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Thelonious Sphere Monk (October 10, 1917-February 17, 1982) was an American jazz pianist and composer.
Widely considered one of the most important musicians in jazz, Monk had a unique improvisational style and made numerous contributions to the standard jazz repertoire, including "Epistrophy," "'Round Midnight," "Blue Monk," "Straight No Chaser" and "Well, You Needn't." Often regarded as a founder of bebop, Monk's playing style later evolved away from that 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; a style nicknamed "Melodious Thunk" by his wife Nellie.
Early life
Little is known about Monk's early life. He was born October 10, 1917 in Rocky Mount, North Carolina, the son of Thelonious and Barbara Monk, two years after his sister Marian. A brother, Thomas, was born a couple of years later. In 1922, the family moved to 243 West 63rd Street, in Manhattan. 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. 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, Kenny Clarke, Charlie Parker and later, Miles Davis.
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 in 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 Monk and himself never took place and that the claims of blows being exchanged 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, a member of the Rothschild banking family of England and a patroness of several New York City jazz musicians. She would be a close friend for the rest of Monk's 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, with Monk's consent, 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 bass innovator Oscar Pettiford and built around 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").
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, Wilbur Ware on bass, and Shadow Wilson on drums. 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". 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 was much reduced. 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 contains many 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 had 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 studio recordings were completed in November 1971, near the end of a worldwide tour with "The Giants of Jazz", which also included Dizzy Gillespie, Sonny Stitt, Art Blakey, Kai Winding and Al McKibbon.
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 over 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."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."
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, says that his father sometimes did not recognize him, and he 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. Physicians recommended electroconvulsive therapy as a treatment option for Monk's illness, but his family would not allow it; antipsychotics and lithium were prescribed instead. 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.
As his health declined, Monk's last six 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 didn't play the piano during this time, even though one was present in his room, and he spoke to few visitors. 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, Bill Evans, and others as a major figure in the history of jazz. In 1993, he was posthumously awarded the Grammy Lifetime Achievement Award, and in 2006, Monk was posthumously awarded a Pulitzer Prize Special Citation.---------------
Biography
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.
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 2006)---------------
Bio by: Curtis Jackson
Jazz composer, pianist, and bandleader. Throughout his career Thelonious Monk gained recognition as one of the most adventurous and influential musicians in jazz. Wearing dark glasses and a variety of distinctive hats and given to occasional cryptic pronouncements, Monk was an ideal candidate for the role of jazz's leading eccentric, an image only reinforced by the distinctive spaces and astringencies of his music and his billing as "the high priest of bebop." He was born in Rocky Mount, North Carolina in Oct. of 1917 and grew up in New York City. Monk was closely associated with the bebop (or bop) movement in the early 1940s. From his first Blue Note recordings in 1947 until he began his influential series of albums for the Riverside label eight years later, Monk was a man ahead of his time, valued, if at all, for his quirky yet undeniably fascinating compositions and frequently challenged regarding his perc! ussive, jarring keyboard attack. In the early 1950's, he formed the first in a series of jazz groups. Monk usually led quartets but occasionally formed an orchestra for concerts and recordings. These included several important tenor saxophonists, including Sonny Rollins, John Coltrane and Charles Rouse. His music is intensely rhythmic and often humorous. But his daring use of dissonance and his unique piano style made him a controversial figure. Many of Monk's compositions, including "Round Midnight," "52nd Street Theme," "Epistrophy," and "Straight No Chaser," have become jazz standards. Thelonious Monk died from a stroke in February of 1982.
"…In this modern jazz, they heard something rebel and nameless that spoke for them, and their lives knew a gospel for the first time. It was more than a music; it became an attitude toward life, a way of walking, a language and a costume; and these introverted kids... now felt somewhere at last." -John Clellon Holmes
Thelonious Monk Quotes
“Those who want to know what sound goes into my music should come to NY and open their ears.” -Thelonious Monk
“At this time the fashion is to bring something to jazz that I reject. They speak of freedom. But one has no right, under pretext of freeing yourself, to be illogical and incoherent by getting rid of structure and simply piling a lot of notes one on top of the other. There’s no beat anymore. You can’t keep time with your foot. I believe that what is happening to jazz with people like Ornette Coleman, for instance, is bad. There’s a new idea that consists in destroying everything and find what’s shocking and unexpected; whereas jazz must first of all tell a story that anyone can understand.” -Thelonious Monk
“I say, play your own way. Don’t play what the public want — you play what you want and let the public pick up on what you doing — even if it does take them fifteen, twenty years.” -Thelonious Monk
“Where’s jazz going? I don’t know? Maybe it’s going to hell. You can’t make anything go anywhere. It just happens.” -Thelonious Monk
“I say, play your own way. Don’t play what the public wants. You play what you want and let the public pick up on what you’re doing — even if it does take them fifteen, twenty years.” -Thelonious Monk
“I don’t conside myself a musician who has achieved perfection and can’t develop any further. But I compose my pieces with a formula that I created myself. Take a musician like John Coltrane. He is a perfect musician, who can give expression to all the possibilities of his instrument. But he seems to have difficulty expressing original ideas on it. That is why he keeps looking for ideas in exotic places. At least I don’t have that problem, because, like I say, I find my inspiration in myself.” -Thelonious Monk
“Well, I enjoy doing it. That’s all I wanted to do anyway. I guess, you know, if I didn’t make it with the piano, I guess I would have been the biggest bum.” -Thelonious Monk “I don’t know where jazz is going. Maybe it’s going to hell. You can’t make anything go anywhere. It just happens.” -Thelonious Monk
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Thelonious Monk Biography
Thelonious Sphere Monk (October 10, 1917 – February 17, 1982) was a jazz pianist and composer.
