Art by Tim Foley
Thelonious Monk
Piano · born 10 October 1917 – died 17 February 1982
▸ Click for Richard Cook Bio
For better or otherwise, the music of this strange, contradictory man has become perhaps the central text in jazz composition after Ellington. He was born Thelonious Monk in Rocky Mount, North Carolina, and added 'Sphere' as his middle name while in his teens. His family moved to New York when he was four, and he began playing piano in church when a boy, sometimes touring with an evangelist. By the early 40s he was working as the house pianist at the Harlem club Minton's Playhouse, where he, Kenny Clarke (who played drums in the group) and Dizzy Gillespie began working out – on the bandstand and elsewhere – the theoretical and practical formulae which would lead to the birth of bebop. After a brief period as pianist in Lucky Millinder's band, he joined the Cootie Williams orchestra in 1944, a band which made the first recording of Monk's latterly celebrated ballad Round About Midnight. Still virtually unknown to the jazz public, he then played in Coleman Hawkins's small group during 1944–6, and by now word about his unpredictable prowess had got out: Ike Quebec suggested to Alfred Lion of Blue Note that he record this unusual pianist, and when Lion began recording Monk he was so excited by the initial results that he quickly took down more sessions, all of which eventually emerged in the LP era as Genius Of Modern Music Vols 1 & 2 (Blue Note). Monk's style was a unique assemblage of old and new: he could sound like the stride piano masters, and there was a powerful Duke Ellington influence at work, but what he played was angular, analytical, pared away: he seemed to want to get to the bones of material which was already fat-free. While he appeared to embody some aspects of bebop, in other ways he seemed set against its jittery spillage of notes. Themes such as Off Minor, Epistrophy, Misterioso and Well You Needn't were as clipped and inscrutable as their titles. Yet his sideman work with Charlie Parker – on airshots and on the 1950 session which produced the likes of Bloomdido – showed how skilfully he could work with bop's premier improviser.
In 1951 he was briefly imprisoned on a probably trumped-up narcotics charge, and lost his New York cabaret card as a result, so for a few years he had to settle for working on record rather than on a bandstand, and in 1952 he signed a new deal with Prestige Records. His appearance on a 1954 date with Miles Davis prickled with tension, but the music was magnificent. Then Orrin Keepnews signed him to Riverside, where he produced some of his most finished and rich recordings: the group date Brilliant Corners, the solo Thelonious Himself and the quartet session with the saxophonist who at this period started working with him on live dates, Thelonious Monk With John Coltrane (1956–7). His composing touched on a broader range, from the excruciatingly difficult Brilliant Corners and Gallop's Gallop to almost catchy pieces such as Rhythm-A-Ning and We See. It had taken some time, but Monk had somehow become a popular figure: he toured with his quartet (Charlie Rouse became his long-time horn player in 1958), had a celebrated concert of his works in an orchestral setting at New York's Town Hall (1959), and eventually moved on from Riverside to sign to the major label Columbia in 1962. Yet this marked the beginning of a creative impasse. His composing slowed to barely a trickle of new pieces, and his live performances began to take on a rote nature with the quartet, although it was still the kind of music which many aspiring bands would have loved to have got near.
The Columbia albums drifted towards studio chores, although Monk's penchant for throwing in an oddball standard (such as his cruel portrayal of Lulu's Back In Town, 1964) freshened up some of the programmes. By the end of the decade, his strange demeanour was becoming increasingly bizarre. On the 1971 Giants Of Jazz tour, Dave Liebman remembered him as being 'like Lon Chaney', lying flat out on tables most of the time and groaning if spoken to. Admirers such as Steve Lacy – who once had a band which played nothing but Monk tunes – helped disseminate his work further, but Monk himself seemed to have lost interest in his own music. He made a final appearance at Newport in 1976, but Whitney Balliett found it 'mechanical and uncertain', and thereafter he retreated to the home of a long-time patron and friend, Baroness Nica de Koenigswarter, in New Jersey: Monk's wife Nellie (for whom he wrote Crepuscule With Nellie) visited to cook for him, a strange arrangement, and Monk died there in 1982, having not touched a piano for years and seemingly entirely withdrawn from the world.
