THELONIOUS MONK was perhaps the most stylistically and artistically idiosyncratic (and visionary?) pianist and composer of his era. By the end of the ’50s, Monk was already a legend among jazz musicians and aficionados. He had also had it with dealing with tiny Riverside Records. As was and is common with musicians and their record companies, there were disagreements over money.
After protracted negotiations, Monk signed with Columbia Records in 1962. He had not recorded a studio album since the sessions for the 5 BY MONK BY 5 album in June 1959. Working with staff producer Teo Macero, he cut an album in four sessions over one week, and Columbia issued MONK’S DREAM in the first weeks of January 1963.
Monk’s music is filled with unusual bits and pieces of the familiar and unfamiliar.
In the March 14, 1963 issue of Down Beat, Pete Welding reviewed MONK’S DREAM and stated: “This important album, Monk’s first after a long absence from the recording studio, is a stunning reaffirmation of his powers as a performer and composer.”
MONK’S DREAM sold phenomenally well, eventually becoming the biggest selling title of his career. His albums with Columbia over the rest of the decade also sold well, making Monk a reasonably well-known name, even outside of jazz circles. By the end of the ’60s, rock fans were listening to his records! (Usually rock fans who were high.)
Photo of Monk in Columbia’s legendary 30th Street Studio in New York in late 1962 or early ’63 by legendary photographer by Jim Marshall.
The Thelonious Monk Quartet
Monk’s band saw several personnel changes during their stay with Columbia. For the sake of convenience on this project, I have numbered them Thelonious Monk Quartet 1 through 4. For the musicians below, the numbers following their names indicate which groups they were a part of:
Tenor sax
1959–1970 Charlie Rouse (1–4)
Bass
1960–1963 John Ore (1)
1963–1964 Butch Warren (2–3)
1964–1969 Larry Gales (4)
Drums
1960–1964 Frankie Dunlop (1–2)
1964–1969 Ben Riley (3–4)
The February 28, 1964, issue of Time magazine featured an article on Monk and gave him the cover, which featured a striking portrait by Boris Chaliapin. “The fact is that Monk’s Time profile emerged at a really hot moment when, on one side was the jazz avant-garde, which fairly or un-fairly was being identified with black nationalism and radicalism, and on the other side were the older swing musicians who were seen as conservative. These characterizations were not necessarily accurate but what they did is embody a political debate that was going on in the nation at the time and Monk sort of gets caught in the middle.” (Robin D.G. Kelley)
Discography and price guide
This discography only includes the albums that Monk recorded and released in the ’60s. Several albums of live recordings from these years have been issued since, both here and abroad; they are not included in this discography.
There are values assigned to both the mono and the stereo versions below. The values reflect a nearly mint (NM) record with NM labels in a NM jacket. Anything less than this will see the assigned value drop precipitously.
During the ’60s, Columbia shipped many titles to radio stations with special white label promotional pressings of the record. These almost always are valued higher than the regular commercial pressing of the album. Oddly, jazz collectors do not place anywhere near the amount of importance on these as do rock collectors. Most of the early Monk titles were issued as white label promos.
Finally, jazz collectors have long preferred mono record variations over their stereo counterparts, and that is reflected in the values below.
The first copies of Monk’s first Columbia album (CL-1965) were shipped to radio stations as special promotional editions. A round, silver sticker with a five-pointed star was affixed to the jacket that read “A New Star On Columbia Records.” These stickers were used as a promotional device for the first album by a newly signed Columbia artist for several years in the early ’60s. Inside most jackets with this sticker was a white label promo pressing of the record.
Reviews
While looking up the actual release dates for the titles below in old issues of Billboard, I found the occasional review that the magazine did. These were generally very short—four lines was a lengthy reviews!—and also generally positive.
After all, Billboard is an industry publication that helps that industry push product, not get in its way. Still, the reviews below are pithy and accurate and contemporary with the release of the album.
1963
Monk’s Dream
Columbia CL-1965 (mono)
Columbia CS-8765 (stereo)
Original albums with records with first pressing labels with GUARANTEED HIGH FIDELITY in black print at the bottom (above) in NM condition are worth $40–50. Later pressings exist with 360 SOUND MONO at the bottom and are worth $10–15 in NM condition.
