BRILLIANT CORNERS - THELONIOUS MONK - RIVERSIDE WHITE LABEL ORIGINAL DG -ROLLINS

$ 49

$ 49 Sold For

Jan 3, 2014 Sold Date

Dec 24, 2013 Start Date

1 Number Of Bids

USA Country Of Seller

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Description

Original deep groove pressing RLP-12-226. vinyl is vg/vg+. has one long scratch that is slightly feelable that makes some light background noise briefly,not for the length of the scratch, and a couple of light small scratches on the other side that make light tics or static. cover is vg has no splits or edge wear but browning on back and some ring wear and browning on edges on front. laminate still shiny. Labels are very clean. overall a nice play copy where the sound is nice and clear and has no loss of fidelity from wear. Plays loud!
please check my other listings for original jazz lps thanks
Although Brilliant Corners is Thelonious Monk's third disc for Riverside, it's the first on the label to weigh in with such heavy original material. Enthusiasts who become jaded to the idiosyncratic nature of Monk's playing or his practically arithmetical chord progressions should occasionally revisit Brilliant Corners. There is an inescapable freshness and vitality saturated into every measure of every song. The passage of time makes it all the more difficult to imagine any other musicians bearing the capacity to support Monk with such ironic precision. The assembled quartet for the lion's share of the sessions included Max Roach (percussion), Sonny Rollins (tenor sax), Oscar Pettiford (bass), and Ernie Henry (alto sax). Although a compromise, the selection of Miles Davis' bassist, Paul Chambers, and Clark Terry(trumpet) on "Bemsha Swing" reveals what might be considered an accident of ecstasy, as they provide a timeless balance between support and being able to further the cause musically. Likewise, Roach's timpani interjections supply an off-balanced sonic surrealism while progressing the rhythm in and out of the holes provided by Monk's jackrabbit leads. It's easy to write Monk's ferocity and Forrest Gump-esque ingenuity off as gimmick or quirkiness. What cannot be dismissed is Monk's ability to translate emotions into the language of music, as in the freedom and abandon he allows through Sonny Rollins' and Max Roach's mesmerizing solos in "Brilliant Corners." The childlike innocence evoked byMonk's incorporation of the celeste during the achingly beautiful ode "Pannonica" raises the emotional bar several degrees. Perhaps more pointed, however, is the impassioned "I Surrender, Dear" -- the only solo performance on the album. Brilliant Corners may well be considered the alpha and omega of post-World War II American jazz. No serious jazz collection should be without it.

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