Thelonious Monk: Difference between revisions
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Little is known about his early life. Born in [[Rocky Mount, North Carolina]], his family moved to New York shortly thereafter. He began playing the piano at age 6, and while he had some formal training, Monk was essentially self-taught. He briefly toured with an evangelist in his teens, playing the church organ. He attended [[Stuyvesant High School]], but did not graduate. |
Little is known about his early life. Born in [[Rocky Mount, North Carolina]], his family moved to New York shortly thereafter. He began playing the piano at age 6, and while he had some formal training, Monk was essentially self-taught. He briefly toured with an evangelist in his teens, playing the church organ. He attended [[Stuyvesant High School]], but did not graduate. |
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In his late teens he began to find work playing jazz; he is believed to be the pianist on some recordings [[Jerry Newman]] made around [[1941]] at [[Minton%27s_Playhouse|Minton's Playhouse]], the legendary Manhattan club where Monk had been hired as the house pianist. His style at the time is described as "hard-swinging", with the addition of runs in the style of [[Art Tatum]]. |
In his late teens he began to find work playing jazz; he is believed to be the pianist on some recordings [[Jerry Newman]] made around [[1941]] at [[Minton%27s_Playhouse|Minton's Playhouse]], the legendary Manhattan club where Monk had been hired as the house pianist. His style at the time is described as "hard-swinging", with the addition of runs in the style of [[Art Tatum]]. Monk's stated influences include [[Duke Ellington]], [[James P. Johnson]], and other early [[stride piano|stride pianists]]. |
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Monk's unique piano style was largely perfected during his stint as the house pianist at Minton's in the early-to-mid 1940s, when he particpated in the famous after-hours "cutting competitions" that featured most of the leading jazz solists of the day. The Minton's scene was crucial in the formulation of the [[bebop]] genre and it brought Monk into close contact and collaboration with other leading exponents of bebop including [[Dizzy Gillespie]], [[Charlie Parker]], [[Miles Davis]], [[Sonny Rollins]], [[Milt Jackson]] and [[John Coltrane]]. |
Monk's unique piano style was largely perfected during his stint as the house pianist at Minton's in the early-to-mid 1940s, when he particpated in the famous after-hours "cutting competitions" that featured most of the leading jazz solists of the day. The Minton's scene was crucial in the formulation of the [[bebop]] genre and it brought Monk into close contact and collaboration with other leading exponents of bebop including [[Dizzy Gillespie]], [[Charlie Parker]], [[Miles Davis]], [[Sonny Rollins]], [[Milt Jackson]] and [[John Coltrane]]. |
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In [[1944]] Monk made his first studio recordings with the [[Coleman Hawkins]] Quartet. He made his first recordings as leader in [[1947]] and cut the debut LP, ''Genius of Modern Music, Vol. 1'', which showcased his talents as a composer of original melodies for improvisation. Monk married Nellie Smith the same year, and in [[1949]] the couple had a son, [[T.S. Monk]], who later became a jazz drummer. A daughter, Barbara, was born in [[1953]]. |
In [[1944]] Monk made his first studio recordings with the [[Coleman Hawkins]] Quartet. He made his first recordings as leader in [[1947]] and cut the debut LP, ''Genius of Modern Music, Vol. 1'', which showcased his talents as a composer of original melodies for improvisation. Monk married Nellie Smith the same year, and in [[1949]] the couple had a son, [[T.S. Monk]], who later became a jazz drummer. A daughter, Barbara, was born in [[1953]]. |
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| ⚫ | In August [[1951]], New York City police searched a parked car occupied by Monk and friend [[Bud Powell]]. The police found narcotics in the car, presumed to have belonged to Powell. Monk refused to testify against his friend, so the police confiscated his [[New York City Cabaret Card]]. Without the all-important cabaret card he was unable to play in any New York venue where liquor was served, and this severely restricted his ability to perform for several crucial years. Monk spent most of the early and mid-[[1950s]] composing, recording, and performing at theaters and out of town gigs. |
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Monk's stated influences include [[Duke Ellington]], [[James P. Johnson]], and other early [[stride piano|stride pianists]]. |
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| ⚫ | In August [[1951]], New York City police |
