THELONIOUS MONK BRILLIANT CORNERS FULL

The story goes that the band played take after unsatisfactory take until producer Orrin Keepnews ended up splicing together a usable one. Look no further than the leadoff title track, вЂњBrilliant Corners,вЂќ to hear the kinds of harmonic, rhythmic, and formal demands that MonkвЂ™s music could entail. There was something about MonkвЂ™s thorny writing that challenged tenor players and brought them closer to realizing their own visions as improvisers. Rollins had made a breakthrough sideman performance with Bud Powell in 1949, and a year or so after this 1956 session, Monk would form a brief but seismic alliance with another great emerging tenor of the time, John Coltrane. Or you could simply star rate it, or add it to one of your album lists.Brilliant Corners is one of just a few Monk recordings to feature the pianist-composer in a mentor role to Sonny Rollins, then an emerging tenor saxophone great. You can write your own review of Brilliant Corners on our brand new album pages: once you're signed into the Guardian website, visit the album's dedicated page. Arriving just before the late-50s free-jazz upheavals of Ornette Coleman, John Coltrane and Cecil Taylor, this was music that showed just how powerfully song-form harmonies and the tempered scale could be wrenched into new shapes.

THELONIOUS MONK BRILLIANT CORNERS FULL

The session's full of captivating variety too вЂ“ from the urban graininess of Hornin' In to the relaxed groove of Let's Cool One, the surreal mix of Monk's chordal bluntness and the coyness of a glockenspiel on Pannonica to the bleary rootsiness of the wonderful blues Ba Lue Bolivar Ba Lues Are.

But Brilliant Corners was no calculated technical highwire act, but a piece of audaciously adventurous composing that has never lost its power to startle and seduce over the decades.ДЇrom Monk's opening stabbed chords (as if he were chipping rock) to the bone-shaking notes, guttural horn harmonies and sudden thematic gallops, Brilliant Corners is gripping вЂ“ as are the composer's jangling improvisations, and Rollins's lazily unfolding and huge-toned tenor solo.

In a legendarily fractious session, the title track's growling theme was so treacherous in its lurching phrasing and abrupt time changes that a band this good still spent 25 takes on it, and the final version was only possible by splicing two takes together. Monk's piano solos clanged with dissonance, bumped along in hopping runs or glowered with baleful silences, and his astonishing compositions (now recognised as modern musical landmarks, regardless of genre) had a strange, inelegant beauty that brusquely reinvented what melody, harmony and rhythm could mean.Д«rilliant Corners, recorded for the Riverside label in 1956 with an A-list band including saxophonist Sonny Rollins and former Charlie Parker drummer Max Roach, was the most compositionally ambitious session in the former church pianist's decade-long jazz career thus far. W hen I was discovering jazz as a student, Thelonious Monk seemed to epitomise the artistic originality, indifference to rules and guileless eccentricity (he liked weird hats, and was given to shuffling dances onstage) that I loved about the music.

Thelonious monk brilliant corners