Thelonious Monk
Thelonious Monk With John Coltrane
Certain combinations of men have been leaving indelible marks on the music called jazz since its beginning. Some formed a lifetime association; others were together only for a brief period. Some actively shaped the course of jazz; others affected it more osmotically. All have had one thing in common; they produced music of lasting value.
One historic teaming was that of Thelonious Monk and John Coltrane at New York's Five Spot Cafe, beginning in the summer of 1957. Although the group remained together for only a half-year, those of us who heard it will never forget the experience. There were some weeks when I was at the Five Spot two and three times, staying most of the night even when I intended just to catch a set or two. The music was simultaneously kinetic and hypnotic. J.J. Johnson has compared it to the mid-Forties union of Charlie Parker and Dizzy Gillespie. "Since Charlie Parker, the most electrifying sound that I've heard in contemporary jazz was Coltrane playing with Monk at the Five Spot. … It was incredible, like Diz and Bird", Jay said.
Monk and Coltrane complemented each other perfectly. The results of this successful musical alliance were beneficial to both. In this setting, Monk began to receive the brunt of a long-overdue recognition. On the other hand, Coltrane's talent, set in such a fertile environment, bloomed like a hibiscus. 'Trane's comments in a Down Beat article (September 29, 1960), clearly describe how he reveres Monk. "Working with Monk brought me close to a musical architect of the highest order. I felt I learned from him in every way — through the senses, theoretically, technically. I would talk to Monk about musical problems and he would sit at the piano and show me the answers by playing them. I could watch him play and find out the things I wanted to know. Also, I could see a lot of things that I didn't know about at all", he stated.
Later in the piece, 'Trane added: "I think Monk is one of the true greats of all time. He's a real musical thinker — there're not many like him. I feel myself fortunate to have had the opportunity to work with him. If a guy needs a little spark, a boost, he can just be around Monk, and Monk will give it to him".
Monk certainly brought 'Trane out beautifully. It was in this period that John began to experiment with what at the time I called "sheets of sound". Actually, he was thinking in groups of notes rather than one note at a time. Monk's practice of "laying out" allowed 'Trane to "stroll" against the pulse of bass and drums and really develop this playing attitude on his own.
(...)
To round out the album, three alternate masters from previously released Monk sessions are included. Off Minor and Epistrophy were heard on "Monk’s Music" (Riverside RLP 242). It is stimulating to compare the different versions and how the solos vary and coincide from take to take. Off Minor has solos by Hawkins, Copeland and Monk, but the bits by Ware and Blakey are not as developed as on the original issue. Epistrophy, in the original version, featured all the horns of the septet and Monk. Here, only Coltrane and Copeland are heard in solo.
The first Functional is on "Thelonious Himself" (Riverside RLP 235). This version is as different in individual idea and, at the same time close in spirit to the other, as two takes can be. It almost deserves a title of its own. I only wish I had two turntables. I think the two Functionals might make a wild duet for four Monk hands.
But, as intriguing as these alternate masters are, the main attraction here is the unearthing of the quartet tracks. These are milestones in jazz history and important to every serious listener.
Steve Lacy, the soprano saxophonist who worked with Monk for 16 weeks in 1960, has said of Monk's music: "Monk has got his own poetry and you've got to get the fragrance of it".
It is obvious that in 1957, Coltrane was doing some deep breathing.
*Ira Gitler (from the liner notes)*
To spell out the contents for a bit, Functional is a remarkable, unaccompanied piano solo. It is an alternate version to the one included on Thelonious Himself (Riverside 235) and so different from the original that I think it should have been given a different title.
Off Minor and Epistrophy are alternate and briefer versions from the septet date that produced Monk's Music (Riverside 242). The former has very good solos by Hawkins, Copeland, and Monk, the latter solos by Coltrane and Copeland.
Nutty, Ruby, and Trinkle are by Monk. Coltrane, Ware, and Wilson — the quartet that had an almost legendary stay at the Five Spot in New York during the summer of 1957, a prelude to Monk’s rediscovery as a major jazzman and to his current popularity and surely one of the most important (and exhilarating) events in jazz in recent years.
These three selections were recorded and the tapes were labeled "for posterity" and set aside until contractual conflicts had been resolved, permitting their release now. They are strong experiences, and if they are not as good as the performances one heard those summer nights at the Five Spot, they are nevertheless exceptional jazz.
Each member of that quartet played with great enthusiasm and at the peak of his own abilities, and through Monk's music each man was discovering and expanding his potential almost nightly.
