THELONIOUS MONK
Monk's Dream
Monk.
At Newport 1963 & 1965
(Columbia/Legacy)
Like a lot of geniuses throughout the years, pianist/composer Thelonious Monk was misunderstood in his time. Though it's difficult to believe now, after 50 years of standards like "Round Midnight," "Epistrophy" and "Straight No Chaser," for the first decade or so of his career he was dismissed by fans, critics and even fellow musicians as an eccentric with only marginal talent. His unorthodox piano style (which has to be seen to be appreciated—check the photo on the inside tray of Monk's Dream) led many to believe he couldn't play, despite recorded evidence to the contrary, and his distinctive notions of rhythm and harmony baffled lazy bebop musicians in the 1940s and early 50s. Fortunately, there were enough jazz giants who knew genius when they heard it. Through support from greats like Coleman Hawkins, Lucky Millinder, Dizzy Gillespie and John Coltrane, Monk finally garnered the acclaim he deserved. By the late 50s, the term "genius" was being thrown around in the same sentence as his name. After a string of highly regarded albums for Riverside Records, Monk signed with Columbia in 1962 and began the most highly visible phase of his career, even getting on the cover of Time.

Originally released in 1963, Monk's Dream is the pianist's debut album for Columbia and it's a great way to start the association. Joined by bassist John Ore, drummer Frankie Dunlop and his long-term partner, saxophonist Charlie Rouse, Monk created a perfect introduction for new fans with a mixture of standards and originals. The self-penned mini-opuses "Monk's Dream" and "Bye-Ya" feature his rolling melodies and rippling finger work. The bebop epic "Bright Mississippi" and the down-and-dirty "Blue Bolivar Blues" (AKA "Blue Monk") sneak memorable hooks into their knotty structures. Monk's unique piano style sounds almost as if he's hitting the keys randomly, with dissonance playing an important role, but his attention to melody indicates that his technique is much more precise than it sounds. The combination of memorable tunes and unorthodox playing works especially well on Monk's solo performance of the standard "Body and Soul," which revels in playful beauty. Monk's Dream is a fine calling card. This edition includes several alternate performances of album tracks, allowing the listener more glimpses into a unique musical mind.

Monk., originally issued in 1965, is the artist's fourth Columbia album and one of his most overlooked. Technically there are only two Monk originals here, the creamy ballad "Pannonica" and the jaunty postbopper "Teo," named for producer Teo Macero. Arguably, though, "Children's Song (That Old Man)," a seriously Monkified adaptation of a children's rhyme, counts as a new composition as well. Every other track is a standard: there's a playful take on the Gershwins' "Liza (All the Clouds'll Roll Away)," which showcases the joy Monk takes in tickling the ivories, a sensual version of "April in Paris" and a relaxed swing through "Just You, Just Me," with Charlie Rouse turning in a soulful performance. Best of all is an unaccompanied version of Irving Berlin's "I Love You (Sweetheart of My Dreams)," in which Monk turns in a lively, lyrical tribute to the stride piano players like his neighbor James P. Johnson that were his childhood inspiration. Monk. also debuts his new working quartet with Rouse, bassist Larry Gales and drummer Ben Riley, all of whom would stay with him for the next four years. Like Monk's Dream, this reissue includes alternate takes as bonus tracks, including a medley of "Just You, Just Me/Liza (All the Clouds'll Roll Away)."

The two-disk At Newport 1963 & 1965 collects two separate performances from the prestigious jazz festival. The 1963 set finds Monk accompanied by Rouse, Frankie Dunlop and bassist Butch Warren. The first disk starts strongly with a breezy run through "Criss Cross," with solos for all, including that rarity, a non-annoying drum solo—kudos to the ever-swinging Dunlop. Rouse gets his spotlight on the pretty ballad "Light Blue," while Monk shows off his underrated comping skills. The quartet is joined by clarinetist Pee Wee Russell for "Nutty" and "Blue Monk," on which Monk, Russell and Rouse trade swinging solos and luminous melody lines. The disk concludes with a monumental "Epistrophy." Disk two, from 1965, commences with an epic take on "Off Minor," with plenty of room for players Monk, Rouse, Ben Riley and Larry Gales to stretch out. A beautifully contemplative "Ruby, My Dear," follows, with some of Monk's most elegant piano work. "Hackensack" and another take on "Epistrophy" round out a set of solid, unpretentious performances. At Newport 1963 & 1965 stands not only as a superlative live set from the genius, but also as a good introduction to the talents of one of jazz's most distinct artists. Michael Toland

For fans of: Don Pullen, Charles Mingus, Andrew Hill