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Having recorded several times for [[Blue Note Records]] during [[1947]]–[[1952|52]], he was under contract to [[Prestige Records]] between ([[1952]]–[[1954|54]]), with whom he cut several under-recognised but highly significant recordings, including collaborations with saxophonist [[Sonny Rollins]] and drummer [[Art Blakey]]. |
Having recorded several times for [[Blue Note Records]] during [[1947]]–[[1952|52]], he was under contract to [[Prestige Records]] between ([[1952]]–[[1954|54]]), with whom he cut several under-recognised but highly significant recordings, including collaborations with saxophonist [[Sonny Rollins]] and drummer [[Art Blakey]]. |
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His debut for Riverside was a 'themed' record featuring Monk's distinctive interpretations of the music of his great idol [[Duke Ellington]]. The resulting LP, ''Thelonious Monk Plays Duke Ellington'' helped to break Monk to a wider audience and paved the way for a broader acceptance of his unique style. The Ellington LP is now highly regarded both as one of the classic jazz piano trio records, and as one of the classic jazz "songbook" recordings. |
His debut for Riverside was a 'themed' record featuring Monk's distinctive interpretations of the music of his great idol [[Duke Ellington]]. The resulting LP, ''Thelonious Monk Plays Duke Ellington'' helped to break Monk to a wider audience and paved the way for a broader acceptance of his unique style. The Ellington LP is now highly regarded both as one of the classic jazz piano trio records, and as one of the classic jazz "songbook" recordings. |
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Although encouraged by its success, Riverside still demanded another LP of cover versions before it was prepared to risk releasing an LP of all-original Monk music. This was finally featured on his groundbreaking 1956 LP ''Brilliant Corners''. |
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In [[1954]], he paid his first visit to [[Europe]], performing and recording in [[Paris]]. It was here that he first met Baroness [[Nica de Koenigswarter|Pannonica de Koenigswarter]], "Nica", member of the English branch of the [[Rothschild family]] and patroness of several New York City jazz musicians. She would be a close friend for the rest of his life. |
In [[1954]], he paid his first visit to [[Europe]], performing and recording in [[Paris]]. It was here that he first met Baroness [[Nica de Koenigswarter|Pannonica de Koenigswarter]], "Nica", member of the English branch of the [[Rothschild family]] and patroness of several New York City jazz musicians. She would be a close friend for the rest of his life. |
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[[Image:Timethelonious.jpg|thumb|''[[TIME|Time Magazine]]'', [[February 28]], [[1964]]]] |
[[Image:Timethelonious.jpg|thumb|''[[TIME|Time Magazine]]'', [[February 28]], [[1964]]]] |
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After having his cabaret card restored, Monk relaunched his New York career with a landmark six-month residency at the Five Spot Cafe in New York during 1957, leading a quintet that included [[John Coltrane]] on tenor soxophone |
After having his cabaret card restored, Monk relaunched his New York career with a landmark six-month residency at the Five Spot Cafe in New York during 1957, leading a quintet that included [[John Coltrane]] on tenor soxophone; fortunately some of these now-legendary performances were captured on amateur recordings. On November 29 that year the quintet performed at [[Carnegie Hall]] and the concert was recorded in high fidelity by the [[Voice of America]] broadcasting service. The long-lost tape of that concert was rediscovered in the collection of the [[Library of Congress]] in January 2004. |
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In [[1958]], Monk and de Koenigswarter were detained by police in [[Wilmington, Delaware]]. When Monk refused to answer the policemen's questions or cooperate with them, they beat him with a [[blackjack (weapon)|blackjack]]. Though the police were authorized to search the vehicle and found narcotics in suitcases held in the trunk of the Baroness's car, Judge Christie of the Delaware Superior Court ruled that the unlawful detention of the pair, and the beating of Monk, rendered the consent to the search void as given under duress. ''State v. De Koenigswarter'', 177 A.2d 344 (Del. Super. 1962). |
In [[1958]], Monk and de Koenigswarter were detained by police in [[Wilmington, Delaware]]. When Monk refused to answer the policemen's questions or cooperate with them, they beat him with a [[blackjack (weapon)|blackjack]]. Though the police were authorized to search the vehicle and found narcotics in suitcases held in the trunk of the Baroness's car, Judge Christie of the Delaware Superior Court ruled that the unlawful detention of the pair, and the beating of Monk, rendered the consent to the search void as given under duress. ''State v. De Koenigswarter'', 177 A.2d 344 (Del. Super. 1962). |
