Recorded - November 6, 1962 - March 29, 1963 in New York City
Thelonious Monk – piano
Charlie Rouse – tenor saxophone
John Ore – bass
Frankie Dunlop – drums
Charts

Monk's Dream is the first album jazz musician Thelonious Monk released on Columbia Records. It was issued in 1963. [1]
"Bye-Ya" and "Bolivar Blues" were recorded on October 31, 1962; "Body and Soul" and "Bright Mississippi" on November 1; "Sweet and Lovely", "Just a Gigolo" and "Monk's Dream" on November 2; and "Five Spot Blues" on November 6.
"Bright Mississippi" is the only track on the album that Monk had not previously recorded.
"Bolivar Blues" was originally titled "Ba-lue Bolivar Ba-lues-are", and had been on Monk's 1957 Riverside album, Brilliant Corners.
"Five Spot Blues" was originally called "Blues Five Spot" and had first appeared on the album Misterioso, which was recorded live at the Five Spot Cafe in New York in 1958 and released on Riverside.
"Monk's Dream", "Bye-Ya", and "Sweet and Lovely" had also been previously recorded by Monk for Prestige Records at a session ten years earlier.

Solo Monk is the eighth album Thelonious Monk released for Columbia Records in 1965. The album is composed entirely of solo piano work by Monk. The Allmusic review by Thom Jurek states "This is perhaps the solo piano record to have by Monk".In addition to various vinyl and CD issues, Sony Music Enterprises issued an SACD (SRGS 4520) in Japan.

Recorded - May & July 1958, April 1963
Venue - Newport Jazz Festival
Miles Davis – trumpet
Cannonball Adderley – alto saxophone
John Coltrane – tenor saxophone
Bill Evans – piano
Paul Chambers – bass
Jimmy Cobb – drums
Side Two personnel
Pee Wee Russell – clarinet
Charlie Rouse – tenor saxophone
Thelonious Monk – piano
Butch Warren – bass
Frankie Dunlop – drums

Brilliant Corners is a studio album by American jazz musician Thelonious Monk. It was his third album for Riverside Records and the first, for this label, to include his own compositions. The complex title track required over a dozen takes in the studio, and is considered one of his most difficult compositions

在B.B.King的Blues Club举办的本届爵士音乐奖的颁奖礼中，由蓝音符公司(Blue Note)发行，波普钢琴大师赛罗尼斯·蒙克(Thelonious Monk)与英年早逝的萨克斯演奏大师约翰·柯川(John Coltrane)合作的现场专辑《Thelonious Monk Quartet with John Coltrane at Carnegie Hall》被评为今年的“年度最佳专辑”。这张专辑是Thelonious Monk四重奏和John Coltrane在1957年合作演出的现场。两人的合作虽然十分短暂，但对爵士音乐的发展却有着重要的历史意义。这张专辑后面还有段故事的...
事情是这样的，1957年11月29日，钢琴大师Thelonious Monk和萨克斯风之王John Coltrane等四位音乐家，在卡内基音乐厅举办了一场演奏会。这场演奏会当时并没有唱片公司作录音发行，不过当时专门对全美播报新闻信息的单位，「美国之声」〈Voice of America〉，利用他们的广播节目时段作了这场音乐会的录音实况转播。播完后，转播带贴上标签就丢进或许是库房什么的地方了。后来，包括这张转播带连同其它许多数据，再一同被移放到位于华盛顿特区的「国会图书馆」〈Library of Congress〉永久保存，大家也就忘了里头有这么一张录音。有趣的是，「国会图书馆」根据卷标为所有录音数据分类，但这张卡内基音乐厅录音的卷标却标示的不清不楚。也就是说，万一哪天有人想起来Thelonious Monk与John Coltrane的音乐会其实是有录音纪录的，想挖出来可是比登天还难。这时候，运气就显的格外重要了。公元2005年1月，「国会图书馆」里一位叫做Larry Applebaum的管理员，他本身对爵士乐也极有研究，在作例行的数字转文件作业〈将老录音转成数字音源延长保存寿命〉时，发现了一张老带子上面注明着：「11/29/57 Carnegie Jazz Concert」，转档时一听可不得了，原来这场传说中的录音确实存在！接下来的事就可以想象了，消息传出去，各大唱片公司开始竞标这场音乐会的发行权，而最后则是由Thelonious Monk之子T.S. Monk与Blue Note Records负责发行。消失的录音重见天日。对爵士迷来说，这个大发现就好比公元1947年，三名少年在死海之滨无意发现的圣经古卷那般重要。这场录音毫无疑问的将是本世纪爵士乐的最大惊奇，终将列名千古。
Thelonious Monk piano
John Coltrane tenor saxophone
Ahmed abdul-malik bass
Shadow Wilson drums
Recorded on November 29, 1957 By Voice of America at Carnegie Hall, NYC

It's Monk's Time is a studio album by American jazz musician Thelonious Monk, released in July 1964 by Columbia Records. It featured three original compositions as well as three jazz standards.

