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Monk's Music is a jazz album by the Thelonious Monk Septet, which for this recording included Coleman Hawkins and John Coltrane. It was released in November 1957 through Riverside Records . [ 1 ] [ 2 ] The recording was made in New York City on June 26, 1957.
The Complete 1957 Riverside Recordings is a 2006 release of Thelonious Monk and John Coltrane's work for the Riverside Records label in 1957, with two tracks previously unreleased. This collection is an almost complete anthology of the work of Monk and Coltrane, who only recorded together in the studio during 1957.
Disc 1, tracks 1–8: 21 and 27 July 1955, Rudy Van Gelder Studio, Hackensack, NJ – see Thelonious Monk Plays Duke Ellington. Oscar Pettiford, bass; Kenny Clarke, drums; Disc 1, tracks 9–13; disc 2, tracks 1–2: 17 March and 3 April 1956, Rudy Van Gelder Studio, Hackensack, NJ – see The Unique Thelonious Monk. Oscar Pettiford, bass; Art ...
"Monk Theme" (extended version — this is special to the CD) This version features some solo takes Grant played on the theme when we were recording the original (pilot) version, and extra elements from the "Monk" musical palette — vibes, pizzicato strings and some drums. 02:34 "Miming Mr. Monk" (from "Mr. Monk Takes
Monks is an album by pianist Borah Bergman, bassist Wilber Morris, and drummer Sunny Murray. Featuring interpretations of music by Thelonious Monk, it was recorded on April 30, 1996, in New York City, and was issued in 2019 as a two-CD set by the Some Real Music label. Plans for the album's release were initially abandoned due to errors made by ...
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A tonally ambiguous ballad in D ♭ [4] first recorded on July 23, 1951, for the Genius of Modern Music sessions. [5] It also appears on 5 by Monk by 5, [6] and Solo Monk. [7] Jon Hendricks wrote lyrics to the tune and called it ”How I Wish”; it was first recorded by Carmen McRae on Carmen Sings Monk.
Willard Jenkins of JazzTimes wrote: "On this disc one hears a concerted effort to avoid the gates of apathy, through conscious editing of the improvisations, varying the format to a refreshing degree, and addressing Monk’s music with a New Orleans kind of sparkle and joy, including use of polyphony, that is palpable and rewarding." [5]