbon (b) Charlie Parker (as) Dizzy Gillespie (tp) Curly Russell (b) Buddy Rich (d) Idrees Sulieman(tp) Danny Quebec West (as) Billie Smith (ts). Well You Needn’t April in Paris Nice Work If You Can Get It Ruby My Dear In Walked Bud Evidence ‘Round Midnight Misterioso Epistrophy Introspection I Mean You Straight No Chaser Ask Me Now Mohawk Willow Weep For Me Bloomdido Four In One Criss Cross Eronel Thelonious (63.08) Shame, as it stayed on my vehicle’s CD player for days, which must mean something. But as it omits so much, and the material is available elsewhere in more comprehensive format, only three. It’s a treat to hear these at any time – fresh, immediate and immensely appealing – and worth five stars just for the horns and Monk on ’Round Midnight. The trio tracks show how different Monk’s handling of standards was from any of his contemporaries at the time, and the rest show the correspondence between his playing and compositions, the expression of his ideas, and how rhythmically challenging they were for the musicians taking part. However, if you want an introduction to Monk’s early music for a newcomer, it’s not a bad choice. So manifestly not for those who already love jazz – because we will already have these with the missing tracks, although admittedly the original Blue Note albums had a muddled layout. Then, for some reason, Mohawk and Bloomdido from the Verve/Clef Bird and Diz recording. It’s mostly from the two Monk Blue Note albums, but omitting five of the tracks and all four with Kenny Dorham, Lou Donaldson and Lucky Thompson, but including a few from the same session released (on Blue Note) under Milt Jackson’s name. But it’s bit of a mishmash and seemingly a subjective choice. The sleeve notes say it’s for those who already love jazz, those rediscovering jazz and the younger generation, presumably who are not familiar with the music.
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