1977 Issue. HATS 421-231
Jazz
Two giants of modern jazz collaborate on this session of all-Monk tunes. Recorded in 1958, Blakey's always-impressive Jazz Messengers are joined by the Mad Professor himself (this record affords a glimpse of Monk as a distinguished and individual accompanist, in addition to his usual dazzling lead performances), for workouts on such classics as "Blue Monk," "Rhythm-a-ning," and "In Walked Bud."
Side by side, Blakey and Monk exhibit a strong, electric interplay, and the similarities of their approaches (both are concerned with space, polyrhythms, meter and accent) are evident. In "I Mean You," for example, Blakey carries the standard time of the piece, yet introduces a simultaneous line that forms a dialogue with the melody and rhythm. Likewise, Monk improvises harmonic variations in the two choruses of the same song; the first is a descending motif, the second a contrasting line turned around and inside out. Inventive treats like these, as well as some strong playing from horn men Johnny Griffin and Bill Hardman, make this outing of the Messengers and Monk of interest to aficionados and casual listeners alike.
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Art Blakey's Jazz Messengers With Thelonious Monk (1958) was one of a number of landmark projects that Monk (piano) would record during the remarkably prolific spring and summer of 1957. In addition to this confab, he also documented the solo platter Thelonious Himself (1957), as well as Monk's Music's (1957) with a septet, and even going toe to toe with another respective pair of his formidable contemporaries on Thelonious Monk With John Coltrane (1957) and Mulligan Meets Monk (1957). However in this classic confrontation, Art Blakey (drums) and his concurrent Jazz Messengers — featuring the talents of Johnny Griffin (tenor sax), Bill Hardman (trumpet), and Spanky Debrest (bass) — play host to the pianist on his only sides for the venerable Atlantic record label. As one might anticipate with an artist whose catalog almost single-handedly defines bebop, the vast majority of the cleverly chosen material consists of Monk standards. While both co-leads rise to the occasion with thoroughly expressive performances throughout, this incarnation of the Jazz Messengers reveals a particularly potent support. During Evidence, Hardman unleashes a powerful lead into an equally inspired keyboard run of enthusiastic chord progressions and advanced phrasings from Monk. Griffin's interminable bop mentality effortlessly punctuates In Walked Bud as he almost immediately pounces into the free swinging melody with a verve that refuses to subside. From Blakey's boisterous opening to Blue Monk right through to the single-note crescendo during the finale, the Jazz Messengers provide a lethargic propulsion that showcases the tune's bluesy origins. This directly contrasts the up-tempo charge of Rhythm-a-Ning. The quirky-yet-catchy chorus bounces from the dual-lead horn section with the entire arrangement tautly bound by the understated Debrest and Blakey. Griffin's Purple Shades is a smartly syncopated blues that is more of a musical platform for the Jazz Messengers than for Monk. That said, his opening solo alternately shimmers and shudders with Debrest as well as the two-piece brass section demonstrating its own pronounced capabilities over Monk's counterpoint. This European release contains an additional three full-length alternate takes of Evidence, Blue Monk — which in some ways bests the released version — and I Mean You. These are the same supplementary sides that are included on the Rhino Records 1999 North American domestic CD reissue of this same title.
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Most of the titles on this album are derived from Thelonious Monk's vast catalog of bop standards. Both co-leaders are at the peak of their respective prowess with insightful interpretations of nearly half a dozen inspired performances from this incarnation of the Blakey-led Jazz Messengers. This combo features Art Blakey (drums), Johnny Griffin (tenor sax), Bill Hardman (trumpet), and Spanky Debrest (bass). Immediately, Hardman ups the ante with a piledriving lead during "Evidence" that underscores the heavy-hitting nature of this particular jazz confab. Monk counters with some powerful and inspired runs that are sonically splintered by the enthusiastic — if not practically percussive — chord progressions and highly logistic phrasings from the pianist. The inherent melodic buoyancy on "In Walked Bud" contains a springboard-like quality, with Griffin matching Monk's bounce measure for measure. Griffin's incessant efforts create a freshness to the tune that often escapes other less inspired readings. From Blakey's boisterous opening on "Blue Monk" through to Monk's single-note crescendo during the finale, the Jazz Messengers provide a lethargic propulsion that showcases the melody's bluesy origins. This directly contrasts the uptempo charge of "Rhythm-A-Ning." The quirky yet catchy chorus glides with the dual-lead horn section as the entire arrangement is tautly bound by the understated Debrest and Blakey. Griffin's "Purple Shades" is the only non-Monk composition that this aggregate recorded. This smartly syncopated blues seems better suited for the Jazz Messengers than for Monk. However, the pianist's opening solo alternately shimmers and shudders with Debrest as well as Griffin and Hardman, who demonstrate their own pronounced capabilities over Monk's otherwise occasional counterpoint.
By Lindsay Planer. AMG.
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Art Blakey- (Drums);
Thelonious Monk- (Piano);
Johnny Griffin- (Tenor Sax);
Bill Hardman- (Trumpet);
Spanky DeBrest- (Bass).
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A1. Evidence 6:42
A2. In Walked Bud 6:38
A3. Blue Monk 7:49
B1. I Mean You 7:58
B2. Rhythm-A-Ning 7:16
B3. Purples Shades 7:39
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