Speakers Corner Records releases a 50 year anniversary vinyl tribute to a live Thelonious Monk concert performance.
The Thelonious Monk Quartet – Monk In Tokyo – CBS/Sony Records SOPW 69-70 (1963)/Speakers Corner Records (2023) 180-gram stereo double vinyl, 81:52 ****1/2:
(Thelonious Monk – piano; Charlie Rouse – tenor saxophone; Butch Warren – double bass; Frankie Dunlop – drums)
Pianist and composer Thelonious Monk made a significant contribution to the musical culture. His technique was unique, combining improvisation and distinctively percussive hard-driving chords. He also included moments of silence and halting stops. Monk utilized parallel sixths and a multiple octave range. His compositions like, “Blue Monk”, “Straight, No Chaser”, “Round Midnight” and “In Walked Bud” are part of the jazz legacy, right behind Duke Ellington. He is only one of five jazz musicians to be on the cover of Time Magazine. His carefree on stage persona endeared him to jazz fans around the world. Monk’s list of accolades and recognition is voluminous.
Speakers Corner Records has released a 180-gram re-mastered vinyl of the 1963 Columbia album, Monk In Tokyo. Originally released in Japan as two separate albums, they were combined in 1969. The quartet features Charlie Rouse (tenor saxophone), Butch Warren (double bass) and Frankie Dunlop (drums). The tracks consist of original compositions and a few standards. Record 1 opens up with the bluesy romp, “Straight, No Chaser”. The quartet kicks into swing as Rouse takes the first solo. Hie sax lines are supple and melodic. At the 3:25 mark, Monk intones on piano with his trademark phrasing and dramatic notation. He is inventive and meticulous. Warren follows with a walking bass held together by Dunlop’s steady drums, who also gets a solo. Monk’s piano virtuosity is flexible and unpredictable. “Panonica” begins with a lyrical piano lead. As the band joins in, it is a smoky, bop-infused jam. Monk’s solo is intricate and has both understated jazz cool and right hand flourishes. There are interesting chord changes. His solo performance of the pop classic, “Just A Gigolo” draws on various techniques including stride and near-dissonant chording.
Side B is more classic Monk jazz. “Evidence” is a syncopated jam with punctuated saxophone and piano. It is blues-based and Rouse delivers his most edgy, tonal-stretching runs. Monk slides in next with crisp accents. The chord manipulation is compelling. Dunlop gets things into a bop groove as Rouse settles into swing mode. Monk’s solo is fluid with deliberate timing and well-timed improvisation. A bouncy swagger propels “Bemsha Swing” with Monk playing counterpoint and a call and response with Rouse. Both soloist cut loose as Warren and Dunlop anchor and push the tempo. In an extended arrangement, Tommy Dorsey’s theme song, “I’m Getting Sentimental Over You” begins with a relaxed solo piano intro (with some stride). After a minute, the quartet engages in medium swing. Rouse’s smooth run is enhanced by the “locked in” rhythm section. Another scintillating piano run is creative and has a funky essence. This funkier blues imagery permeates “Hackensack”. In addition to the stops and Monk’s relentless play, the band is operating at a very high level of cohesion. Monk counters Rouse’s solo with low-keyed timing and phrasing. His piano solo (being driven by Warren and Dunlop) is adroitly performed with textual rhythm and furious attitude. Double bass and drums get time in the spotlight.
For those who were expecting a big finish at this concert…they got one! The final side is comprised of two “hits”. “Blue Monk” may be the most recognizable composition by this master. Establishing a bluesy vamp, Rouse engages in a harmonious shared lead before taking over. Here, the ensemble is connected. There is a late night melancholy and finger-snapping accessibility that elevates this tune. Monk’s intermingles controlled angular lines with improvisational finesse that is authentic. After a bass run and drum solo, the foursome concludes. The finale, “Epistrophy” is Monk at his finest. There are rich grooves, breaks and colorful shading. Monk’s phrasing is complex, but unfettered. The overall musical translation is hypnotic.
Monk In Tokyo is a great album. This re-mastered vinyl has a vibrant sound mix with excellent stereo separation.
—Robbie Gerson
Monk In Tokyo
TrackList:
Record 1 Side A:
Straight No Chaser; Panonica; Just A Gigolo
Record 1 Side B:
Evidence; Jackie-ing; Bemsha Swing; Epistrophy
Record 2 Side A:
I’m Getting Sentimental Over You; Hackensack
Record 2 Side B:
Blue Monk; Epistophy.
More information through Acoustic Sounds
