Thelonious Sphere Monk -Truly Genius

[JazzWorld]

Thelonious Sphere Monk ((October 10, 1917 – February 17, 1982) was a jazz pianist and composer. Monk had a unique improvisational style and made numerous contributions to the standard jazz repertoire (including his classic works "'Round Midnight" and "Blue Monk"). He is often regarded as a founder of bebop, although his playing style evolved away from the form. His compositions and improvisations are full of dissonant harmonies and angular melodic twists, and are impossible to separate from Monk's unorthodox approach to the piano, which combined a highly percussive attack with abrupt, dramatic use of silences and hesitations. Life and career Early life Little is known about Monk's early life. He was born on October 10, 1917 in Rocky Mount, North Carolina, the son of Thelonious and Barbara Monk, two years after a sister named Marian. A younger brother, Thomas, was born a couple of years later. Monk started playing the piano at the age of nine; although he had some formal training and eavesdropped on his sister's piano lessons, he was essentially self-taught. In 1922, the family moved to Manhattan, living at 243 West 63rd St. Monk attended Stuyvesant High School, but did not graduate. He briefly toured with an evangelist in his teens, playing the church organ, and in his late teens he began to find work playing jazz. Monk is believed to be the pianist featured on recordings Jerry Newman made around 1941 at Minton's Playhouse, the legendary Manhattan club where Monk was the house pianist. Monk's style at the time was 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 participated in the famous after-hours "cutting competitions" that featured most of the leading jazz soloists 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 Christian, Charlie Parker, Miles Davis, Sonny Rollins, and Milt Jackson. First recordings (1944–1954) In 1944 Monk made his first studio recordings with the Coleman Hawkins Quartet. Hawkins was among the first prominent jazz musicians to promote Monk, and Monk later returned the favor by inviting Hawkins to join him on the 1957 session with John Coltrane. Monk made his first recordings as leader for Blue Note in 1947 (later anthologised on 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 (affectionately known as Boo-Boo), 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. After his cycle of intermittent recording sessions for Blue Note during 1947–1952, he was under contract to Prestige Records for the following two years. With Prestige he cut several under-recognized, but highly significant albums, including collaborations with saxophonist Sonny Rollins and drummer Art Blakey. In 1954, Monk participated on the famed Christmas Eve sessions which produced the albums, Bags' Groove and Miles Davis and the Modern Jazz Giants by Miles Davis. Davis found Monk's idiosyncratic accompaniment style difficult to improvise over and asked him to lay out (not accompany), which almost brought them to blows. However in Miles Davis' autobiography Miles, Davis claims that the anger and tension between Thelonious and him never took place and that the claims of them exchanging blows were "rumors" and a "misunderstanding." In 1954, Monk paid his first visit to Europe, performing and recording in Paris. It was here that he first met Baroness Pannonica "Nica" de Koenigswarter, member of the Rothschild banking family of England and patroness of several New York City jazz musicians. She would be a close friend for the rest of his life. Riverside Records (1954–1961) At the time of his signing to Riverside, Monk was highly regarded by his peers and by some critics, but his records did not sell in significant numbers, and his music was still regarded as too "difficult" for mass-market acceptance. Indeed, Riverside had managed to buy out his previous Prestige contract for a mere $108.24. His breakthrough came thanks to a compromise between Monk and the label, which convinced him to record two albums of his interpretations of jazz standards. His debut for Riverside was a 'themed' record featuring Monk's distinctive interpretations of the music of Duke Ellington. The resulting LP, Thelonious Monk Plays Duke Ellington, was designed to bring Monk to a wider audience, and pave the way for a broader acceptance of his unique style. According to recording producer Orrin Keepnews, Monk appeared unfamiliar with the Ellington tunes and spent a long time reading the sheet music and picking the melodies out on the piano keys. Given Monk's long history of playing, it seems unlikely that he didn't know Ellington's music, and it has been surmised that Monk's seeming ignorance of the material was a manifestation of his typically perverse humor, combined with an unstated reluctance to prove his own musical competency by playing other composers' works (even at this late date, there were still critics who carped that Monk "couldn't play"). The album is generally regarded as one of the less successful Monk studio outings but one that encouraged more consumer interest to the point where Riverside felt ready to try out an album featuring Monk's own compositions.[citation needed] Finally, on the 1956 LP Brilliant Corners, Monk was able to record his own music. The complex title track (which featured legendary tenor saxophonist Sonny Rollins) was so difficult to play that the final version had to be edited together from three separate takes. The album however, was largely regarded as the first success for Monk; according to Orrin Keepnews, "It was the first that made a real splash." 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 beginning in June 1957, leading a quartet that included John Coltrane on tenor saxophone. Unfortunately little of this group's music was documented, apparently because of contractual problems (Coltrane was signed to Prestige). One studio session was made by Riverside but only later released on Jazzland; an amateur tape from the Five Spot (not the original residency, it seems, but a later 1958 reunion) was uncovered in the 1990s and issued on Blue Note. On November 29 that year the quartet 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 2005. In 1958 Johnny Griffin took Coltrane's place as tenor player in Monk's band. 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). Monk was represented by Theophilus Nix, the second African-American member of the Delaware Bar Association. Columbia Records (1962–1970) On February 28, 1964, Monk appeared on the cover of Time magazine, and was featured in the article, "The Loneliest Monk".