Since his death, there has been much conjecture as to whether he may have suffered from a mental illness for a long time, the old 'eccentricities' a symptom of a genuine malaise. His legacy is a book of some 70 compositions, of which one at least, Round Midnight, has become the most celebrated and frequently covered jazz ballad of the modern era. If he was still comparatively neglected as a composer at the time of his death, that has now entirely changed: his music is seen almost as a testing ground for modern musicians, and everyone has a go at one of the tunes sooner or later. It is a collective resource which, for its infinite variety within a small, carefully codified point of view, is unrivalled in the jazz idiom. And even as that resource continues to nourish improvisers to this day, it is probably best heard through the composer's own irreducible interpretations.
Biography from Richard Cook's Jazz Encyclopedia (2005).
If you'd like more information, check out The New Grove Dictionary of Jazz (2002) or The Biographical Encyclopedia of Jazz (2007), both of which are still in print.
As leader
Thelonious Monk – Genius of Modern Music, Volume One
Thelonious Monk – Genius of Modern Music, Volume Two
Thelonious Monk – Thelonious Monk Trio
Thelonious Monk – Monk
Thelonious Monk – Plays the Music of Duke Ellington
Thelonious Monk – The Unique
Thelonious Monk / Sonny Rollins – Thelonious Monk and Sonny Rollins
Thelonious Monk – Brilliant Corners
Thelonious Monk – Thelonious Himself
Thelonious Monk – Monk’s Music
Thelonious Monk – Mulligan Meets Monk
Thelonious Monk – Thelonious in Action
Clark Terry with Thelonious Monk – In Orbit
Thelonious Monk Quartet – Misterioso
Thelonious Monk – With John Coltrane
Thelonious Monk Quartet – Monk’s Dream
Plays on
Miles Davis – All-Stars Vol. 1
Milt Jackson – And The Thelonious Monk Quintet
Sonny Rollins – Sonny Rollins, Volume Two
Sonny Rollins – Moving Out
Miles Davis – Bags Groove
Art Blakey’s Jazz Messengers – With Thelonious Monk
Miles Davis – And The Modern Jazz Giants
Miles Davis – And the Modern Jazz Giants
Mentioned in text
Tony Fruscella – Tony Fruscella
Miles Davis – The Musings of Miles
Billy Taylor – Evergreens
Teddy Charles – The Teddy Charles Tentet
Herbie Nichols – Herbie Nichols Trio
Jimmy Smith – At The Organ, Volume Three
Howard Rumsey – Lighthouse at Laguna
Clifford Brown and Max Roach – At Basin Street
Modern Jazz Sextet – The Modern Jazz Sextet
Elmo Hope Trio – Meditations
Sonny Rollins – Plus Four
Bennie Green – Walking Down
Hank Mobley – Mobley’s Message
Randy Weston Trio – With These Hands
Kenny Dorham – ‘Round About Midnight At The Café Bohemia
Johnny Griffin – Introducing Johnny Griffin
Kenny Dorham – Afro-Cuban
Lou Donaldson Quintet – Wailing With Lou
Thad Jones – The Magnificent Thad Jones, Volume Three
Hank Mobley Quintet – Hank Mobley Quintet
Art Blakey – Orgy in Rhythm, Volume One
Art Blakey – Orgy In Rhythm, Volume Two
Johnny Griffin – A Blowing Session
Sabú – Palo Congo
Horace Silver – The Stylings of Silver
Bud Powell – Bud! The Amazing Bud Powell, Volume Three
Miles Davis – ‘Round About Midnight
The Jazz Messengers – Hard Bop
Zoot Sims – Goes to Jazzville
Randy Weston – The Modern Art of Jazz
Max Roach – Plus Four
Teddy Charles – Three for Duke
Bob Brookmeyer Quintet – Traditionalism Revisited
The Jazz Messengers – Ritual
Art Farmer / Donald Byrd – Two Trumpets
Hank Mobley / Al Cohn / John Coltrane / Zoot Sims – Tenor Conclave
Sonny Rollins – Saxophone Colossus
Thad Jones / Frank Wess / Teddy Charles / Mal Waldron / Doug Watkins / Elvin Jones – Olio