Original albums with records with first pressing labels with 360 SOUND STEREO in black print at the bottom (above) in NM condition are worth $30–40. Second pressings with 360 SOUND STEREO in white print at the bottom and are worth $10–15 in NM condition. Later pressings with COLUMBIA in gold print around the perimeter are worth $5–10.
Thelonious Monk Quartet 1
Thelonious Monk, piano
Charlie Rouse, tenor sax
John Ore, bass
Frankie Dunlop, drums
Recorded: October 31 and November 1, 2, 6, 1962
Studio: Columbia Studio, New York
Producer: Teo Macero
Released: January 1963
Although Columbia had transitioned from the older ‘6 eye’ logo label to a newer design with just two camera/eye logos (“Guaranteed High Fidelity”) design, copies of CL-1965 were pressed with the old label. These are rather rare records, but can be considered either first pressings or sports.
At least one copy of CS-8765 is known to exist on lovely translucent red vinyl. While some have speculated that it was a promotional pressing, in the record business a one-of-a-kind item can usually mean that it was done without authorization as an instant ‘manufactured collectable,’ or as an in-house gift.
“Monk does it again. His first album on Columbia is provocative and filled with highly unusual bits and pieces of the familiar and unfamiliar that have always marked this artist’s creative output. Body and Soul and Bright Mississippi are two adaptations of the well-known that defy description. You’ve got to hear this album to believe it. Monk pulls out all the stops.” (Billboard)
Criss-Cross
Columbia CL-2038 (mono)
Columbia CS-8838 (stereo)
During the early and mid 1960s, Columbia affixed these huge stickers to the front covers of promotional album jackets. Because these stickers have the song titles and their times for radio programmers and disc-jockeys, these are referred to as “title & timing strips.” Both white label promo records and regular stock records can be fund in these jackets. Some collectors place a premium on the value of such stock records designated for promotional use.
Original albums with records with first pressing labels with GUARANTEED HIGH FIDELITY in black print at the bottom (above) in NM condition are worth $30–40. Later pressings exist with 360 SOUND MONO at the bottom and are worth $10–15 in NM condition.
Original albums with records with first pressing labels with 360 SOUND STEREO in black print at the bottom (above) in NM condition are worth $25–30. Second pressings with 360 SOUND STEREO in white print at the bottom and are worth $10–15 in NM condition. Later pressings with COLUMBIA in gold print around the perimeter are worth $5–10.
Columbia often affixed “Not for Sale” stickers like this to the labels of records and shipped them off to radio stations. Some collectors place a premium on the value of such stock records designated for promotional use.
Thelonious Monk Quartet 1
Thelonious Monk, piano
Charlie Rouse, tenor sax
John Ore, bass
Frankie Dunlop, drums
Recorded: November 6, 1962; March 29, 1963
Studio: Columbia Studio, New York
Producer: Teo Macero
Released: September 1963
“Those who criticize Thelonious Monk for being most difficult to listen to will find that he’s at his most listenable best throughout this LP. His piano solo of Don’t Blame Me is sheer jazz poetry. Monk seems to be enjoying playing Monk with his happy interpretations of Think of Me and Hackensack.” (Billboard)
1964
Big Band And Quartet In Concert
Columbia CL-2164 (mono)
Columbia CS-8964 (stereo)
Original albums with records with first pressing labels with GUARANTEED HIGH FIDELITY in black print at the bottom (above) in NM condition are worth $25–30. Later pressings exist with 360 SOUND MONO at the bottom and are worth $10–15 in NM condition.
Original albums with records with first pressing labels with 360 SOUND STEREO in black print at the bottom (above) in NM condition are worth $20–25. Second pressings with 360 SOUND STEREO in white print at the bottom and are worth $10–15 in NM condition. Later pressings with COLUMBIA in gold print around the perimeter are worth $5–10.
