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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 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 Blakey, drums; Disc 2, tracks 3–6, 8: 9 and 15 October 1956, Reeves Sound Studios, NYC – see Brilliant Corners. Ernie Henry, alto saxophone; Sonny Rollins, tenor saxophone
"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
Monk's Miracles: Columbia Record Club: D 338 mail order only 1969 Monk's Greatest Hits: Columbia: CS 9775 1969 The Best of Thelonious Monk: Riverside: RS 3037 1983 Monk's Classic Recordings: 1984 Blues Five Spot: 1998 Monk Alone: The Complete Solo Studio Recordings of Thelonious Monk 1962–1968: Sony: 2 CD 2001 The Columbia Years: '62–'68 ...
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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]
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