He was known for his unique improvisational style and many contributions to the standard jazz repertoire, including his classic work "Round Midnight". 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 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 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 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 bring 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.
Time Magazine, February 28, 1964After 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 quartet that included John Coltrane on tenor saxophone; fortunately some of these now-legendary performances were captured on amateur recordings. 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, 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.
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. 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. There has been speculation that some of Monk's quirky behaviour was due to mental illness.
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 onward 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.
Source: http://www.kerouacalley.com/monkbio.html
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DiscographyEarliest recordings
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
Blue Note years (1948-1952)
Genius of Modern Music: Volume 1 (1947 Blue Note recordings)
Milt Jackson: Wizard of the Vibes (1948 Blue Note recordings)
Genius of Modern Music: Volume 2 (1951–1952 Blue Note recordings)
Prestige years (1952-1954)
Monk (1953-4 recordings, reissued in 1956)
Thelonious Monk and Sonny Rollins (1953-4 recordings, reissued in 1957)
Riverside years (1955-1961)
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) - Inducted into the Grammy Hall of Fame in 2007.
Art Blakey's Jazz Messengers with Thelonious Monk (Atlantic, 1957)
Monk's Music (1957)
Mulligan Meets Monk (1957, with Gerry Mulligan)
Thelonious Monk Quartet with John Coltrane at Carnegie Hall (1957, released 2005 on Blue Note.)
The Complete 1957 Riverside Recordings (2006 collection of the 1957 studio recordings with Coltrane)
Thelonious in Action and Misterioso (1958, live at the Five Spot with Johnny Griffin)
Thelonious Monk Quartet Live at the Five Spot: Discovery! (w/ John Coltrane, recorded 1958, released in the 1990's on Blue Note)
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)
Thelonious Monk in Italy (recorded 1961)
Columbia years (1962-1968)
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 (Columbia 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)
Monk Alone (1998 collection of the complete Columbia solo studio recordings, 1962-1968)
Last recordings
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)
Assorted labels
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)
Live at Monterey Jazz Festival '63 (sept. 21-2, 1963, MFSL, 2 vols. issued 1996-7 ) Readmore...
Calloway, Count Basie, and Lionel Hampton. Sulieman recorded with Coleman Hawkins (1957) and gigged with Randy Weston (1958-1959), in addition to popping up in many other situations. He went to Europe in 1961 to tour with Oscar Dennard, and then settled in Stockholm, moving to Copenhagen in 1964. A major soloist with the Kenny Clarke-Francy Boland big band from the mid-'60s through 1973, Sulieman has frequently worked with radio orchestras. His recordings as a leader have been for Swedish Columbia (1964) and SteepleChase (1976 and 1985). Sulieman's career slowed down considerably in the '90s as he got older; he died of bladder cancer on July 23, 2002 at St. Anthony's Hospital in St. Petersberg, Florida.
1956 until 1958, when he became a member of Randy Weston's group. He played on many recording sessions alongside such greats as Gene Ammons, John Coltrane, Dexter Gordon and Max Roach, and was an early member of the Gerry Mulligan Sextet.
Born in Philadelphia on December 11, 1938, McCoy Tyner started playing piano at age 13 with Bud Powell, Art Tatum and Thelonious Monk as his primary influences. He began working locally with Calvin Massey and also landed a gig as house pianist at a Philly jazz club where he played behind visiting jazz artists. During his developing years he also gigged with trumpter Lee Morgan and with saxophonist Benny Golson before becoming a member of the Jazztet, an important group co-led by Golson and trumpeter Art Farmer. He appears on quintessential recordings of Golson’s "I Remember Clifford," "Blues March" and "Killer Joe" from their 1959 recording for Chess Records, Meet The Jazztet. 
vibrant solo recordings for Blue Note, starting with Revelations (1988) and culminating with Soliloquy (1991). Today Tyner records for the Telarc label and has been playing with different trios, the most recent of which includes Charnett Moffett on bass and Eric Harland on drums.
Using a philosophical springboard for discussion, Tyner spoke to Innerviews about his new record, as well as the process of navigating the intersections between life and music. He was also kind enough to relay some thoughts about his tenure in the John Coltrane Quartet from 1960-1965, one of the single most influential groups in the history of 20th century music.
You have choices, but there is so much going on. It’s an onslaught of stuff and sometimes someone might not know what jazz is. Some people will say it’s this or that. Jazz is a very deep-rooted music. You can’t fluff it off like it just happened yesterday.
How important is the generational element when choosing players in order to evolve both as an individual and together?
working for him." I loved working with John. I loved him as a person. He’ll always have an influence on me. That was my university. He was very, very generous in terms of allowing us to have an opportunity to develop. That was very important. So, that influence is there. And I love the music we created a lot. But if people feel as if they want to deify him and make a saint of him or whatever, that’s up to them. I don’t necessarily want to be part of that because I knew him differently. 
Coltrane alumnus Elvin Jones. His 1972 Grammy-award nomination album Sahara, broke new ground by the sounds and rhythms of Africa. Since 1980, he has also arranged his lavishly textured harmonies for a big band that performs and records when possible. In the late 1980s, he mainly focused on his piano trio featuring Avery Sharpe on bass and Aarron Scott on drums. Today, this trio is still in great demand. He returned to Impulse in 1995, with a superb album featuring Michael Brecker. In 1996 he recorded a special album with the music of Burt Bacharach. In 1998 he changed labels again and recorded an interesting latin album and an album featuring Stanley Clarke for TelArc. 
2003 The Philadelphia Chapter of the BMI Recording Academy awarded McCoy Tyner with a "2003 Hero Award". The Chapter presents its Heroes Awards annually to honor outstanding individuals and institutions in the Philadelphia region who have improved the environment for the creative community. 
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