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Track List
01) April In Paris
02) (I Don't Stand) A Ghost of a Chance (With Yo
03) Functional (take 2)
04) I'm Getting Sentimental Over You
05) I Should Care (take 3)
06) 'Round Midnight (take 7)
07) All Alone
08) Monk's Mood (False Start)
09) Monk's Mood
10) (I Don't Stand) A Ghost of a Chance (With Yo
11) Functional (take 1)
12) I Should Care (take 1)
13) I Should Care (take2)
01) April In Paris
02) (I Don't Stand) A Ghost of a Chance (With Yo
03) Functional (take 2)
04) I'm Getting Sentimental Over You
05) I Should Care (take 3)
06) 'Round Midnight (take 7)
07) All Alone
08) Monk's Mood (False Start)
09) Monk's Mood
10) (I Don't Stand) A Ghost of a Chance (With Yo
11) Functional (take 1)
12) I Should Care (take 1)
13) I Should Care (take2)
3:54
4:24
9:22
4:08
3:15
6:44
4:53
0:58
7:53
4:13
9:44
3:29
3:18
Data Complete
30%
Total Rating
30%Total Rating
(1 users)
Back Cover
CD Art
3D Case
3D Thumb
3D Flat
3D Face
3D Spine
First Released
1957
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Album Description
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On each of his first three recordings for Riverside, Thelonious Monk included a solo piano presentation, and for many listeners, these were the highlights of each recital. And so it was decided that Monk's fourth Riverside recording, Thelonious Himself, would be composed entirely of solo interpretations; well, almost. Like a great actor finding heretofore obscure layers of meaning in a familiar soliloquy, Monk takes familiar themes such as "April in Paris," "I Should Care," and "Almost Alone" and distills them down to a single essence. Where most pianists would simply expand upon the tune (or employ the chord changes as a showcase for their own variations), Monk keeps everything focused on thematic materials. For his final selection, "Monk's Mood," the pianist insisted on adding bassist Wilbur Ware and an up-and-coming tenor saxophonist named John Coltrane. By allowing them to italicize and expand upon his basslines and lead melody, Monk enabled listeners to zero in on the essence of his solo and ensemble styles.
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On each of his first three recordings for Riverside, Thelonious Monk included a solo piano presentation, and for many listeners, these were the highlights of each recital. And so it was decided that Monk's fourth Riverside recording, Thelonious Himself, would be composed entirely of solo interpretations; well, almost. Like a great actor finding heretofore obscure layers of meaning in a familiar soliloquy, Monk takes familiar themes such as "April in Paris," "I Should Care," and "Almost Alone" and distills them down to a single essence. Where most pianists would simply expand upon the tune (or employ the chord changes as a showcase for their own variations), Monk keeps everything focused on thematic materials. For his final selection, "Monk's Mood," the pianist insisted on adding bassist Wilbur Ware and an up-and-coming tenor saxophonist named John Coltrane. By allowing them to italicize and expand upon his basslines and lead melody, Monk enabled listeners to zero in on the essence of his solo and ensemble styles.
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