Thelonious Monk - Monk Live In Paris, 1967, Volume One [Blue 180 Gram]
Thelonious Monk - Monk Live In Paris, 1967, Volume One [Blue 180 Gram]
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A Newly Unearthed and Fully Restored Recording of Thelonious Monk's 1967 Paris Concert - Long Considered One of the Most Elusive Performances of his European Tour
This marks the first official release from the Monk Estate.
Monk Live in Paris, 1967 Volume One will be Available on 180-Gram Vinyl on April 24, 2026, via the Thelonious Monk Estate's Rhythm-A-Ning Entertainment
Captured at the Height of Monk's Creative Powers, this Historic Performance Showcases the Pianist and Composer with His Classic Quartet: Charlie Rouse (tenor saxophone), Larry Gales (bass), and Ben Riley (drums)
For its first 70 years, the profound art of jazz made originality, singularity and unrestricted vision prime requisites of its expression – not just in musicality, but also in personality, image, style and demeanor. The unparalleled composer/pianist/visionary Thelonious Sphere Monk epitomized every aspect of this in exponential form. As a result, he occupies a unique position in the Jazz Pantheon.
Every aspect of this extraordinary man epitomizes jazz expression at its most compelling level. His visual presence – his headwear, his glasses, his sartorial style – matched with his remarkably profound verbal statements, the way he danced around the piano during other musicians' solos; and even more importantly, his brilliant compositions that are both starkly angular, yet gorgeously lyrical, and matched by his piano playing which made dissonance and fractured rhythms so utterly delightful, make Thelonious Monk stand out dynamically even amidst his other transcendent peers.
Capitalizing on all of this, the Monk Estate is launching a comprehensive plan to launch a new ongoing series of archival recordings under its authorized control of material that has been circulated for years as bootlegs – and is doing so with clever brand marketing that will further express the legendary presence and spirit of this singular iconoclast.
The initial release, Monk Live in Paris, 1967 Volume One, is very special, not only for its merging of these elements, but also because it showcases Monk's longstanding quartet featuring tenor man Charlie Rouse and the bass/drums tandem of Larry Gales and Ben Riley, who are joined by five very special guest horn men. Alto saxophonist Phil Woods, trombonist Jimmy Cleveland, Ray Copeland and tenor titan Johnny Griffin (Rouse's predecessor in the quartet) perform in various permutations – with the full nonet, including trumpet legend Clark Terry, coming together in Volume Two of this wonderful concert recording (to be released October 9, 2026).
Volume One includes four Monk classics (an apt description of virtually every one of his compositions) – ''Epistrophy,'' with a scorching, growlingly muscular Griffin solo and a lyrical and adventurous Copeland solo; the deliciously syncopated ''Evidence,'' with sparkling Rouse, another terrific solo by Copeland; and bluesy, wickedly swinging Woods. On both extended pieces, the four horns provide densely harmonic thematic statements and some adventurous riffing that spurs on the soloists for a spontaneous feeling with a jam session atmosphere of jubilant excitement. ''We See,'' again highlights Rouse and Copeland; with the beautiful ''Ruby, My Dear'' just featuring the original quartet completing the package. Of course, Monk brings his totally singular piano stylings to each piece; and Gales and Riley both offer their own outstanding contributions as well.
Monk's son, T.S. Monk, says Monk Live in Paris was chosen to showcase the caliber of musicians who traveled with Monk, though not excluding Charlie Rouse, who is most familiar to his public. ''Giants like Rollins and Coltrane, Abdul Malik, Roy Haynes or Art Blakey, Mingus and Max Roach spent much time with Monk, but they didn't travel that much,'' Monk says. ''People are quite aware of his touring and recording quartet, his colleagues as a young man at Minton's Playhouse, like Dizzy, Bird, Charlie Christian, Red Rodney, Kenny Clarke and so on. His touring with larger ensembles especially in Europe, not as much. The Clark Terry's, Phil Woods, Thad Jones', the Jimmy Cleveland's, Johnny Griffin's and others highlight the respect his peers had for him. Men in some cases that often led their own bands. These musicians traveled for the art as much as the money! In some cases, more so! They all loved Monk and their presence is a tribute to his artistry.''
''Thelonious Monk never wrote music to fit a system,'' TS Monk says. ''He wrote to expand imagination and move the culture forward. We've spent years navigating piracy, legacy structures, and an industry not always built for artist control. This album release marks a shift - stewarded independently, handled with intention, and delivered directly to listeners. Legacy isn't something you just inherit - it's something you defend and reinvent. This is a milestone not just for our family, but for anyone who believes in art over formula.''
The recording is presented as a 180-gram audiophile pressing and was selected by Thelonious Sphere Monk III as the first in a new series of previously unreleased, rare live recordings, mastered by Rudy Van Gelder. The album cover artwork was designed by Japanese graphic designer and artist Gaku Inada.
Vinyl: 180 Gram, Blue Vinyl
Packaging: single pocket jacket with a polylined sleeve and insert
Tracklist:
- A Artist Introduction (2:00)
- A Epistrophy (9:45)
- A Evidence (14:24)
- B Ruby, My Dear (7:40)
- B We See (13:59)
UPC: 736373969223
Label: Rhythm-a-ning Ent.
Release Date: 4.24.26
Format: Vinyl Record
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Comic Book Preorder Policy
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Hardcover (HC), Trade Paperback (TP), Softcover, Manga and Book Preorder Policy
Hardcover (HC), Trade Paperback (TP), Softcover, Manga and Book Preorder Policy
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Refunds Policy
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Overstreet Comic Grading Standards
We will not accept returns or exchanges any book with out a stated grade where they would be NM 9.4 or better books. We cannot promise 9.8s on every book, that's not realistic. Printing is imperfect and does not allow for every book to be 9.8.
If the entire print run has similar defects like minor spine dings, bindery issues etc then you will be shipped what we receive unless there is a reprint announced in a timely manner by the publisher. Then you will be given the option to receive the reprint. In the cases where the entire print run has defects we only promise 9.2 or better.
Please note that the following defects may be allowed in NM 9.4 as long as there is not an accumulation of defects.
bindery defects like minor to moderate corner tears, white along the edge of the spine, covers that are offset from the pages (common on cardstock covers) - bindery defects may not affect the grade much if at all
printing defects like a slight color rubs on the back covers, small wrinkles in the paper that were present on the paper rolls prior to the books being printed, paper that is "wavy" from the printing process
printer lines or grooves, they some times run the entire length of the cover or just part of the length. These are from print rollers. Usually on cardstock or foil covers.
2 - 3 small color breaking spine dings or minor non color breaking spine dings
This specific photo example was also a line wide issue, every copy had the same problem.
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Shipping Policy
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