Thelonious Monk and Sonny Rollins - 1954 [1992] "Thelonious Monk and Sonny Rollins"

The album is culled from the results of three recording sessions over a span of close to twelve months featuring different personnel. Although Rollins is credited as a co-leader on the album cover, he appears on only three of the album's five tracks. It was the final Monk release on the label before he moved to a contract with Riverside Records.

The track "Friday the 13th" was recorded in November 1953 with a quintet of Monk, Rollins, Julius Watkins, Percy Heath, and Willie Jones; the September 1954 recordings are of a trio with Monk, Heath, and Art Blakey; and the October 1954 session Monk and Rollins again with bassist Tommy Potter and drummer Art Taylor. Of the three Monk originals, "Friday the 13th" was written in the studio during the recording session, released as a ten-minute jam to fill out the album's running time. Monk would return to "Nutty" again and again through his career, but this was his only recording of the composition "Work."

This disc contains an all-star cast headed up by Thelonious Monk (piano) and includes some collaborative efforts with Sonny Rollins (tenor sax) that go beyond simply inspired and into a realm of musical telepathy.
The five tunes included on Work are derived from three separate sessions held between November of 1953 and September of the following year. As is often the case, this likewise means that there are three distinct groups of musicians featured. Whether by design or happenstance, the tracks compiled for this EP present Monk in the favorable confines and settings of smaller combos, ranging from the intimacy of the Percy Heath (bass) and Art Blakey (drums) trio on "Nutty" as well as the equally grooving title track. Both utilize Monk's uncanny and distinct sense of melody and are conspicuous for Blakey's rollicking percussive contributions -- which, at times, become thrust between Monk's disjointed chord work.

The larger quartet and quintet settings are equally as inventive, retaining the highly inventive atmosphere. However, the undeniable highlight is the interaction between Monk and Rollins. Leading off the disc is a definitive and freewheeling reading of the pop standard "The Way You Look Tonight." Equally as scintillating is "I Want to Be Happy," both of which are also highlighted by Art Taylor (drums) and Tommy Potter (bass). They provide a supple and unencumbered framework for the soloists to weave their inimitable and often contrasting contributions.

The final track is the beautifully dissonant and extended "Friday the Thirteenth," which is ironically the first fortuitous collaboration between the two co-leads. Rollins is able to entwine a sinuous lead throughout Monk's contrasting chord counterpoint. Enthusiasts seeking additional tracks from these and the remainder of Monk's sessions during his brief residency with Prestige should consider the suitably titled four-CD Complete Prestige Recordings compilation.

To begin with, the title is deceptive. Rollins and Monk play together on three of the five tracks on the album, which comprises three separate sessions recorded between November 1953 and September 1954. On the opening "Way You Look Tonight Monk's solo is a mere half chorus—played in a fairly conventional bebop style. This leaves but two tunes, "I Want to Be Happy and "Friday the 13th, on which the two strong musical personalities seek to negotiate a happy result.

The individualist/pianist solos for three choruses, each discretely original in conception and execution. After a chorus of connected, seamless lines played in the middle register, he leaps to the upper register for the second chorus, jabbing dissonant chord clusters at irregular intervals in the unfilled space. The third chorus finds him relinquishing his left hand to its independent devices while maintaining an elliptical melody in the right. Always an authoritative solo voice, Rollins seems emboldened by Monk's example, playing with unmistakable conviction, especially compared to his work on an earlier session like Miles Davis' Diggin' (Prestige, 1951), where the tenorist clearly was aiming to make an impression.

Still, after hearing the Monk/Coltrane concert this encounter is inescapably anticlimactic. Rollins, whose playing anticipates some of the melodic/rhythmic characteristics of his successor Charlie Rouse, lacks the light articulations and responsive quickness of the less-renowned player. Compared to Rouse's sportive playfulness, the tenor colossus sounds somewhat heavy and ponderous in Monk country. On the other hand, Coltrane's intensity meshes with Monk's whimsy because the piano "grounds the rapturous, altissimo flights of the tenor saxophone, as though Monk's insistent harmonies and unyielding time are the falconer around which the falcon's gyres are free to expend themselves without spiraling out of control.

Track listing:

All compositions by Thelonious Monk except where noted.

  1. "The Way You Look Tonight" (Dorothy Fields, Jerome Kern) – 5:13
  2. "I Want to Be Happy" (Irving Caesar, Vincent Youmans) – 7:43
  3. "Work" – 5:18
  4. "Nutty" – 5:16
  5. "Friday the 13th" – 10:32

Personnel:

    Thelonious Monk – piano trio on "Work" and "Nutty"
    Sonny Rollins – tenor saxophone on "The Way You Look Tonight," "I Want to Be Happy," and "Friday the 13th"
    Julius Watkins – french horn on "Friday the 13th"
    Percy Heath – bass on "Work," "Nutty," and "Friday the 13th"
    Tommy Potter – bass on "The Way You Look Tonight" and "I Want to Be Happy
    Art Taylor – drums on "The Way You Look Tonight" and "I Want to Be Happy"
    Art Blakey – drums on "Work" and "Nutty"
    Willie Jones – drums on "Friday the 13th"