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He disappeared from the scene in the early [[1970s]] and made only a small number of appearances during the final decade of his life. His last recording was completed in November [[1971]]. |
He disappeared from the scene in the early [[1970s]] and made only a small number of appearances during the final decade of his life. His last recording was completed in November [[1971]]. |
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Monk's manner was idiosyncratic, even for a jazz musician. It is |
Monk's manner was idiosyncratic, even for a jazz musician. It is said that he would rarely speak to anyone other than his beloved wife Nellie, and certainly in later years it was reported that he would go through an entire tour without speaking to the other members of his group. Visually, he was renowned for his distinctively "hip" sartorial style in suits, hats and sunglasses, and he developed an unusual, highly syncopated and percussive manner of playing piano. He was also noted for the fact that, at times, he would stop playing, stand up from the keyboard and dance while the other musicians in the combo played. |
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However, while these anecdotes may typify Monk's behaviour in hs later life, it is worth noting that in Lewis Porter's biography of John Coltrane, the saxophonist reveals a very different side of Monk. Coltrane is quoted as saying that Monk was, in his opinion: |
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"... exactly the opposite of Miles (Davis). He talks about music all the time. and wants so much for you to to understand that if, by chance, you ask him something, he'll spend hours if necessary to explain it to you." |
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However, while these anecdotes typify his later behaviour, it is also worth noting that [[John Coltrane]] has been quoted as syaing that Monk was,l in his opinion, "the exact opposite of Miles (Davis) as a bandleader |
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In the [[documentary]] film ''Straight, No Chaser'' (produced in [[1989]] by [[Clint Eastwood]] on the subject of Monk's life and music), Monk's son, [[T.S. Monk]], reported that Monk was on several occasions hospitalized due to an unspecified [[mental illness]] that worsened in the late [[1960s]]. No diagnosis was ever made public, but some have noted that Monk's symptoms suggest [[bipolar disorder]] or [[schizophrenia]]. Whatever the precise diagnosis, anecdotal evidence strongly suggests that Monk was suffering from some form of pathological introversion (cf [[Syd Barrett] and that from the late Sixties he became increasingly uncommunicative and withdrawn. As his health declined, his last years were spent as a guest in the New Jersey home of his long-standing patron, Baroness Nica de Koenigswarter, who had also nursed [[Charlie Parker]] during his final illness. |
In the [[documentary]] film ''Straight, No Chaser'' (produced in [[1989]] by [[Clint Eastwood]] on the subject of Monk's life and music), Monk's son, [[T.S. Monk]], reported that Monk was on several occasions hospitalized due to an unspecified [[mental illness]] that worsened in the late [[1960s]]. No diagnosis was ever made public, but some have noted that Monk's symptoms suggest [[bipolar disorder]] or [[schizophrenia]]. Whatever the precise diagnosis, anecdotal evidence strongly suggests that Monk was suffering from some form of pathological introversion (cf [[Syd Barrett] and that from the late Sixties he became increasingly uncommunicative and withdrawn. As his health declined, his last years were spent as a guest in the New Jersey home of his long-standing patron, Baroness Nica de Koenigswarter, who had also nursed [[Charlie Parker]] during his final illness. |
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Revision as of 13:37, 24 September 2005
Thelonious Sphere Monk (October 10 1917–February 17, 1982) was a jazz pianist and composer known for his unique improvisational style and many contributions to the standard jazz repertoire. While Monk is often regarded as a founder of bebop, his playing style evolved away from the form.
Life and Career
Little is known about his early life. Born in Rocky Mount, North Carolina, his family moved to New York shortly thereafter. He began playing the piano at age 6, and while he had some formal training, Monk was essentially self-taught. He briefly toured with an evangelist in his teens, playing the church organ. He attended Stuyvesant High School, but did not graduate.
In his late teens he began to find work playing jazz; he is believed to be the pianist on some recordings Jerry Newman made around 1941 at Minton's Playhouse, the legendary Manhattan club where Monk had been hired as the house pianist. His style at the time is described as "hard-swinging", with the addition of runs in the style of Art Tatum. Monk's stated influences include Duke Ellington, James P. Johnson, and other early stride pianists.
