Thelonious Monk Quintet--Monk (Prestige 7053)Tracks 1-4 Recorded May 11, 1954
Monk--Piano; Frank Foster--Tenor; Ray Copeland--Trumpet; Curly Russell--Bass; Art Blakey--Drums
Tracks 5-7 Recorded November 13, 1953
Monk--Piano; Sonny Rollins--Tenor; Julius Watkins--French Horn; Percy Heath--Bass; Willie Jones--Drums
On any Monk album I hear, I can always expect memorable themes. This album is no different, with Monk's trademark quirky, oddly timed melodies occurring in abundance. Monk famously tried to play "between" the notes on the piano, hence his unique sound. According to the liner notes, many of the song titles come from the fact that Monk didn't have names for the tunes yet. When asked for the name, he'd answer "We'll see", "I'll think of one", or "Let's call this."
I bought this album many years ago when I was first getting into jazz. Even though Monk's most famous compositions ('Round Midnight, Well You Needn't, Straight No Chaser) aren't on this record, "Monk" still gives the listener a quality representation of Thelonious' work. Plus, you can't go wrong with sidemen like Sonny Rollins and Art Blakey.
Track Notes:
We See-- Monk shows his technique here-- melodic right hand solo while the left hand jumps all over the keyboard hitting "wrong" notes. Foster shows a sense of aggressive swing during his first solo that really gets the song moving. Art Blakey's accents underneath the soloists demonstrate why he was considered a top of the line accompanist.
Smoke Gets In Your Eyes-- This is a great Monk arrangement of the famous song. Monk solos underneath the ensemble for entire song. His playing definitely can't be called tender; he hits the keys forcefully, as if he's trying to get his point across as directly as possible. Blakey's sensitive drumming is a nice contrast to Monk's playing.
Locomotive--The minimalist sax riff in the head arrangement really makes the song; all Foster does is repeat an alternating two note pattern, but it sounds fantastic. Copeland sounds more comfortable during his solo than on We See, and both he and Frank Foster do some interesting and expressive work over double time drums.
Hackensack--Although considered a minor Monk standard, I've never enjoyed this particular recording. The screechy irritating melody turns me off every time. The Blakey drum solo at the very end of the song, however, is awesome. It makes the song worth listening to all the way through.
Let's Call This--Sonny Rollins' laid back smoothly swinging solo and Watkins' warm french horn give this song a relaxed feeling.
Think of One (Take 2)--A memorable Monk theme with a well constructed solo by Rollins. Listen to how he builds to a flurry of notes just before he turns the reigns over to Watkins, who unfortunately seems a little lost.
Think of One (Take 1)--The melody in this first take is lethargic and sloppy, and the solos seem short and unfocused. No wonder they did another take that day.
