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.

The album was recorded in three sessions in late 1956 with two different quintets. "Ba-lue Bolivar Ba-lues-Are" and "Pannonica", on which Monk played the celeste, were recorded on October 9 with saxophonists Ernie Henry and Sonny Rollins, bassist Oscar Pettiford, and drummer Max Roach. The former composition was titled as a phonetic rendering of Monk's exaggerated pronunciation of "Blue Bolivar Blues", which referred to the Hotel Bolívar where Pannonica de Koenigswarter resided; Monk had met her during his first trip to Europe in 1954.

On October 15, Monk attempted to record the title track with the same band during a four-hour session. The complexity of the title track became a challenge for Monk's sidemen, who attempted twenty-five takes, and led to tension between him and Henry, who nearly broke down mentally, and Pettiford, who exchanged harsh words with Monk during the session. Monk tried to make it easier on Henry by not playing during his alto solo. During one of the takes, producer Orrin Keepnews and others in the control room could not hear Pettiford's playing and checked his bass microphone for a malfunction, but ultimately realized that he was pantomiming his playing. Without a completed single take, Keepnews ultimately pieced together the album version from multiple takes.

On December 7, "Bemsha Swing" was recorded with Paul Chambers on bass and trumpeter Clark Terry, who replaced Henry, and Monk recorded a solo piano version of "I Surrender, Dear".

The title track has an unconventional song structure that deviates from both standard song form and blues structures, as well as from Monk's African-American music roots. Its ternary form employs an eight-bar A section, followed by a seven-bar B section, and a modified seven-bar A section, and features a double-time theme in each second chorus and complex rhythmic accents.

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