Monk's unique piano style was largely perfected during his stint as the house pianist at Minton's in the early-to-mid 1940s, when he particpated in the famous after-hours "cutting competitions" that featured most of the leading jazz solists of the day. The Minton's scene was crucial in the formulation of the bebop genre and it brought Monk into close contact and collaboration with other leading exponents of bebop including Dizzy Gillespie, Charlie Parker, Miles Davis, Sonny Rollins, Milt Jackson and John Coltrane.
In 1944 Monk made his first studio recordings with the Coleman Hawkins Quartet. He made his first recordings as leader in 1947 and cut the debut LP, Genius of Modern Music, Vol. 1, which showcased his talents as a composer of original melodies for improvisation. Monk married Nellie Smith the same year, and in 1949 the couple had a son, T.S. Monk, who later became a jazz drummer. A daughter, Barbara, was born in 1953.
In August 1951, New York City police searched a parked car occupied by Monk and friend Bud Powell. The police found narcotics in the car, presumed to have belonged to Powell. Monk refused to testify against his friend, so the police confiscated his New York City Cabaret Card. Without the all-important cabaret card he was unable to play in any New York venue where liquor was served, and this severely restricted his ability to perform for several crucial years. Monk spent most of the early and mid-1950s composing, recording, and performing at theaters and out of town gigs.
Having recorded several times for Blue Note Records during 1947–52, he was under contract to Prestige Records between (1952–54), with whom he cut several under-recognised but highly significant recordings, including collaborations with saxophonist Sonny Rollins and drummer Art Blakey.
He signed to the Riverside Records label for the rest of the 1950s and his many Riverside recordings are now generally regarded as being among the most significant of his career, and which include his collaborations with rising tenor saxophone superstar John Coltrane.
When he signed with Riverside, Monk was highly rated by his peers and by some critics, but his records did not sell in significant numbers and his music was still regarded as being too "difficult" for mass market acceptance. Indeed, Riverside had managed to buy out his previous contract for a miserly $108.24. His breakthrough came thanks to a compromise between Monk and the label, who convinced him to record his interpretations of jazz standards.
His debut for Riverside was a 'themed' record featuring Monk's distinctive interpretations of the music of his great idol Duke Ellington. The resulting LP, Thelonious Monk Plays Duke Ellington helped to break Monk to a wider audience and paved the way for a broader acceptance of his unique style. The Ellington LP is now highly regarded both as one of the classic jazz piano trio records, and as one of the classic jazz "songbook" recordings.
Although encouraged by its success, Riverside still demanded another LP of cover versions before it was prepared to risk releasing an LP of all-original Monk music. This was finally featured on his groundbreaking 1956 LP Brilliant Corners.
In 1954, he paid his first visit to Europe, performing and recording in Paris. It was here that he first met Baroness Pannonica de Koenigswarter, "Nica", member of the English branch of the Rothschild family and patroness of several New York City jazz musicians. She would be a close friend for the rest of his life.
After having his cabaret card restored, Monk relaunched his New York career with a landmark six-month residency at the Five Spot Cafe in New York during 1957, leading a quintet that included John Coltrane on tenor soxophone; fortunately some of these now-legendary performances were captured on amateur recordings. On November 29 that year the quintet performed at Carnegie Hall and the concert was recorded in high fidelity by the Voice of America broadcasting service. The long-lost tape of that concert was rediscovered in the collection of the Library of Congress in January 2004.
In 1958, Monk and de Koenigswarter were detained by police in Wilmington, Delaware. When Monk refused to answer the policemen's questions or cooperate with them, they beat him with a blackjack. Though the police were authorized to search the vehicle and found narcotics in suitcases held in the trunk of the Baroness's car, Judge Christie of the Delaware Superior Court ruled that the unlawful detention of the pair, and the beating of Monk, rendered the consent to the search void as given under duress. State v. De Koenigswarter, 177 A.2d 344 (Del. Super. 1962).
In 1964, he appeared on the cover of Time magazine. By now he was signed to a major label, Columbia Records, and was promoted more widely than earlier in his career. Monk also had a regular working group, featuring the tenor saxophonist Charlie Rouse, but by now his work as a composer was quite limited.
He disappeared from the scene in the early 1970s and made only a small number of appearances during the final decade of his life. His last recording was completed in November 1971.
