Thelonious Monk, "Palo Alto" (Impulse). This recently unearthed live set showcases Monk's longest-running quartet (Charlie Rouse, Larry Gales, Ben Riley) in tight and energetic form. Though it's superb by anyone else's standards, the prodigious originator was blessed with less practice and worse pianos for his most unearthly recordings: "Alone in San Francisco" (Riverside), "Genius of Modern Music" (Blue Note), "Monk" (Prestige), "Piano Solo" (Vogue) and "The London Collection" (Black Lion). And, y'know, sometimes he had Sonny Rollins or Art Blakey.
"Monk'estra Plays John Beasley" (Mack Avenue). Those who appreciate Hall Overton's schematic arrangements for Monk (Monk did) can munch on pianist Beasley's inventive mainstream fare. Beasley specializes in rhythms, notably on the woozy blues walk of his own "Implication" and the doubletime drums on Thelonious' lazy "Monk's Mood." And the dude can compose.
Matthew Shipp Trio, "The Unidentifiable" (ESP). Shipp's fourth recording with drummer Newman Taylor Baker and bassist Michael Bisio finds the trio in total sympathy and freedom. Shipp's shivering harmonies, gentle abstract sway and elastic telegraphy are cushioned by Baker's sensual tomtom pattering to support Afro-hump, Caribbean jostle and, of course, the ghost of Monk. Dig the glue-sniff spark of the concluding "New Heaven and New Earth."
Billy Childs, "Acceptance" (Mack Avenue). A post-fusiony '80s feel dominates pianist Childs' focused artistry here, but he might surprise you with "Twilight Is Upon Us," where he sounds as if he's about to merge into some Traffic, then engages in rhythmic fisticuffs with drummer Eric Harland and saxist Steve Wilson.
Cindy Blackman Santana, "Give the Drummer Some" (Present Future). Numerous guest stars always make for a hodgepodge, and Cindy Blackman's enlistment of Carlos Santana, John McLaughlin, Vernon Reid and Metallica's Kirk Hammett (!) podges accordingly with fusion, funk, cool groove, lowbrow shoogabooga, and, yes, metal. Luckily, Blackman is drummer enough to pull off whatever, and though few will love all 17 tracks, most listeners can grab a few for later. I'll take the weird stalk of "Twilight Mask," featuring Carlos' freakiest pluck, and the slogging funk-rapper "Change Is in Your Hands," adorned with a tapping Reid freak-out. Slower beats are hardest for a drummer (and sexiest for us).
Phillip Greenlief, "Bellingham for David Ireland" (Edgetone). Live & raw, eight musicians in separate rooms who could only sorta hear one another somehow interpreted windman Greenlief's "map score" to produce an hourlong electro-environmental improvisation that sounds like many close-packed balloons rubbed together just right. Trust, well placed. Sample/buy here.
Phillip Greenlief, "Barbedwire" (Creative Sources). Greenlief's wispy trio reflections help your ears locate the walls -- useful information. Sample/buy here.
Scot Ray, "Stitched" Lone guitarist Ray's charming "broken-toy aesthetic" informs electronic overdubs & loops, ebb & flow, ping & skronk, backward FX. Made for solitude and inspired by John Surman. Listen/buy here.
Steuart Liebig, "Mortal Enemies" Via the 22-minute "Distressed," Liebig involves us in a dynamic, beautiful gloom, demanding that the brain remain alive while the drapes stay shut. Gerhard Richter's visual art deserves some credit for inspiring this, but what a wonderful electronic composer Liebig keeps proving to be. Listen/buy here.