# With the arrival Thelonious Monk modern culture simply hasn’t been the same … Video

- Link: https://jazzblues.eu/2017/10/10/with-the-arrival-thelonious-monk-modern-culture-simply-hasnt-been-the-same-video/
- Published: 2017-10-10T09:00:14+01:00
- Author: https://JazzBlues.EU

**10.10. – Happy Birthday !!! With the arrival Thelonious Sphere Monk, modern music—
let alone modern culture—simply hasn’t been the same. Recognized as one of the most
inventive pianists of any musical genre, Monk achieved a startlingly original sound
that even his most devoted followers have been unable to successfully imitate.**

His musical vision was both ahead of its time and deeply rooted in tradition, spanning
the entire history of the music from the “stride” masters of James P. Johnson and
Willie “the Lion” Smith to the tonal freedom and kinetics of the “avant garde.” 
And he shares with Edward “Duke” Ellington the distinction of being one of the century’s
greatest American composers. At the same time, his commitment to originality in 
all aspects of life—in fashion, in his creative use of language and economy of words,
in his biting humor, even in the way he danced away from the piano—has led fans 
and detractors alike to call him “eccentric,” “mad” or even “taciturn.” Consequently,
Monk has become perhaps the most talked about and least understood artist in the
history of jazz.

Born on October 10, 1917, in Rocky Mount, North Carolina, Thelonious was only four
when his mother and his two siblings, Marion and Thomas, moved to New York City.
Unlike other Southern migrants who headed straight to Harlem, the Monks settled 
on West 63rd Street in the “San Juan Hill” neighborhood of Manhattan, near the Hudson
River. His father, Thelonious, Sr., joined the family three years later, but health
considerations forced him to return to North Carolina. During his stay, however,
he often played the harmonica, ‘Jew’s harp,” and piano—all of which probably influenced
his son’s unyielding musical interests. Young Monk turned out to be a musical prodigy
in addition to a good student and a fine athlete. He studied the trumpet briefly
but began exploring the piano at age nine. He was about nine when Marion’s piano
teacher took Thelonious on as a student. By his early teens, he was playing rent
parties, sitting in on organ and piano at a local Baptist church, and was reputed
to have won several “amateur hour” competitions at the Apollo Theater.

Admitted to Peter Stuyvesant, one of the city’s best high schools, Monk dropped 
out at the end of his sophomore year to pursue music and around 1935 took a job 
as a pianist for a traveling evangelist and faith healer. Returning after two years,
he formed his own quartet and played local bars and small clubs until the spring
of 1941, when drummer Kenny Clarke hired him as the house pianist at Minton’s Playhouse
in Harlem.

Minton’s, legend has it, was where the “bebop revolution” began. The after-hours
jam sessions at Minton’s, along with similar musical gatherings at Monroe’s Uptown
House, Dan Wall’s Chili Shack, among others, attracted a new generation of musicians
brimming with fresh ideas about harmony and rhythm—notably Charlie Parker, Dizzy
Gillespie, Mary Lou Williams, Kenny Clarke, Oscar Pettiford, Max Roach, Tadd Dameron,
and Monk’s close friend and fellow pianist, Bud Powell. Monk’s harmonic innovations
proved fundamental to the development of modern jazz in this period. Anointed by
some critics as the “High Priest of Bebop,” several of his compositions (“52nd Street
Theme,” “Round Midnight,” “Epistrophy” [co-written with Kenny Clarke and originally
titled “Fly Right” and then “Iambic Pentameter”], “I Mean You”) were favorites among
his contemporaries.

Yet, as much as Monk helped usher in the bebop revolution, he also charted a new
course for modern music few were willing to follow. Whereas most pianists of the
bebop era played sparse chords in the left hand and emphasized fast, even eighth
and sixteenth notes in the right hand, Monk combined an active right hand with an
equally active left hand, fusing stride and angular rhythms that utilized the entire
keyboard. And in an era when fast, dense, virtuosic solos were the order of the 
day, Monk was famous for his use of space and silence. In addition to his unique
phrasing and economy of notes, Monk would “lay out” pretty regularly, enabling his
sidemen to experiment free of the piano’s fixed pitches. As a composer, Monk was
less interested in writing new melodic lines over popular chord progressions than
in creating a whole new architecture for his music, one in which harmony and rhythm
melded seamlessly with the melody. “Everything I play is different,” Monk once explained,“
different melody, different harmony, different structure. Each piece is different
from the other. . . . [W]hen the song tells a story, when it gets a certain sound,
then it’s through… completed.”

