Brilliant Corners is a studio album by American jazz musician Thelonious Monk. It was his third album for Riverside Records and the first, for this label, to include his own compositions. The complex title track required over a dozen takes in the studio, and is considered one of his most difficult compositions

Cannonball Adderley1928年出生于美国佛罗里达州，于1975年逝世。Adderley是一位卓越的中音萨克斯演奏家，他的演奏粗纩豪放，热情洋溢，具有一种原始美。Adderley不仅是硬波普爵士乐中的重要人物，他还是同一时期另一个重要流派——Soul Jazz中举足轻重的人物。仅仅活了47岁的Adderley在爵士音乐史上，始终只受到少数有识之士的敬重，对大部分爵士乐迷而言，或许他只是一位流行乐匠，而很少体会到他大师级地位与影响力的一面。他的音乐风格带有蓝调的影响，虽然有时会因老式作风引起人们的批评，但在展露锋芒之时，却总让人惊讶于他对于爵士乐艺术的奉献和执着之深。Cannonball Adderley最大的贡献应该是他运用特别的节奏组合，赋予60年代Soul Jazz风格的本质确立。虽然有些人认为那只是商业手段的推波助澜，但仔细聆听同时期其它人作品，仍以Cannonball Adderley的最为精纯。
在服役前后，Cannonball曾担任高中音乐老师，并组团表演。后来受到萨克斯风手Eddie Vinson的鼓励，于1955年，在纽约录制他的第一张作品，与Paul Chambers与Kenny Clarke合奏。这时正巧Charlie Parker才过世不久，纽约之行Cannonball适时接替了这个空缺，并造成当地的震撼。接着，他和弟弟Nat Adderley合组一支五重奏，以节奏变换特性广受欢迎。即兴的独奏明显的受到Charlie Parker的影响，但却没有Charlie那种刻意引人注目的声调。在节奏方面，亦呈现同时期Eddie Vinson和Louis Jordan的特有韵味，毫无拘泥之意。在综合这些特点之后， Cannonball经常在经营旋律时长篇大作的冠以装饰音，让听者喘息难当。然而，这个偏好至今尚无人出其右。
Somethin' Else是张极具意义的唱片，由Miles Davis、Cannonball Adderley两人组成的铜管二人组搭配Art Blakey创意十足的爵士鼓敲击，当然还有Hank Jones优异的钢琴演奏。除了阵容之外，唱片中的编曲创意才是欣赏的重点，超越了硬咆哮的视野而扎实的展现出爵士乐之美，堪称是Adderley生平最优秀的一张专辑——很多评论家和爵士乐迷认为这是爵士音乐史上最伟大的专辑之一。(Many critics and jazz fans consider Somethin' Else to be among the greatest jazz albums of all time)
本专辑获得了《企鹅爵士指南》四星带花的满分评价（本来企鹅是三星为最高，2006后改为四星为最高），原始发行于1958年，此为1999年RVG Remastered版本。如果是音响器材的发烧友，可能就听过此专辑，因为这张专辑经常作为发烧碟出现在各种音响试听会上。
解释下：企鹅指南（也有翻译为企鹅评鉴）的三星评价体系，很多爱乐者都比较熟悉了。在企鹅的评价体系中，三星就表示在各个方面都很优秀的演绎和录音，也就是最高的评价。在少数CD前加上的Rosette，即俗称的“花”（Rosette原义为玫瑰形的装饰），实际上表示的是企鹅指南编者个人对某个录音的特殊喜爱，带有更加强烈的主观色彩。2006年开始出现了第一张四星带花的专辑《Spem in Alium》，之后一发不可收拾，现在四星带花成为企鹅指南的最高评价。

Solo Monk is the eighth album Thelonious Monk released for Columbia Records in 1965. The album is composed entirely of solo piano work by Monk. The Allmusic review by Thom Jurek states "This is perhaps the solo piano record to have by Monk".In addition to various vinyl and CD issues, Sony Music Enterprises issued an SACD (SRGS 4520) in Japan.

American jazz bop composer and pianist.
Born 27 September 1924 in Harlem, New York City, New York, USA.
Died 31 July 1966 (of pneumonia) in New York City, New York, USA (aged 41).

40年代查理·帕克与迪吉·葛拉斯彼两人共同开创Bebop风潮之后就分手各自组团，直到1950年才又合作。这时两人早已是意气风发的乐坛巨匠，再度碰头仍旧活力四射。本辑《Bird And Diz 大鸟和迪兹》的五位乐手都是Bebop时期的重要人物，以实力坚强的组合，重新奏出经典之声。
Charlie Parker(as)
Dizzy Gillespie(t)
Thelonious Monk(p)
Curly Russell(b)
Buddy Rich(d)
Recorded june 1950 in New York City

This compilation assembles all of the Metronome All-Stars radio broadcasts and studio recording sessions in which Charlie Parker and Lennie Tristano both participated. As a thrilling bonus, the disc opens with two marvelously intimate recordings made on Parker's tape recorder at Lennie Tristano's house in New York sometime during August of 1951. Present on this pair of tracks, which add up to eight minutes of friendly cooperative improvisation, were Charlie Parker, Lennie Tristano and Kenny Clarke, who provided percussive accompaniment using brushes on a phone book. Here is the only known recording that Charlie Parker ever made of "I Can't Believe That You're in Love with Me," and what is said to be his only complete version of "All of Me." Note that these precious recordings were used by Clint Eastwood in Bird, his 1988 cinematic portrait of Charlie Parker, but with Parker's solo digitally isolated, Tristano's portion excised, and a new rhythm section added. It's good to have Tristano back in the mix, as it were. Tristano once remarked that Parker greatly enjoyed improvising with him because he used unusual chord combinations that never occurred to most other pianists. All of the music on this disc demonstrates exactly what Tristano was talking about. The radio recordings, culled from three different 1947 Mutual Network broadcasts, document Parker & Tristano's involvement in postwar United States bond drives as members of the Metronome All-Stars, an amazing core sample of early modern jazz talent assembled and presented by Metronome magazine editor Barry Ulanov. The collective balance of musicological genius on each of these broadcasts is dazzling, with Sarah Vaughan, Allen Eager, John LaPorta and Fats Navarro designated as soloists. During these "battle of the bands" shows, listeners were invited to call in and vote for their favorite players; a "traditionalist" group was pitted against the "beboppers," almost as if the two stylistic categories weren't descended from the same root system. Yet another version of the Metronome All-Stars met in New York's RCA studios on January 3, 1949, this time under the leadership of Pete Rugolo. Parker, despite a photographic memory and a musical intellect that was light years ahead of everybody else, deliberately pretended to have trouble with an untitled piece that Rugolo had composed especially for the occasion. He did this for everyone's benefit as the musicians were being paid by the hour. For this reason Rugolo's composition, heard here in two takes, was christened "Overtime." Three versions of Lennie Tristano's marvelously intricate "Victory Ball" conclude this tribute to the friendship and creative alliance that existed between Charlie Parker and Lennie Tristano.