Thelonious monk youtube full#

Jazz had such pan-cultural appeal in the late 1950s that Duke Ellington had a cameo in Otto PremingerвЂ™s Anatomy of a Murder, for which he also did the music Mingus scored John CassavetesвЂ™ directorial debut, Shadows В and Miles did the memorable soundtrack for Ascenseur Pour LвЂ™Г‰chafaud. (Monk being Monk, he wore a conical hat during the date.) Kelley, author of Thelonious Monk: The Life and TimesВ of an American Original, as well as photographs from the session, which took place down the block from Carnegie Hall at Nola Penthouse Studio on 111 West 57thВ Street.

ItвЂ™s bolstered by notes from scholars includingВ Robin D.G.

Thelonious monk youtube full#

Thelonious Monk: Les Liaisons Dangereuses 1960-a limited-edition double-LP and 2xCDВ set-was produced by Zev Feldman, FranГ§ois Le Xuan, and Frederic Thomas for the independent Sam Records and Saga labels with full permission from MonkвЂ™s estate. If 1959 was a summit in jazz, it may also have marked, on balance, MonkвЂ™s annus mirabilis. Improbably lost to the world, the recordings were never released on their own until now, on the centennial of MonkвЂ™s birth. His many virtues are underscored again with the unveiling of yet another recording he made that year: the soundtrack for Roger VadimвЂ™s film Les Liaisons Dangereuses, itself an adaptation of Pierre Choderlos de LaclosвЂ™ 18thВ century novel. If these were not as monumental as the aforementioned-or as brilliant as his own Brilliant Corners from 1957-then they showcased his vast breadth as a truly original pianist, bandleader, and above all, as a writer. In 1964, Monk became one of four jazz musicians ever to grace the cover of Time Magazine.Thelonious Monk, as Rushmore-worthy as those others, put out no less than three albums, all in a variety of settings: the large ensemble At Town Hall 5 by Monk by 5 with his quintet and the solo Thelonious Alone in San Francisco. By 1962, Monk was so popular that he was given a contract with Columbia Records, a decidedly more mainstream label than Riverside. Enjoying huge success, they went on to tour the United States and even make some appearances in Europe. In 1957, the Thelonious Monk Quartet, which included John Coltrane, began performing regularly at the Five Spot in New York. With the release of two more Riverside masterworks, Thelonious Himself and Thelonious Monk with John Coltrane, Monk finally received the acclaim he deserved. The album's title track made a splash with its innovative, technically demanding, and extremely complex sound, which had to be edited together from many separate takes. Not content to pander ineffectively to a nonexistent audience, Monk turned a page with his 1956 album, Brilliant Corners, which is usually considered to be his first true masterpiece. There, he attempted to make his first two recordings more widely accessible, but this effort was poorly received by critics.

As Monk saw it, 'The piano ain't got no wrong notes!' Though widespread recognition was still years away, Monk had already earned the regard of his peers as well as several important critics.Д«ecause Monk's work continued to be largely overlooked by jazz fans at large, Prestige sold his contract to Riverside Records in 1955. Monk made a total of five Blue Note recordings between 19, including 'Criss Cross' and 'Evidence.' These are generally regarded as the first works characteristic of Monk's unique jazz style, which embraced percussive playing, unusual repetitions and dissonant sounds. Monk didn't record under his own name, however, until 1947, when he played as the leader of a sextet session for Blue Note. Monk's first known recording was made in 1944, when he worked as a member of Coleman Hawkins's quartet.

Alongside Charlie Parker and Dizzy Gillespie, he explored the fast, jarring, and often improvised styles that would later become synonymous with modern jazz. In 1941, Monk began working at Minton's Playhouse in Harlem, where he joined the house band and helped develop the school of jazz known as bebop.