Underground is a 1968 album by Thelonious Monk. It features Monk on piano, Larry Gales on bass, Charlie Rouse on tenor sax, and Ben Riley on drums.
Although this album is most widely known for its provocative cover image, which depicts Monk as a fictitious French Resistance fighter in the Second World War, it contains a number of new Monk compositions, some of which appear in recorded form only on this album. This is the last Monk album featuring the Thelonious Monk Quartet, and the last featuring Charlie Rouse (who appears on only half the tracks, having missed a recording session to attend his father's funeral).

Recorded：October 21 and 22, 1959 at Fugazi Hall, San Francisco, CA
Thelonious Monk – piano

Arthur Blakey was an American jazz drummer and bandleader. He was briefly known as Abdullah Ibn Buhaina after he converted to Islam for a short time in the late 1940s. Blakey made a name for himself in the 1940s in the big bands of Fletcher Henderson and Billy Eckstine.

不管用任何標準來看，瑟隆尼斯˙孟克都是個怪人，他極端沈默，就算偶爾說話，旁邊的人也常聽不太懂他說什麼，有點像是個先知、精神病患、自閉症者的綜合體，卻是影響最大的爵士巨人之一，11歲開始學鋼琴，1940年代在紐約著名的明頓玩具屋(Minton’s Playhouse)俱樂部擔任駐場樂師，當時數位具有革新精神的青年爵士樂手包括迪吉˙葛拉斯彼、查理˙帕克等人，會在打烊後一起到明頓來個集體即興，漸漸找出了自己的新聲音，現代爵士樂的源頭:咆勃(Bebop)就此誕生，其間孟克居功厥偉，知名的爵士樂鼓手雅特布萊奇甚至認為孟克才是真正第一位發展出咆勃架構的先知。
孟克的鋼琴演奏非常特別，他會在旋律之間留下大量的停頓和空白，如果說其他一些樂手的留白是為了要讓聽眾有呼吸的餘地來調節聆聽情緒，孟克的留白則根本就是弄個大洞讓你掉下去，聽他的音樂，有時像約翰寇川所形容的，彷彿在黑暗中走進電梯，卻踩了個空。這樣的演奏，一方面給合作樂手更寬廣自由的揮灑空間，一方面也使得欣賞他的演奏成為無可比擬的獨特經驗。
他也是現代爵士樂史上最重要的作曲家之一，經典作品有〈Round Midnight〉、〈Well You Needn’t〉、〈Blue Monk〉等等，在他完成這些創作的同時，許多批評家完全不認同，這一點只能說他徹底超越了時代的步調，孟克很多作品根本就是新理論的實驗成果，有時從一個音或一個和弦開始推演，為了嘗試這樣或那樣的連接推進會有什麼特殊的效果而發展成一首曲子，對當時沒有聽過類似東西的人來說，孟克的作品充滿了怪異不協調的聲音，到50年代中期以後，評論界和聽眾才開始欣賞他的創作，時至今日，他的音樂獲得無數樂手的崇拜與仿效，成為爵士樂最重要的資產。他顛峰時期的作品大多留存在 blueNote、Prestiage、Riverside這幾家唱片公司的錄音之中。
Thelonious Monk生前所受到的注目大抵來自他有異於常人的脾氣，他的音樂天分卻是時至今日才廣受重視。他的鋼琴技巧完全解構了往日爵士樂的原則，急速的彈奏、使用錯誤的音符以及Out Of Context的演奏方式不但嚇跑了同期不少保守份子，就連Miles Davis都公開表示Monk為「不懂得彈鋼琴」的鋼琴手。他的作品與他的演奏為一體兩面，如果伴奏樂手能夠配合當中的節奏特色，則一首富有含蓄美感的旋律組合便呈現眼前，"Round Midnight"及"Brilliant Corners"實為最佳例子。Monk於11歲開始習藝，Bud Powell成為他的頭號冒仿對象，1947年至1951年效力於Blue Note公司之後，因為吸毒被捕。1952年至1957年間，Monk於Prestige公司先後與Miles Davis、Sonny Rollins等人合作，其品輾轉流傳至五零年代末期才被樂評公認為一「出色的創作人」。此項殊榮由於專輯如"Brilliant Corners"、"Thelonious Monk With John Coltrane"、"Thelonious Himself"的出現而再度強化。七零年代中期至他逝世的1982年間，Monk的活動大為減少，相對地更多的爵士樂迷開始鑽研並演奏他的作品，更有爵士學家提出Monk與Charles Mingus及Ellington實為有史以來最好的作曲家。
Thelonious Monk - piano
John Coltrane - tenor saxophone(on "Monk's Mood")
Wilbur Ware - bass(on "Monk's Mood")