Thelonious Monk Quartet 2
Thelonious Monk, piano
Charlie Rouse, tenor sax
Butch Warren, bass
Frankie Dunlop, drums
Thelonious Monk Big Band
Gene Allen, baritone saxophone, bass clarinet, clarinet
Eddie Bert, trombone
Thad Jones, cornet
Steve Lacy, soprano saxophone
Nick Travis, trumpet
Phil Woods, alto saxophone, clarinet
Recorded: December 30, 1963
Studio: Lincoln Center at Philharmonic Hall, New York
Producer: Teo Macero
Arranger: Hall Overton
Released: March 1964
“The Monk sound goes small group and big band on the LP, and considering his sales on the last one on Columbia, this album should be even better. It’s got some stellar solos by the likes of Phil Woods, Charlie Rouse, and Monk himself, among a flock of others.” (Billboard)
Miles & Monk At Newport
Columbia CL-2178 (mono)
Columbia CS-8978 (stereo)
Original albums with records with first pressing labels with GUARANTEED HIGH FIDELITY in black print at the bottom (above) in NM condition are worth $25–30. Later pressings exist with 360 SOUND MONO at the bottom and are worth $10–15 in NM condition.
Original albums with records with first pressing labels with 360 SOUND STEREO in black print at the bottom (above) in NM condition are worth $20–25. Second pressings with 360 SOUND STEREO in white print at the bottom and are worth $10–15 in NM condition. Later pressings with COLUMBIA in gold print around the perimeter are worth $5–10.
Thelonious Monk Quartet 2 and Pee Wee Russell
Thelonious Monk, piano
Charlie Rouse, tenor sax
Butch Warren, bass
Frankie Dunlop, drums
Pee Wee Russell, clarinet
Recorded: July 4, 1963
Studio: Newport Jazz Festival
Producer: Teo Macero
Released: June 1964
Side A features the Miles Davis Sextet at Newport in 1958.
“There is little else jazz fans could ask for than a Newport setting, the Miles Davis Sextet and the Thelonious Monk Quartet. Adding to the roster of stars are John Coltrane and Cannonball Adderley, featured with Davis; and Pee Wee Russell, who helps guide Monk.” (Billboard)
Monk has always been one of the most inventive jazzmen in history, and was part of the underground of jazz for years in post-war America.
It’s Monk’s Time
Columbia CL-2184 (mono)
Columbia CS-8984 (stereo)
Original albums with records with first pressing labels with GUARANTEED HIGH FIDELITY in black print at the bottom (I could not find an image for this record) in NM condition are worth $30–40. Later pressings exist with 360 SOUND MONO at the bottom and are worth $10–15 in NM condition. The silver sticker on the jacket is for Columbia Special products and designates the album as promotional.
I didn’t see one off these stickers on an album until the American record companies discontinued manufacturing new titles in both mono and stereo. In 1969, tens of millions of monos were dumped on the market as cut-outs, selling for as little as 50¢. Coincidentally, this copy of IT’S MONK’S TIME has a small cut-out hole in the upper left corner.
Original albums with records with first pressing labels with 360 SOUND STEREO in black print at the bottom (above) in NM condition are worth $25–30. Second pressings with 360 SOUND STEREO in white print at the bottom and are worth $10–15 in NM condition. Later pressings with COLUMBIA in gold print around the perimeter are worth $5–10.
Thelonious Monk Quartet 3
Thelonious Monk, piano
Charlie Rouse, tenor sax
Butch Warren, bass
Ben Riley, drums
Recorded: January 29–30, 1964; February 10, 1964; March 9, 1964,
Studio: Columbia Studio, New York
Producer: Teo Macero
Released: August 1964
1965
Monk
Columbia CL-2291 (mono)
Columbia CS-9091 (stereo)
Original albums with records with first pressing labels with GUARANTEED HIGH FIDELITY in black print at the bottom (above) in NM condition are worth $40–50. Later pressings exist with 360 SOUND MONO at the bottom and are worth $10–15 in NM condition.
Original albums with records with first pressing labels with 360 SOUND STEREO in black print at the bottom (above) in NM condition are worth $30–40. Second pressings with 360 SOUND STEREO in white print at the bottom and are worth $10–15 in NM condition. Later pressings with COLUMBIA in gold print around the perimeter are worth $5–10.