Despite his contribution to the early development of modern jazz, Monk remained 
fairly marginal during the 1940s and early 1950s. Besides occasional gigs with bands
led by Kenny Clarke, Lucky Millinder, Kermit Scott, and Skippy Williams, in 1944
tenor saxophonist Coleman Hawkins was the first to hire Monk for a lengthy engagement
and the first to record with him. Most critics and many musicians were initially
hostile to Monk’s sound. Blue Note, then a small record label, was the first to 
sign him to a contract. Thus, by the time he went into the studio to lead his first
recording session in 1947, he was already thirty years old and a veteran of the 
jazz scene for nearly half of his life. But he knew the scene and during the initial
two years with Blue Note had hired musicians whom he believed could deliver. Most
were not big names at the time but they proved to be outstanding musicians, including
trumpeters Idrees Sulieman and George Taitt; twenty-two year-old Sahib Shihab and
seventeen-year-old Danny Quebec West on alto saxophones; Billy Smith on tenor; and
bassists Gene Ramey and John Simmons. On some recordings Monk employed veteran Count
Basie drummer Rossiere “Shadow” Wilson; on others, the drum seat was held by well-
known bopper Art Blakey. His last Blue Note session as a leader in 1952 finds Monk
surrounded by an all-star band, including Kenny Dorham (trumpet), Lou Donaldson (
alto), “Lucky” Thompson (tenor), Nelson Boyd (bass), and Max Roach (drums). In the
end, although all of Monk’s Blue Note sides are hailed today as some of his greatest
recordings, at the time of their release in the late 1940s and early 1950s, they
proved to be a commercial failure.

Harsh, ill-informed criticism limited Monk’s opportunities to work—opportunities
he desperately needed especially after his marriage to Nellie Smith in 1947, and
the birth of his son, Thelonious, Jr., in 1949. Monk found work where he could, 
but he never compromised his musical vision. His already precarious financial situation
took a turn for the worse in August of 1951, when he was falsely arrested for narcotics
possession, essentially taking the rap for his friend Bud Powell. Deprived of his
cabaret card—a police-issued “license” without which jazz musicians could not perform
in New York clubs— Monk was denied gigs in his home town for the next six years.
Nevertheless, he played neighborhood clubs in Brooklyn—most notably, Tony’s Club
Grandean, sporadic concerts, took out-of-town gigs, composed new music, and made
several trio and ensemble records under the Prestige Label (1952-1954), which included
memorable performances with Sonny Rollins, Miles Davis, and Milt Jackson. In the
fall of1953, he celebrated the birth of his daughter Barbara, and the following 
summer he crossed the Atlantic for the first time to play the Paris Jazz Festival.
During his stay, he recorded his first solo album for Vogue. These recordings would
begin to establish Monk as one of the century’s most imaginative solo pianists.

In 1955, Monk signed with a new label, Riverside, and recorded several outstanding
LP’s which garnered critical attention, notably Thelonious Monk Plays Duke Ellington,
The Unique Thelonious Monk, Brilliant Corners, Monk’s Music and his second solo 
album, Thelonious Monk Alone. In 1957, with the help of his friend and sometime 
patron, the Baroness Pannonica de Koenigswarter, he had finally gotten his cabaret
card restored and enjoyed a very long and successful engagement at the Five Spot
Café with John Coltrane on tenor saxophone, Wilbur Ware and then Ahmed Abdul-Malik
on bass, and Shadow Wilson on drums. From that point on, his career began to soar;
his collaborations with Johnny Griffin, Sonny Rollins, Art Blakey, Clark Terry, 
Gerry Mulligan, and arranger Hall Overton, among others, were lauded by critics 
and studied by conservatory students. Monk even led a successful big band at Town
Hall in 1959. It was as if jazz audiences had finally caught up to Monk’s music.

