Thelonious Monk - Monk's Music [Analogue Prod 180g; LP 2 of 7 LP-Box "The Riverside Tenor Sessions"] 24/96 & 16/44.1

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Monk's Music is often cited as one of the focal points of Thelonious Monk's six-year affiliation (1955-1961) with the Riverside label. Although the original disc clocked in at slightly over 30 minutes, packed into that half hour are not only the introduction of a few of Monk's signature compositions, but also some amazing interactions from the assembled ensemble. - Lindsay Planer/AMG

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Monk's Music is a 1957 album by Thelonious Monk's jazz septet. It was recorded in New York on June 26, 1957. The first song "Abide With Me"—a hymn by W. H. Monk—is an austere rendition played only by the septet's horn section. The song "Ruby, My Dear" is performed only by Monk, Coleman Hawkins, Wilbur Ware, and Art Blakey. John Coltrane had joined Monk after a spell with the Miles Davis Quintet, and this is Coltrane's only studio recording with Monk, who can be heard enthusiastically calling on him to take the first solo on the album in "Well, You Needn't" (though Coltrane's name does not appear on the front cover). All of the songs except one are original compositions by Thelonious Monk, but some had appeared on previous albums by Monk.

The two mixes of this album (stereo and mono) are notable in that they used entirely different setups of microphones, recording the same performances. The stereo mix was recorded using mics at a greater distance from the band, and therefore has a distinctly different sound from the mono mix. This rip contains the mono mix.

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Review by Lindsay Planer Monk's Music is often cited as one of the focal points of Thelonious Monk's six-year affiliation (1955-1961) with the Riverside label. Although the original disc clocked in at slightly over 30 minutes, packed into that half hour are not only the introduction of a few of Monk's signature compositions, but also some amazing interactions from the assembled ensemble. Joining Thelonious Monk (piano) during these two recording sessions are Ray Copeland (trumpet), Gigi Gryce (alto sax), Coleman Hawkins (tenor sax), John Coltrane (tenor sax), Wilbur Ware (bass), and Art Blakey (drums). The true meaning of the album's title exists beyond just Thelonious, as the opening sacred prelude, "Abide With Me," was written by William H. Monk. This brief piece features only the horn quartet, foreshadowing their importance throughout the album. The angular stride style featured during the chorus of "Well You Needn't" is tackled with the same nimble authority as Monk's completely unfettered solos. If his ability to swing and his utilization of atomic clock accuracy have ever been questioned, the answer lies no further. So utterly free and fantastic, certain passages command immediate review to be fully comprehended. Hearing Coltrane and Hawkins together is admittedly part of the charm in these sides. "Ruby, My Dear" is bathed in the smoky essence of Hawkins' rich textures and Coltrane's playful cat-and-mouse aggression. Blakey gently propels the rhythm, never getting in the way and sporting a serene snare groove throughout. "Off Minor" is largely led by Monk, with solos that follow into and out of the memorable chorus that sparkles with the full involvement of the horn and rhythm sections. The same is true for this definitive version of "Epistrophy" -- perhaps the zenith collaborative effort between Coltrane and Monk. Additionally, Blakey is in top form, with a solo that borders on spastic precision.

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Track Listing:

All compositions by Thelonious Monk.

Side A :
"Abide with Me"
"Well, You Needn't"
"Ruby, My Dear"

Side B :
"Off Minor"
"Epistrophy"
"Crepuscule with Nellie"

Personnel

Musicians

Thelonious Monk - piano
Ray Copeland - trumpet
Gigi Gryce - alto saxophone
Coleman Hawkins - tenor saxophone
John Coltrane - tenor saxophone
Wilbur Ware - double bass
Art Blakey - drums

Production

Orrin Keepnews - Producer
Jack Higgins - Recording engineer
Paul Weller - Cover photo
Paul Bacon - Cover design

Personal Note

With my vinyl rips I try to catch the whole beauty of records. Therefore I don't use any post-processing or any sound improver. What you get is a clear and flat transfer.
For getting a clear sound I'll do an extended washing of each record with my RCM, which can take up to 30 minutes brushing for each side. Resistant ticks and clicks I try to remove as good as possible, but the priority is not to loose any musical information.
Surface noises, as long they are not to high, are left in place. Only on bad pressings or on records recorded with extremly low level I do a fade in-/-out. As John Peel said, 'Life is full of surface noises'.
In some cases this means I have to do a compromise... The result has to pass my personal quality criteria which is IMO quite high.

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