Mal Waldron Quintet – Mal-1
Mose Allison – Back Country Suite
John Coltrane – Coltrane
Curtis Fuller – New Trombone
Prestige Jazz Quartet – Prestige Jazz Quartet
Gene Ammons – Jammin’ In Hi Fi
Idrees Sulieman / Webster Young / John Coltrane / Bobby Jaspar – Interplay for 2 Trumpets and 2 Tenors
Phil Woods / Gene Quill / Sahib Shihab / Hal Stein – Four Altos
Art Taylor – Taylor’s Wailers
Ernie Henry – Presenting Ernie Henry
Kenny Drew – Kenny Drew Trio
Randy Weston – Trio and Solo
Randy Weston – Jazz a la Bohemia
Kenny Drew – This Is New
Clark Terry – Serenade to a Bus Seat
Jimmy Smith – At The Organ, Volume One
Jimmy Smith – At The Organ, Volume Two
Sonny Clark – Dial “S” For Sonny
John Coltrane – Blue Train
Johnny Griffin – The Congregation
Sonny Rollins – A Night at the Village Vanguard
Sonny Clark – Cool Struttin’
Lee Morgan – Candy
Louis Smith – Smithville
Cannonball Adderley – Somethin’ Else
Bud Powell – Time Waits: The Amazing Bud Powell, Volume Four
Miles Davis – Milestones
Duke Ellington’s Spacemen – The Cosmic Scene
Hampton Hawes Quartet – All Night Session! Vols. 1-3
Yusef Lateef Quintet – The Sounds of Yusef
John Coltrane – Traneing In
Steve Lacy – Soprano Sax
Sonny Rollins – Tour De Force
Miles Davis Quintet – Relaxin’
Red Garland Quintet – All Mornin’ Long
Frank Wess – Wheelin’ & Dealin’
Mose Allison – Young Man Mose
Eddie “Lockjaw” Davis – Cookbook
Shirley Scott – Great Scott!
Prestige Blues-Swingers – Outskirts of Town
Various Artists – Blues for Tomorrow
Freddy Redd Trio – San Francisco Suite for Jazz Trio
Wilbur Ware – The Chicago Sound
Johnny Griffin – Johnny Griffin Sextet
Pepper Adams – 10 to 4 at the 5 Spot
Max Roach – Deeds, Not Words
Bud Powell Trio – Blues in the Closet
Ornette Coleman – The Shape of Jazz to Come
Sonny Rollins – Newk’s Time
Art Blakey – Holiday for Skins, Volume 1
Art Blakey – Holiday for Skins, Volume 2
Bud Powell – The Scene Changes
Art Blakey & The Jazz Messengers – At the Jazz Corner of the World, Vol. 1
Charles Mingus – Mingus Ah Um
Cecil Taylor Quartet – Looking Ahead!
Ornette Coleman – Tomorrow is the Question!
Gene Ammons – Blue Gene
Johnny Griffin – The Little Giant
Lester Young – Pres and Teddy
Ornette Coleman – Change of the Century
Walter Davis, Jr. – Davis Cup
Donald Byrd – Byrd in Hand
Kenny Burrell – On View at the Five Spot Cafe
Freddie Redd Quartet – Music from The Connection
Hank Mobley – Soul Station
Jackie McLean – Capuchin Swing
Freddie Hubbard – Open Sesame
Harold Land – The Fox
Wes Montgomery Trio – Wes Montgomery Trio
Yusef Lateef – The Three Faces of Yusef Lateef
Billy Taylor Trio – Warming Up!
Booker Little – Booker Little
John Coltrane – Giant Steps
Art Blakey & The Jazz Messengers – At the Jazz Corner of the World, Vol. 2
Max Roach – We Insist! Freedom Now Suite
J.J. Johnson / Kai Winding – The Great Kai & J.J.
John Coltrane Quartet – Africa/Brass
John Coltrane – Coltrane Plays the Blues
Benny Carter and His Orchestra – Further Definitions
Gil Evans Orchestra – Into The Hot
John Coltrane – Live At The Village Vanguard
Quincy Jones and his Orchestra – The Quintessence
Bill Evans – Interplay
Charles Mingus – The Black Saint and the Sinner Lady
Charles Mingus – Town Hall Concert, 1964
Charles Mingus – Mingus Mingus Mingus Mingus Mingus
John Coltrane – Coltrane Live at Birdland
Wynton Kelly Trio – Smokin’ at the Half Note
Herbie Hancock – Maiden Voyage
Stan Getz – Sweet Rain
Joe Henderson – Power to the People
Richard Davis – Epistrophy & Now’s The Time
Clifford Jordan Quartet – Night of the Mark VII
Dexter Gordon – Homecoming: Live at the Village Vanguard
