Stride
Dissonance
Angular
Percussive
Clusters of notes
Quirky rhythms Blues
Arpeggios
Whole tone scales
Beautiful ‘off’ endings
These are descriptors that could apply to the piano playing of Thelonious Monk, whose prolific career spanned from the early 1940s to the mid 1970s. Bill Evans called him “…an exceptionally uncorrupted creative talent.”
Monk’s playing often defies description, but his sound is immediately recognizable. His unique style is most pure in his solo piano works. He recorded many tunes multiple times in different settings: solo, trios, quartets, quintets, sextets, and larger bands. It is an enlightening exercise to go deeper, to compare and contrast each rendition. So, enough words. Let’s get to a playlist of some of his best tracks.
Solitude, off THELONIOUS MONK PLAYS DUKE ELLINGTON (1955): An early piano solo on a trio album designed to introduce Monk to the public through covers of Ellington’s tunes. Somewhat hesitatingly cautious, Solitude has much of the stylistic character that becomes refined during Monk’s career. A beautiful, tender, rendition.
I’m Getting Sentimental Over You. (MONK HIMSELF (1957)). An interpretive experiment, played with caution but in Monk’s inimitable style. The album MONK HIMSELF is one of his earliest solo albums.
‘Round Midnight: Probably Monk’s all-time most famous composition, co-composed by Cootie Williams and recorded many times in many settings. I suggest comparing two solo versions. First, the 6’40” experimental 1957 version, beautiful and contemplative, from MONK HIMSELF, and next, the shorter, tighter version on MONK’S GREATEST HITS album. For an extra treat, listen to Miles Davis’s recording from ‘ROUND ABOUT MIDNIGHT (with exceptionally sweet solos by Miles and John Coltrane).
ALONE IN SAN FRANCISCO
Ruby, My Dear A magnificent track. Uneven rhythm. Possibly the best ending of any of his solo recordings. Compare with the track on SOLO MONK (1965).
Everything Happens To Me. This is one of Monk’s favorite tunes, recorded many times. Compare this track with the must-listen version on SOLO MONK.
You Took The Words Right Out Of My Heart. Polytonality and cluster chords the likes of which no jazz ears had heard before. A gorgeous piece.
SOLO MONK (1965). This entire album is Monk at the height of his solo playing.
Dinah. Monk’s stride left hand at its best. The liner notes call it a ‘spoof’. I don’t buy it, since Monk uses stride extensively throughout his career, in both his compositions and standards. I wonder if Monk got to read and approve the liner notes…
I Surrender, Dear. What he does with his left hand—single notes that suggest entire chords—is so Monk. The little trill at the end…wonderful!
Ruby, My Dear. An absolute must-listen track of one of his most famous compositions.
I’m Confessin (That I Love You). Medium stride to state the melody, then solos over the form. I would nominate it for ‘best bridge in a jazz standard’.
I Hadn’t Anyone Till You. Great Intro, beautiful stride, rich cluster chords, and a totally unique two-chord ending.
Everything Happens To Me. A must-listen track of one of Monk’s favorite standards.
Ask Me Now. Classic Monk composition. Cluster chords, stride, crazy wonderful arpeggios.
THE UNIQUE THELONIOUS MONK (1956). This is a trio album with Art Blakey on drums and Oscar Pettiford on bass. The trio adds a dimension to Monk’s playing without obscuring his style.
Liza (All The Clouds’ll Roll Away). Simply delightful. Tasteful drumming by Blakey, including an excellent solo.
Darn That Dream. Tender rendition with a short bass solo and great ending.
STRAIGHT, NO CHASER (1967) This is the quartet Monk used through much of his career, with Charlie Rouse on tenor, Larry Gales on bass, and Ben Riley on drums.
I Didn’t Know About You: Splendid Charlie Rouse tenor playing and Monk piano in this must-listen Duke Ellington tune. Interestingly, this tune has similarities in chord structure to another of Monk’s favorites, Everything Happens To Me.
Straight, No Chaser. Anyone who has even a small interest in jazz needs to know this tune, one of Monk’s most famous, and played by every aspiring jazz player at every jam session around the world. Also listen to the track by Miles Davis at Newport
UNDERGROUND (recorded 1967, released 1968). Same group as STRAIGHT, NO CHASER. I'd nominate UNDERGROUND as best album cover in a jazz record.
Easy Street. This tune by A.R. Jones, played in trio format, embodies the sentiment of its title, with Monk’s playful embellishments. It moves along smoothly in a rhythm that makes you want to drop what you’re doing, hold your partner close, and dance in the kitchen.
In Walked Bud. You absolutely have to listen to this track to hear Jon Hendricks’ vocals and scat solo that swings as hard as any jazz vocalist has ever swung.
There it is. A mere nineteen tunes, played or written by Thelonious Monk. They represent only a microscopic glimpse at his work, but some of the best playing and best recordings of his career. Explore more about Monk at http://www.monkinstitute.org/.