简介:
In celebration of Blue Note Records' 75th Anniversary, Astell&Kern has partnered with the legendary record label to offer an exclusive, limited edition box set. Available now for a limited time, the Astell&Kern Blue Note 75th Anniversary Box Set: Limited Edition features 75 of Blue Note's most essential albums, newly remastered from analog to the hi-res MQS digital format (24bit/192kHz). Five Blue Note albums make their exclusive hi-res audio debuts with this release: Art Blakey & The Jazz Messengers' Mosaic, Tina Brooks' True Blue, Don Cherry'sComplete Communion, Andrew Hill's Point Of Departure, and Bobby Hutcherson's Components.The lavish collection includes the Blue Note branded Astell&Kern AK240 high-resolution portable audio player, a special book filled with original album art (front and back cover) for the 75 titles, as well as Richard Havers' new book, Blue Note: Uncompromising Expression.
The gorgeous collection spans Blue Note's storied history, from Thelonious Monk's first sessions in 1947 to GRAMMY® Award-winning jazz phenomenon Gregory Porter's Liquid Spirit. Each album, in high resolution on a microSD card, in an acrylic glass case with original album artwork stacked in a beautiful, decorative tower that can be placed next to your home system for an elegant, luxurious display. The 75 albums are pre-loaded on the included Astell&Kern AK240 high-resolution audio player, revealing every detail you might not have heard anywhere else, no matter how many times you've listened to these albums before.
Tonight in Los Angeles, Astell&Kern will unveil and demonstrate the Astell&Kern Blue Note 75th Anniversary Box Set: Limited Edition at a private event at Capitol Studios. Invited music industry executives and journalists will experience the special collection's superior audio quality, as well as the aesthetic beauty of the Blue Note-branded tower.
Henry Park, CEO of iriver, the parent company of Astell&Kern said, "The Blue Note Records catalog of Jazz is the perfect showcase for high resolution audio. The Astell&Kern line of portable high-resolution audio players were designed to showcase the range of instruments in these musical genres. Now, everyone can listen to these new and classic albums the way they were meant to be heard, how the artist and engineer intended them to be heard."
Don Was, president of Blue Note Records, said, "Our good friends at Astell&Kern — a company that respects authenticity, fidelity and artistry — are a perfect complement to the Blue Note aesthetic. With the advent of their new MQS Hi Fi Audio Players, aficionados can now experience these classic recordings just like the musicians originally did. We are proud to make our most treasured recordings available in this manner."
About Astell&Kern
Launched in October 2012, Astell&Kern is the high-end audiophile brand by iriver. The current Astell&Kern line includes the award-winning AK100, AK120, the second generation AK100 II, AK120 II and the flagship AK240 high-resolution portable audio players, capable of playing 24-bit/192 kHz Mastering Quality Sound (MQS) files including DSD. Astell&Kern's lineup has recently expanded to include accessories such as the AKR01 and AKR02 In-Ear Monitors, Astell&Kern portable player docking stations and line of home audio products.

The legendary jazz pianist’s 1968 concert at Palo Alto High School, recorded by a janitor and shelved for decades, captures some of the fiercest, most spirited versions of his quartet’s core repertoire.