By 1961, Monk had established a more or less permanent quartet consisting of Charlie
Rouse on tenor saxophone, John Ore (later Butch Warren and then Larry Gales) on 
bass, and Frankie Dunlop (later Ben Riley) on drums. He performed with his own big
band at Lincoln Center (1963), and at the Monterey Jazz Festival, and the quartet
toured Europe in 1961 and Japan in 1963. In 1962, Monk had also signed with Columbia
records, one of the biggest labels in the world, and in February of 1964 he became
the third jazz musician in history to grace the cover of Time Magazine.

However, with fame came the media’s growing fascination with Monk’s alleged eccentricities.
Stories of his behavior on and off the bandstand often overshadowed serious commentary
about his music. The media helped invent the mythical Monk—the reclusive, naïve,
idiot savant whose musical ideas were supposed to be entirely intuitive rather than
the product of intensive study, knowledge and practice. Indeed, his reputation as
a recluse (Time called him the “loneliest Monk”) reveals just how much Monk had 
been misunderstood. As his former sideman, tenor saxophonist Johnny Griffin, explained,
Monk was somewhat of a homebody: “If Monk isn’t working he isn’t on the scene. Monk
stays home. He goes away and rests.” Unlike the popular stereotypes of the jazz 
musician, Monk was devoted to his family. He appeared at family events, played birthday
parties, and wrote playfully complex songs for his children: “Little Rootie Tootie”
for his son, “Boo Boo’s Birthday” and “Green Chimneys” for his daughter, and a Christmas
song titled “A Merrier Christmas.” The fact is, the Monk family held together despite
long stretches without work, severe money shortages, sustained attacks by critics,
grueling road trips, bouts with illness, and the loss of close friends.

During the 1960s, Monk scored notable successes with albums such as Criss Cross,
Monk’s Dream, It’s Monk Time, Straight No Chaser, and Underground. But as Columbia/
CBS records pursued a younger, rock-oriented audience, Monk and other jazz musicians
ceased to be a priority for the label. Monk’s final recording with Columbia was 
a big band session with Oliver Nelson’s Orchestra in November of 1968, which turned
out to be both an artistic and commercial failure. Columbia’s disinterest and Monk’s
deteriorating health kept the pianist out of the studio. In January of 1970, Charlie
Rouse left the band, and two years later Columbia quietly dropped Monk from its 
roster. For the next few years, Monk accepted fewer engagements and recorded even
less. His quartet featured saxophonists Pat Patrick and Paul Jeffrey, and his son
Thelonious, Jr., took over on drums in 1971. That same year through 1972, Monk toured
widely with the “Giants of Jazz,” a kind of bop revival group consisting of Dizzy
Gillespie, Kai Winding, Sonny Stitt, Al McKibbon and Art Blakey, and made his final
public appearance in July of 1976. Physical illness, fatigue, and perhaps sheer 
creative exhaustion convinced Monk to give up playing altogether. On February 5,
1982, he suffered a stroke and never regained consciousness; twelve days later, 
on February 17th, he died.

Today Thelonious Monk is widely accepted as a genuine master of American music. 
His compositions constitute the core of jazz repertory and are performed by artists
from many different genres. He is the subject of award winning documentaries, biographies
and scholarly studies, prime time television tributes, and he even has an Institute
created in his name. The Thelonious Monk Institute of Jazz was created to promote
jazz education and to train and encourage new generations of musicians. It is a 
fitting tribute to an artist who was always willing to share his musical knowledge
with others but expected originality in return.

~ Robin D. G. Kelley Ph.D.

_Robin D. G. Kelley, a Professor of Anthropology, African American Studies and Jazz
Studies at Columbia University, has published several books on African American 
culture and politics. His most recent book is Freedom Dreams: The Black Radical 
Imagination (2002). His articles on music have appeared in the New York Times, Black
Music Research Journal, The Nation, Lenox Avenue, Rolling Stone, American Visions,
among others. He is currently completing two books: Thelonious: A Life (The Free
Press, forthcoming 2005), and Speaking in Tongues: Jazz and Modern Africa (Harvard
University Press, forthcoming)._

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