Monk and Coltrane had exceptional emotional rapport. Technically, on the other hand, they were superb contrasts. Coltrane's techniques are obvious, Monk's more subtle. At the same time that Coltrane, with his showers of notes and his "sheets of sound", seemed to want to shatter jazz rhythms into an evenly spaced and constant array of short notes, Monk seemed to want to break them up subtly and phrase with a new freedom. Monk is a melodist: his playing is linear and horizontal. Coltrane is an arpeggio player; his approach is vertical. He is a kind of latter-day Coleman Hawkins.
But even Coltrane's earlier solo on Epistrophy shows that he found enormous harmonic stimulation in Monk's music — he seemed to know not only where Monk was but where he was headed, as very few players did. But again, as the quartet tracks show (particularly Ruby, Coltrane also knew that Monk's melodies are very strong and important and that it isn’t enough merely to run their changes. Over and over again here, Monk's materials discipline Coltrane and order his explorations in a way that no material he has since dealt with seems to have done.
Ware is, like Monk, a melodist, and he also finds surprise twists even in the most traditional approach. Wilson, whose early work had the smooth evenness of a Jo Jones, responds to Monk's hints with enthusiastic and appropriate polyrhythmic patterns.
Monk also got a remarkable variety of textures from this group — by playing with Coltrane, by playing contrapuntally against Coltrane, by laying out and leaving Coltrane to Ware and Wilson, sometimes predominately to one of them, sometimes to both equally.
Some details: On Nutty, after Coltrane has strayed further and further into elaborate harmonic implications of the piece, Monk enters for his solo with, as usual, a simple and eloquent re-establishment of the theme in paraphrase. He does the same on Trinkle, with an even more subtle recasting of that intricate melody.
Ruby is a knowingly embellished version of a lovely piece. The end of Coltrane's opening solo has a particularly beautiful (and Monkish) effect of suspension, and Monk's decision to begin his solo with lightly implied double-timing was a near master-stroke of meaningful contrast.
The best quartet performance is Trinkle. The one flaw is that the line itself, unlike most of Monk's melodies, is a bit pianistic in conception to be fully effective on saxophone. But the spontaneous interplay between Monk and Coltrane in Trinkle is quite wonderful, as is Monk's intuitive logic in knowing just when to stop it and let Coltrane stroll along against Ware and Wilson. Ware's solo is good (and I'm afraid makes one long for those evenings when he would spin several effortless choruses in each piece).
As I said, this solo Functional is quite different from the previous version. On the earlier releases, Monk manages to play variations on one of the simplest and most percussive of all blues phrases in a nine-minute tour de force of cohesive imaginative invention. Here we hear nearly 10 minutes of Monk playing the blues in a dramatic yet lyric curve of melody.
Other delights: the interplay of Ware behind Monk on Off Minor. Copeland's solo on the same piece; in his way he knows the relationship of parts of Monk's music, of melody to harmony, as well as Coltrane does.
Nostalgia can corrupt memory, of course, but even allowing for that, I don't think these quartet performances are up to the level one heard at the Five Spot from this group. However, Trinkle very nearly is. The other two are fine performances. I think that in this way Epistrophy is excellent, too. And Functional is a near masterpiece.
*Martin Williams (Down Beat, December 21, 1961 [5 stars]*
Note: Although the Original Jazz Classics CD edition cites a four-star Down Beat rating, no contemporary issue of the magazine appears to support that figure. The original Down Beat review published on December 21, 1961 awarded the album five stars, and no earlier four-star review has been documented. The discrepancy likely stems from a later typographical error rather than from the original magazine review.
1 - Ruby, My Dear
(Thelonious Monk)
2 - Trinkle, Tinkle
(Thelonious Monk)
3 - Off Minor (alternate master)
(Thelonious Monk)
4 - Nutty
(Thelonious Monk)
5 - Epistrophy (alternate master)
(Kenny Clarke, Thelonious Monk)
6 - Functional (solo piano, alternate master)
(Thelonious Monk)
Thelonious Monk (piano); John Coltrane (tenor sax); Ray Copeland (trumpet [#3, #4]);
Gigi Gryce (alto sax [#3, #4]); Coleman Hawkins (tenor sax [#3, #4]);
Wilbur Ware (bass); Shadow Wilson [#1, #2, #4]), Art Blakey [#3, #5] (drums).
Recorded at Reeves Sound Studios, New York City,
April 12 (#6), June 26 (#3, #4) and circa July (#1, #2, #4), 1957