鋼琴手－賽隆尼斯?蒙克（Thelonious Monk）
小喇叭手－肯尼?杜漢﹝Kenny Dorham）
中高音薩克斯風手－薩希?喜哈（Sahib Shihab）
羅?唐納森（Lou Donaldson）
中低音薩克斯風手－「幸運」?湯姆森﹝Lucky Thompson）
鐵琴手－米爾特?傑克遜（Milt Jackson）
貝斯手－約翰?西蒙斯（John Simmons）
艾爾?馬克彭（Al McKibbon）
尼爾森?鮑伊德（Nelson Boyd）
鼓手－影子?威爾森（Shadow Wilson）
亞特?布雷基（Art Blakey）
馬克斯?羅契（Max Roach）
「鋼琴怪傑」蒙克是個被誤解最深的爵士樂大師，他那有點唐突、不太和諧、間歇性的彈法，以及他常戴著可笑的帽子、留著鬍子、奇怪的舞臺行徑，使得他從1940~1955年間，一直都難以被接受，甚至在1951年，還曾被警察誤解為服用違禁藥物，而遭吊銷表演執照數年，雖然可以錄唱片，但是沒有作秀的機會，也很難促銷，藍音符還特別封之為「包勃高僧」（High priest of bebop）以吸引人們的注意。事實上，蒙克應該也算是包勃樂風的創始者之一，他在四○年代所做的一些曲子和獨特的節奏，對包勃大師「暈眩」和保威爾的影響很大，而他對五○後期的現代爵士（Modern Jazz）之影響，更是無遠弗屆，連柯川和近代的史帝夫?雷西（Steve Lacy）都奉他為宗師。蒙克的作曲才華被評為與「公爵」?阿靈頓(Duke Ellington)和「果凍捲」?摩頓(Jelly Roll Morton)並列，他的許多曲子都成為爵士樂的名曲，不過他的曲子難度很高，而與蒙克一起演奏更難，邁爾斯?戴維斯曾說：「我就是不喜歡他在我背後所彈奏的……」，因為蒙克的彈法很特別，音符間常留有很大的空隙、有時異常寧靜、有時流暢無比、變奏特多、很難預期他的下一個音符會是什麼，如果一般鋼琴手是「曲線」，那蒙克就是「角」，而角的出現往往是轉折點，另一位爵士鋼琴大師比爾?伊文斯（Bill Evans）說：「蒙克完全清楚他自己在彈什麼，無庸置疑……」。直到1956年，Riverside 為他錄製的〝Brilliant Corners〞，以及隨後的〝Thelonious Himself〞、〝Thelonious Monk With John Coltrane〞、〝Monk's Music〞等作品推出後，蒙克的音樂才真正受到大眾的肯定，1964年他還被選為時代雜誌（Time Magazine）封面人物，總算陳冤大白。
此二張一套的專輯收錄了蒙克1947~1951年間，在藍音符的經典作品，還囊括了鐵琴手米爾特?傑克遜、鼓手亞特?布雷基及馬克斯?羅契等大師級樂手的參與，彌足珍貴，其Vol. 1 還是企鵝五星的極品，包含〝Round Midnight〞、〝Ruby My Dear〞、〝In Walked Bud〞、〝Well, You Needn't〞、〝I Mean You〞、〝Evidence〞、〝Off Minor〞、〝Epistrophy〞等爵士經典名曲。而此張Vol. 2 中的曲子也都是赫赫有名，像〝Four In One〞、〝Criss Cross〞、和〝Straight No Chaser〞都是典型的蒙克曲，總是簡潔有力，主旋律隱隱約約出現在他稀稀落落的音符中，彈法有點「崎嶇」，聽起來「有點怪又不會太怪」，不過經由米爾特清亮的鐵琴聲之潤飾後，可接受性更高了，米爾特在〝Criss Cross〞和〝Straight No Chaser〞中，也都有非常精彩的獨奏；〝Ask Me Know〞則是蒙克的曲子中，少數比較唯美浪漫的作品，以三重奏的方式演奏，可以聽到蒙克溫柔的另一面；〝Willow Weep For Me〞則是以米爾特的鐵琴為主奏，旋律極為優美的曲子，蒙克只擔任伴奏；〝Skippy〞、〝Hornin' In〞、和〝Sixteen〞則是事隔一年後的錄音，陣容完全不同，蒙克的獨奏都比前次錄音長，彈得也比較華麗，而管樂器的份量也加重了，小喇叭手杜漢和薩克斯風手湯姆森及唐納森都有很紮實的獨奏，此組合搭配下的蒙克比較容易被接受。