Join Our Team | Subaru CareersI f the era of the generally acknowledged classic jazz recording — a genre stretching from Louis Armstrong's West End Blues to John Coltrane's A Love Supreme — was brought to an end first by the passing of the great 20th-century innovators and then by the overwhelming profusion of recordings produced by the musicians of subsequent generations, it would be wrong to assume that no contemporary work is worthy of a place in the pantheon. When historians come to assess the jazz created in the first decade of the 21st century, for instance, they should not overlook Monk's Casino , a recital of all 70 of the compositions attributed to Thelonious Sphere Monk Jr, interpreted by a quintet under the leadership of the distinguished German pianist Alexander von Schlippenbach. Performed in a nightclub and cast in the form of a continuous medley lasting three and a half hours, this prodigious achievement invites the listener to revel not just in the musicians' extraordinary inventiveness but in the ceaselessly surprising nature of the material from which they draw their inspiration. But still, as Schlippenbach and his colleagues so amply demonstrate, the well is far from dry, and every night in jazz clubs around the world musicians who were unborn when Monk died in can be found grappling with the melodic, harmonic and rhythmic subtexts of such masterpieces of musical cryptology as "Well You Needn't", "Epistrophy" and "Straight, No Chaser", and exploring the luminous beauty of his ballads, including "Round Midnight", "Crepuscule With Nellie" and "Ruby, My Dear". If Monk's compositions, with their unexpected angles, abrupt rhythms and astringent dissonances, are full of mysteries, then so was their creator. Initially derided by all but the inner circle of the bebop revolution, eventually he was embraced by the vanguard of the beat generation, to whom he symbolised the postwar shift of jazz from popular entertainment to intellectual exercise.
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