Thelonious Monk Quartet 4
Thelonious Monk, piano
Charlie Rouse, tenor sax
Larry Gales, bass
Ben Riley, drums
Recorded: March 9, 1964; October 6–8, 1964
Studio: Columbia Studio, New York
Producer: Teo Macero
Released: February 1965
“Still the ruler of the ‘n’ jazz roost is Monk. His albums are more in demand than ever before, and this one will find ready acceptance.” (Billboard)
Solo Monk
Columbia CL-2349 (mono)
Columbia CS-9149 (stereo)
Original albums with records with first pressing labels with GUARANTEED HIGH FIDELITY in black print at the bottom (above) in NM condition are worth $40–50. Later pressings exist with 360 SOUND MONO at the bottom and are worth $10–15 in NM condition.
Original albums with records with first pressing labels with 360 SOUND STEREO in white print at the bottom (above) in NM condition are worth $30–40. Later pressings with COLUMBIA in gold print around the perimeter are worth $5–10.
Thelonious Monk, piano
Recorded: October 31, 1964; November 2, 1964; February 23, 1965; March 2, 1965
Studio: Columbia Studio, Los Angeles (1964), Columbia Studio, New York (1965)
Producer: Teo Macero
Released: May 1965
1966
Misterioso (Recorded On Tour)
Columbia CL-2416 (mono)
Columbia CS-9216 (stereo)
Original albums with records with first pressing labels with 360 SOUND MONO in white print at the bottom (above) in NM condition are worth $25–30.
Original albums with records with first pressing labels with 360 SOUND STEREO in white print at the bottom (above) in NM condition are worth $20–25. Later pressings with COLUMBIA in gold print around the perimeter are worth $5–10.
Thelonious Monk Quartet 2 (on three tracks)
Thelonious Monk, piano
Charlie Rouse, tenor sax
Butch Warren, bass
Frankie Dunlop, drums
Thelonious Monk Quartet 4 (on five tracks)
Thelonious Monk, piano
Charlie Rouse, tenor sax
Larry Gales, bass
Ben Riley, drums
Recorded: May 21, 1963; July 4, 1963; December 30, 1963; November 1, 1964; November 4, 1964; February 27, 1965; March 2, 1965
Studio: Recorded live at various locations
Producer: Teo Macero
Released: October 1965
1967
Straight, No Chaser
Columbia CL-2651 (mono)
Columbia CS-9451 (stereo)
Original albums with records with first pressing labels with 360 SOUND MONO in white print at the bottom (above) in NM condition are worth $25–35.
Original albums with records with first pressing labels with 360 SOUND STEREO in white print at the bottom (above) in NM condition are worth $20–25. Later pressings with COLUMBIA in gold print around the perimeter are worth $5–10.
Thelonious Monk Quartet 4
Thelonious Monk, piano
Charlie Rouse, tenor sax
Larry Gales, bass
Ben Riley, drums
Jon Hendricks, vocals
Recorded: November 14–15, 1966; January 10, 1967
Studio: Columbia Studio, New York
Producer: Teo Macero
Released: May 1967
1968
Underground
Columbia CS-9632 (stereo)
Original albums with records with first pressing labels with 360 SOUND STEREO in white print at the bottom (above) in NM condition are worth $30–40. Later pressings with COLUMBIA in gold print around the perimeter are worth $5–10.
Thelonious Monk Quartet 4
Thelonious Monk, piano
Charlie Rouse, tenor sax
Larry Gales, bass
Ben Riley, drums
Recorded: December 14 and 21, 1967; February 14, 1968
Studio: Columbia Studio, New York
Producer: Teo Macero
Released: May 1968
“The genius of T. Sphere Monk has again been captured in a new album, UNDERGROUND. And it’s clothed in one of the hippiest jackets a record ever wore.” (Billboard)
1969
Thelonious Monk’s Greatest Hits
Columbia CS-9775 (stereo)
Original albums with records with first pressing labels with 360 SOUND STEREO in white print at the bottom (above) in NM condition are worth $15–20. Later pressings with COLUMBIA in gold print around the perimeter are worth $5–10.
The near-black front cover sets off the very Sixties-ish lettering, which jumps out off the background. It alludes to the more famous style of letters used on the Byrd’s fifth dimension album. Actually, the title would have benefited by having a thin line of black between them, helping with readability.
