Wynton Marsalis - Standard Time, Vol. 4: Marsalis Plays Monk

On this 1994 recording, trumpeter Wynton Marsalis and trombonist Wycliffe Gordon arrange the music of Thelonious Monk in a warm and witty neoclassic setting that typifies Marsalis's tradition-in-transition approach to jazz. Joining Marsalis and Gordon are drummer Herlin Riley, bassists Reginald Veal and Ben Wolfe, tenor saxophonists Walter Blanding and Victor Goines, Wess Anderson on alto and soprano sax, and pianist Eric Reed.

Monk's unconventionally structured blues and riff-based compositions are an important part of the jazz canon and Marsalis and company rise to the task of interpreting them. The 4/4 opener, "Thelonious," features a parade-style, stop-time intro with Anderson's ornithological, Charlie Parker-inspired tones, and Marsalis's burnished brass. The tap-dance feel of "Evidence" is maintained courtesy of the rhythm section, while the whimsical "We See" swings with Anderson's soprano sax and Reed's piano dancing on the melody. "Brake's Sake," "Green Chimneys," and "Worry Later" are solidly set in Riley's Congo Square-Latin-tinged drum work, Marsalis's laughing wah-wah sounds and clarion open horn solos, and Goines's towering tenor. A boppish horn line sets off "Four in One" and "Brilliant Corners" and is brilliantly decoded, while Marsalis's tune "In Walked Monk" (a play on Monk's "In Walked Bud") is reminiscent of Tadd Dameron's ensemble sound. The ballads include the dirgelike "Monk's Mood," with Marsalis's hazy mute, and the twilight-toned "Reflections." On "Ugly Beauty" Marsalis duets with Reed, who throughout this recording synthesizes Monk's dark tonal clusters and stride-piano techniques into his own fleet-fingered keyboard conception. --Eugene Holley Jr. Amazon.com

One Of The Worst Interpretations Of Monk Tunes I Ever Heard

Wynton Marsalis is a great trumpeter. No question that he can swing with the best of them. Unfortunately, this "Standard Time" is the second weakest of the "Standard Time" series. Like all great music, it has to be evaluated carefully.

Here's a brief analysis of "Marsalis Plays Monk" -

The playing on the recording, while all-around good, doesn't do anything for me. It's too static and formulaic. The improvisations aren't that great. Marsalis seems to be holding back a bit from letting his imagination do any real kind of creative thinking. It sounds as though he's just going through the motions instead of trying to capture Monk's music. It sounds almost like it's too "New Orleans" to be Monk. I'm fully aware of where Marsalis came from, but Monk's music doesn't really lend itself to this kind of treatment. In fact, Monk's best work is with smaller groups like a quartet. There are two many instruments not blending well together. The unison lines are sloppy and need more rehearsing. This record sounds more like a jam session.

People can say what they want to about this record, but to me, it doesn't hold up very well and it is, for lack of a better word, uninspired. March 24, 2008

Of course it isn't Monk...it's Marsalis

I don't understand those reviewers who bemoan the fact that this album isn't an exact replica of Monk...why would you buy this album for that? I was afraid that was what it was going to be...a nostalgia album mimicing Monk's sound. What you will get are Marsalis' renditions of Monk's tunes. There will be no mistaken, the tunes themselves are Monk's, but the arrangements bear the unmistakeable imprint of Marsalis. This is different and that's what makes Monk's music on this album unique and worth having. Monk's music does not have to sound like Monk to have it recognized as being the genius it is. December 28, 2007

Great Jazz?

I love Monk to death and am always exicited when I see/hear someone playing Monks Music. He is simply one of the greatest composers ever, period! He had more imagination and creativity in his writing and playing than anyone else, no discussion needed. Having said that I was disappointed in this CD (unforunately). I always thought Wynton needed to loosen up on his jazz playing and had hoped that in playing Monk's compositons he would be able to do that. Even though he was exposed to Jazz at an early age it almost seems like he learned his classical musicianship too well as he seems like a classical musician playing jazz. It just misses being great jazz. My feeling is why listen to almost great jazz when there is so much great jazz around that you can listened to. I also thought some of the horns tone and overall sound were a little bright sounding and didn't have the richness it needed for Monks music. I am not sure if this is a recording issue or playing issue. As always though he has a great rhythm section behind him. I have heard a liitle of his live CD's at the Village Vanguard and have liked what I have heard and will be buying that. Maybe he just needs to record his jazz live only. August 16, 2003

Wynton Marsalis, A Jazz Giant

An impressive treatment of Monk's music. This is what makes Wynton such a great artist. His respect for the masters is a lesson that every Jazz listener should learn. His tone, attack, and approach are flawless! His heart wrenching expression on "Reflections" proves that Wynton can be be very emotional. Words cannot express the expression of "Brillant Corners". Truly a great recording. July 18, 2001

Monk minus Monk = this album

This album is Monk if you subtract everything that made him a true, quirky-but-methodical original, and the greatest jazz composer ever (or at least tied with Duke for the title). No edges, no grit, no shards...no "brilliant corners", you might say. To be fair, this sort of middling approach may have value to some listeners, and perhaps it will turn someone on to the originals, so perhaps it is not a total waste. At any rate, it's hard for these ears to take.

Why not buy a Steve Lacy record instead? September 22, 2000

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