Dave Rickert
October 2001
Combing the Catalog
Archive
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Columbia Monk
By David Rickert
The Columbia Years (1962-1968)
Thelonious Monk
The Columbia Years begins with “Monk Speaks”, a few seconds of unintelligible
studio mumblings from the eccentric genius. Listen to it a dozen times and you still won’t figure
it out. Its a good joke, because people have been trying to figure out what Monk had to say for
years. Utilizing a style that incorporated odd rhythmic displacement and dissonant solos that at
times sound like they were pounded out with ball peen hammers, Monk forged a unique style that
few dared to imitate, and those that did so were seldom successful. Despite, or perhaps due to his
unique method, Monk crafted memorable tunes that managed to straddle the avant garde and the
melodic. Monk’s controversial Columbia years are rarely held as his finest recordings; most of
the tunes that appear here had their definitive versions already pressed in wax by other labels. Yet
they still hold a distinct charm and some fine playing. This set is not a compilation of everything
Monk did for the label, but instead a retrospective of Monk’s final recordings. Orrin Keepnews,
who had Monk in the studio extensively for Riverside, was given the insurmountable task of
condensing Monk’s Columbia output to three CDs, which inevitably means that some outstanding
material falls by the wayside. Although Monk frequently re-recorded favorite compositions,
Keepnews makes a point of not repeating any number, which unfortunately robs the listener of the
pleasure of hearing how the pianist reworked compositions to suit different settings. However,
Keepnews has restored some previously edited performances (for instance, a ten minute version
of “Ugly Beauty”) and included several tracks which languished in the vaults (a masterful
“Thelonious”). In fact, less than half of the set duplicates material originally available on previous
Columbia issues, which makes the set valuable even to those who have the individual
CDs. During his time with the label Monk was recording primarily with his working quartet
and various expansions of this unit and thus many different facets of Monk are represented,
including solo, trio, quartet, and big band recordings in both live and studio settings. If nothing
else, the Columbia years provide the best documentation of Monk’s work with Charlie Rouse,
who ably negotiated a treacherous landscape where not even Sonny Rollins could find sure
footing. Rouse was never regarded as a great soloist on his own, but he certainly enjoyed a
symbiotic relationship with Monk as several of these tunes demonstrate. Monk also dabbled with
arrangements for larger groups, which tended to smooth out the jagged edges of his
compositions, often to their detriment. He still recorded frequently with a trio or solo, which
many would argue is the best way to experience Monk’s talents. A few curious artifacts are
included; Jon Hendricks’ vocalese rendition of “In Walked Bud” works better than one might
expect, and Pee Wee Russell, who can’t quite get a grip on “Nutty”, is featured in a recording
from the Newport Jazz Festival. It’s tempting to say that this set represents all the Columbia
Monk that one need acquire since the less enjoyable recordings, when Monk is on autopilot, are
left out. Still, there are some drawbacks. Some subpar performances are included for the sake of
completeness; “Reflections”, a collaboration with Oliver Nelson, is decent, but better versions
exist. Also, Keepnews sticks to obvious choices, negelcting those from further afield. The
inclusion of “Epistophy” and “Evidence”, two of Monk’s more angular and startling
compositions, are the most adventurous tracks here. Although not as packed with gems as
The Complete Riverside Recordings, The Columbia Years is certainly more
manageable, condensing a time period when the popularity of jazz was waning. Ironically,
Monk’s popularity was at its peak during the sixties; he appeared on the cover of Time
just as casual listeners became receptive to his peculiar music. Comparing these recordings with
those from Blue Note demonstrate that Monk never really changed; it just took a while for people
to catch up to him. People who are new to Monk will want to grab his work for other labels first,
but this set is a fitting last chapter to an exceptional career.
Thelonious Monk: The Columbia Years (1962-1968)
Tracks: Disc One: 1. Monk Speaks, 2. Bye-Ya, 3. Coming on the Hudson, 4.
Rhythm-A-Ning, 5. Think of One, 6. Pannonica, 7. Crepuscle With Nellie, 8. April in Paris, 9.
Ugly Beauty, 10. Honeysuckle Rose, 11. In Walked Bud, 12. Thelonious. Disc Two: 1.
Reflections, 2. Blue Monk, 3. ‘Round Midnight, 4. Dinah, 5. Ask Me Now, 6. Ruby, My Dear, 7.
Don’t Blame Me, 8. (When It’s) Darkness on the Delta, 9. Played Twice, 10. I Mean You, 11.
Bemsha Swing, 12. Jackie-ing. Disc Three: 1. Nutty, 2. Straight, No Chaser, 3. Evidence, 4.
Epistrophy, 5. Well, You Needn’t, 6. Misterioso, 7. Hackensack, 8. Bright Mississippi.
Collective Personnel: Thelonious Monk-piano; Charlie Rouse, Tom Scott, Johnny
Griffin-tenor sax; Ernie Watts, Gene Cipriano, Phil Woods-alto sax; Ernie Small, Gene Allen,
Jack Nimitz-baritone sax; Steve Lacy-soprano sax; Pee Wee Russell, clarinet; Thad Jones-cornet;
Bobby Bryant, Melvin Moore, Conte Candoli, Freddie Hill, Nick Travis, Ray Copeland-trumpets;
Eddie Bert, Bob Brookmeyer, Billy Byers, Mike Winberly, Lou Blackburn, Jimmy
Cleveland-trombones; Buddy Collette-reeds; Howard Roberts-guitar; John Ore, Larry Gales,
Butch Warren, Steve Swallow-bass, Frankie Dunlop, Ben Riley, John Guerin-drums; Jon
Hendricks-vocals; Oliver Nelson, Buddy Collette-arranger, conductor.
Verve on the web: http://www.vervemusicgroup.com
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