Not content to pander ineffectively to a nonexistent audience, Monk turned a page with his 1956 album, Brilliant Corners, which is usually considered to be his first true masterpiece. There, he attempted to make his first two recordings more widely accessible, but this effort was poorly received by critics. As Monk saw it, "The piano ain't got no wrong notes!" Though widespread recognition was still years away, Monk had already earned the regard of his peers as well as several important critics.īecause Monk's work continued to be largely overlooked by jazz fans at large, Prestige sold his contract to Riverside Records in 1955. Monk made a total of five Blue Note recordings between 19, including "Criss Cross" and "Evidence." These are generally regarded as the first works characteristic of Monk's unique jazz style, which embraced percussive playing, unusual repetitions and dissonant sounds. Monk didn't record under his own name, however, until 1947, when he played as the leader of a sextet session for Blue Note. Monk's first known recording was made in 1944, when he worked as a member of Coleman Hawkins's quartet. Alongside Charlie Parker and Dizzy Gillespie, he explored the fast, jarring, and often improvised styles that would later become synonymous with modern jazz. In 1941, Monk began working at Minton's Playhouse in Harlem, where he joined the house band and helped develop the school of jazz known as bebop.