Monk's manner was idiosyncratic, even for a jazz musician. It is said that he would rarely speak to anyone other than his beloved wife Nellie, and certainly in later years it was reported that he would go through an entire tour without speaking to the other members of his group. Visually, he was renowned for his distinctively "hip" sartorial style in suits, hats and sunglasses, and he developed an unusual, highly syncopated and percussive manner of playing piano. He was also noted for the fact that, at times, he would stop playing, stand up from the keyboard and dance while the other musicians in the combo played.
However, while these anecdotes may typify Monk's behaviour in hs later life, it is worth noting that in Lewis Porter's biography of John Coltrane, the saxophonist reveals a very different side of Monk. Coltrane is quoted as saying that Monk was, in his opinion:
"... exactly the opposite of Miles (Davis). He talks about music all the time. and wants so much for you to to understand that if, by chance, you ask him something, he'll spend hours if necessary to explain it to you."
In the documentary film Straight, No Chaser (produced in 1989 by Clint Eastwood on the subject of Monk's life and music), Monk's son, T.S. Monk, reported that Monk was on several occasions hospitalized due to an unspecified mental illness that worsened in the late 1960s. No diagnosis was ever made public, but some have noted that Monk's symptoms suggest bipolar disorder or schizophrenia. Whatever the precise diagnosis, anecdotal evidence strongly suggests that Monk was suffering from some form of pathological introversion (cf [[Syd Barrett] and that from the late Sixties he became increasingly uncommunicative and withdrawn. As his health declined, his last years were spent as a guest in the New Jersey home of his long-standing patron, Baroness Nica de Koenigswarter, who had also nursed Charlie Parker during his final illness.
He died in 1982 and was interred in Ferncliff Cemetery in Hartsdale, New York. Following his death, his music has been rediscovered by a wider audience and he is now counted alongside the likes of Miles Davis, John Coltrane, and others as a major figure in the history of jazz.
Discography
- After Hours at Minton's (1943)
- Genius Of Modern Music: Volume 1 (1947-1948)
- Genius Of Modern Music: Volume 2 (1947-1952)
- Thelonious Monk Trio (1952)
- Monk (1953)
- Thelonious Monk and Sonny Rollins (1953)
- Thelonious Monk plays the Music of Duke Ellington (1955)
- The Unique Thelonious Monk (1956)
- Brilliant Corners (1956)
- Thelonious Himself (1957)
- Thelonious Monk with John Coltrane (1957)
- Art Blakey's Jazz Messengers with Thelonious Monk (1957)
- Monk's Music (1957)
- Mulligan Meets Monk (1957, with Gerry Mulligan)
- Blues Five Spot (1958)
- Thelonious in Action (1958)
- Misterioso (1958)
- The Thelonious Monk Orchestra at Town Hall (1959)
- 5 by Monk by 5 (1958)
- Thelonious Alone in San Francisco (1958)
- Thelonious Monk at the Blackhawk (1960)
- Monk in France (1961)
- Monk's Dream (1962)
- Criss Cross (1962)
- Monk in Tokyo (1963)
- Miles and Monk at Newport (1963, with unrelated Miles Davis performance)
- Big Band and Quartet in Concert (1963)
- It's Monk's Time (1964)
- Monk. (1964)
- Solo Monk (1964)
- Live at the It Club (1964)
- Live at the Jazz Workshop (1964)
- Straight, No Chaser (1966)
- Underground (1967)
- Monk's Blues (1968)
- The London Collection (1971, three volumes)
Samples
- Download sample of "Ruby My Dear"
Compositions
(an incomplete list)
- Ask Me Now
- Bemsha Swing
- Blue Monk
- Brilliant Corners
- Criss Cross
- Crepuscule with Nellie
- Epistrophy
- Evidence
- Four in One
- Friday the 13th
- Green Chimneys
- I Mean You
- In Walked Bud
- Let's Cool One
- Little Rootie Tootie
- Locomotive
- Monk's Dream
- Monk's Mood
- North of the Sunset
- Nutty
- Off Minor
- Pannonica
- Reflections
- Rhythm-A-Ning
- 'Round Midnight
- Ruby, My Dear
- Shuffle Boil
- Straight, No Chaser
- Skippy
- Thelonious
- Think of One
- Trinkle, Tinkle
- Ugly Beauty
- Well, You Needn't
- We See
External links