[1] Monk was now signed to Columbia Records, a major label, and was promoted more widely than earlier in his career. Monk also had a regular working group, featuring the tenor saxophonist Charlie Rouse. He recorded a number of well-reviewed studio albums, particularly, Monk's Dream (1962) and Underground (1968). By the Columbia period his compositional output had reduced in number. Only his final Columbia record, Underground, featured a substantial number of new tunes, including his only waltz-time piece, "Ugly Beauty." His period with Columbia Records is well-represented with well-received live albums. These included Miles and Monk at Newport (1963), Live at the It Club (1964) and Live at the Jazz Workshop (1964). (The rhythm section of Monk's quartet during the peak years (1964-1967) of his Columbia period was rounded out by Larry Gales (bass) and Ben Riley (drums).) Monk disappeared from the scene by the mid-1970s and made only a small number of appearances during the final decade of his life. His last recording was completed in November 1971. Later life Monk's manner was idiosyncratic. 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 turning in a clockwise fashion, ring-shout style, while the other musicians in the combo played. Bassist Al McKibbon, who had known Monk for twenty years and played on his final tour in 1971, later said: "On that tour Monk said about two words. I mean literally maybe two words. He didn't say 'Good morning', 'Goodnight', 'What time?' Nothing. Why, I don't know. He sent word back after the tour was over that the reason he couldn't communicate or play was that Art Blakey and I were so ugly."[2] A different side of Monk is revealed in Lewis Porter's biography, John Coltrane: His Life and Music; Coltrane states: "Monk is exactly the opposite of Miles [Davis]: he talks about music all the time, and he wants so much for you to understand that if, by chance, you ask him something, he'll spend hours if necessary to explain it to you."[3] The documentary film Thelonious Monk: Straight, No Chaser (1988) attributes Monk's quirky behaviour to mental illness. In the film, Monk's son, T.S. Monk, reports that Monk was hospitalized on several occasions due to an unspecified mental illness that worsened in the late 1960s. No reports or diagnoses were ever publicized, but Monk would often become excited for two or three days, pace for days after that, after which he would withdraw and stop speaking. According to T. S. Monk, electroconvulsive therapy was a treatment option recommended by physicians, but Monk's family would not allow it; antipsychotics and lithium were prescribed instead.[4][5] Other theories abound: Leslie Gourse, author of the book Straight, No Chaser: The Life and Genius of Thelonious Monk (1997), reports that at least one of Monk's psychiatrists failed to find evidence of manic depression or schizophrenia. Others blamed Monk's behavior on intentional and inadvertent drug use: Monk was unknowingly administered LSD, and may have taken peyote with Timothy Leary. Another physician maintains that Monk was misdiagnosed and given drugs during his hospital stay that may have caused brain damage.[4] As his health declined, Monk's 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. Monk died of a stroke on February 17, 1982 and was buried in Ferncliff Cemetery in Hartsdale, New York. Since 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. In 1993, he was posthumously awarded the Grammy Lifetime Achievement Award,[6] and in 2006, Monk was posthumously awarded a Pulitzer Prize Special Citation.[7] Monk's music is arguably the most recorded of any jazz composer. Discography (LP and CD issues only) Midnight at Minton's (c.1941, issued 1973 under Don Byas' name. Monk does not play on all tracks of this or the other two CDs of 1941 material) After Hours (c.1941, issued 1973 under Charlie Christian's name) After Hours in Harlem (c.1941, issued 1973 under Hot Lips Page's name Genius of Modern Music: Volume 1 (1947–1948 recordings) Genius of Modern Music: Volume 2 (1947–1952 recordings) Thelonious Monk Trio (1952) Monk (1953, reissue of 1956) Thelonious Monk and Sonny Rollins (1953 recordings, 1957 reissue) Thelonious Monk plays the Music of Duke Ellington (1955) The Unique Thelonious Monk (1955) Brilliant Corners (1956 recording with Sonny Rollins and Clark Terry) Thelonious Himself (1957) Thelonious Monk with John Coltrane (1957 recordings, 1961 issue) Art Blakey's Jazz Messengers with Thelonious Monk (1957) Monk's Music (1957) Mulligan Meets Monk (1957, with Gerry Mulligan) Thelonious Monk Quartet with John Coltrane at Carnegie Hall (1957, released, 2005) Thelonious in Action and Misterioso (1958, live at the Five Spot with Johnny Griffin) The Thelonious Monk Orchestra at Town Hall (1959, Charlie Rouse joined the band then) 5 by Monk by 5 (1959) Thelonious Alone in San Francisco (1959) Thelonious Monk And The Jazz Giants (1959) Thelonious Monk at the Blackhawk (1960, with Charlie Rouse) Monk in France (1961) Monk's Dream (1962) Criss Cross (1962) Monk in Tokyo (1963) Miles & Monk at Newport (1963, with unrelated 1958 Miles Davis performance) Big Band and Quartet in Concert (1963) It's Monk's Time (1964) Monk (album) (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) Something in Blue, Nice Work in London, Blue Sphere and The Man I Love (all 1971 recordings, collected in The London Collection 1988, three CDs) April in Paris (1981 2-LP set of the 18 April 1961 Paris recordings) Monk's Classic Recordings (1983) Blues Five Spot (1984, unissued recordings from 1958-61, with various saxophonists and Thad Jones, cornet) The Complete 1957 Riverside Recordings (2006 collection of the 1957 studio recordings with Coltrane) In the first of my NPR series to share I thought it would be appropriate to feature Monk. Next is Johnny Hartman with his adorable self. He didn't get his due, oddly enough because he was labled a Jazz Singer. What the?? I hope you get as much out of this as I received putting in. Monk was indeed and clearly a genius, and I think he suffered from the same thing as Donny Hathaway *just a theory* It's like now that I'm mid 50's in age, I am finally starting to really 'hear' these masters. It's so fascinating that I hope I survive without turning into a babbling lunatic. Jazz--nothing like it in the world...edie