Compilation of previously released album tracks by the Thelonious Monk Quartet 1–4.
Released: April 1969
Monk’s Blues
Columbia CS-9806 (stereo)
Original albums with records with first pressing labels with 360 SOUND STEREO in white print at the bottom (above) in NM condition are worth $15–20. Later pressings with COLUMBIA in gold print around the perimeter are worth $5–10.
Thelonious Monk Quartet 4
Thelonious Monk, piano
Charlie Rouse, tenor sax
Larry Gales, bass
Ben Riley, drums
Ernie Small, baritone sax
Howard Roberts, guitar
John Guerin, drums
Bobby Bryant, trumpet
Conte Candoli, trumpet
Freddie Hill, trumpet
Lou Blackburn, trombone
Bob Bralinger, trombone
Billy Byers, trombone
Mike Wimberley, trombone
Gene Cipriano, reeds
Buddy Collette, reeds
Homer Scott (aka Tom Scott), reeds
Recorded: November 19–20, 1968
Studio: Columbia Studio, Los Angeles
Producer: Teo Macero
Arranger: Oliver Nelson
Released: April 1969
Monk’s music is provocative, filled with bits and pieces of the familiar and unfamiliar. Click To Tweet
FEATURED IMAGE: The photo at the top of this page is cropped from the front cover of Monk’s 1969 album UNDERGROUND. The liner notes by Gil McKean on the back cover explain the photo:
“Although the illustration on the album cover may seem a trifle bizarre to the uninitiated, knowing intimates of Monk will recognize the setting as that of his studio, an important part of his Manhattan apartment. In this atelier are the memorabilia of an adventurous and richly rewarding life.
Most noticeable, perhaps, is the Nazi storm trooper. As real as he looks, he is stuffed, a trophy of Monk’s forays as a member of the French Resistance movement in World War II, the famed FFI. With a cry of ‘Take that, you honkie Kraut!’ Capitaine Monk shot him cleanly and truly through the heart. He weighed 187 pounds, dressed.
As real as he looks, the Nazi stormtrooper is stuffed, a trophy of Monk’s forays as a member of the French Resistance in World War II.
Thelonious’ only pet is the cow who answers to the name Jellyroll and has the run of the apartment. It is interesting to know that Capitaine Monk had access to a piano throughout the combat and would never go on a mission without warming up with some forty or fifty choruses of Darkness on the Delta.
The field telephone on the wall, a memento of Normandy, now serves as a direct line to Le Pavillon in the event he wishes to order a delivery of French soul food.
The rest of the objects are really almost self explanatory—the Nazi battle flag he captured at Nuremburg, the dynamite he used so often on key objectives in Germany, the grenades, machine pistol, the .45 automatic—all of them bring tears of nostalgia to Monk’s eyes as he thinks of action-packed years gone by.
He was part of the underground then—for years in post-war America his piano was part of the underground of jazz. Now, and indeed for the past few years, this jazz giant is emerging as the great artist he has always been, one of the most inventive jazzmen in history.
Actually, the title of this album, UNDERGROUND is something of a misnomer—Monk surfaced long ago! He has been committing thelonious assaults on certain hidebound enclaves of jazz since the mid-Forties, and the attacks are beginning to tell. Oh yes, about the girl with the firearm in the background. No explanation was asked, nor was one forthcoming.”
Mystically liberal Virgo enjoys long walks alone in the city at night in the rain with an umbrella and a flask of 10-year-old Laphroaig who strives to live by the maxim, “It ain’t what you know that gets you into trouble; it’s what you know that just ain’t so.
I’ve been a puppet, a pauper, a pirate, a poet, a pawn, and a college dropout (twice!). Occupationally, I have been a bartender, jewelry engraver, bouncer, landscape artist, and FEMA crew chief following the Great Flood of ’72 (and that was a job that I should never, ever have left).
I am also the final author of the original O’Sullivan Woodside price guides for record collectors and the original author of the Goldmine price guides for record collectors. As such, I was often referred to as the Price Guide Guru, and—as everyone should know—it behooves one to heed the words of a guru. (Unless, of course, you’re the Beatles.)
