Month: October 2020

Today is the 103rd anniversary of Thelonious Monk’s birth. Monk changed music forever with his fantastic (and catchy!) compositions as well as his unique approach to music and stubborn dedication. He’s forever an inspiration for those who give their lives to an idea, a craft, or a vision. And Monk won in the end – there is no other composer from the mid 20th century whose music has been so influential. To celebrate this influence I’m posting some of my favorite covers of Monk’s songs, with my thoughts about the performance. It’s Monk’s time!

Bye-Ya
Jane Bunnett-Don Pullen
New York Duets (Music and Arts, 1990)
Jane Bunnett – soprano sax, Don Pullen – piano

A spirited performance of a very fun tune! Bunnett gives three choruses that build logically, with great sound and spontaneity. Pullen is typically outrageous and amazing. His incredible rhythmic strength is a perfect match for playing Monk. Fortunately, there’s more of a same on Pullen Plays Monk, which is highly recommended. More from Pullen on this site soon! He’s one of my all time favorites.

Monk’s Mood
Jack DeJohnette’s Special Edition
Album Album (ECM, 1984)
Jack DeJohnette – Synthesizer and drums, David Murray – Tenor Saxophone, John Purcell – Alto Saxophone, Howard Johnson – Baritone Saxophone

There are lots of great covers of Monk’s Mood, one of the composer’s most memorable pieces. This one stands out to me for it’s interesting arrangment, which obviously owes a lot to the World Saxophone Quartet (the synthesizer fills in for the fourth horn). I wonder how much credit goes to Murray? No matter who’s responsible, this performance holds up.

Rhythm-A-Ning
Cedar Walton
The Maestro (Muse, 1981)
Cedar Walton – piano, Bob Berg – tenor saxophone, David Williams – bass, Billy Higgins – drums

Walton used Rhythm-A-Ning as a burning vehicle, and this performance really shows off the strength of this band. Berg eats up the changes in his exciting solo. The real star though, is the marvelous togetherness of the trio behind Berg. Even at this blistering tempo, Walton, Williams and Higgins somehow sound relaxed, and play the accents of this arrangement with a startling group precision.

Brake’s Sake
Ben Riley’s Monk Legacy Septet
Memories of T (Concord, 2006)
Ben Riley: drums; Don Sickler: trumpet and arrangement; Bruce Williams: alto saxophone, Jimmy Greene: tenor saxophone, Jay Brandford: baritone saxophone; Freddie Bryant: guitar, Peter Washington: bass

From the best Monk tribute not by Steve Lacy, the pianoless arrangements capture Monk’s wittiness and rhythmic propulsion. The musicians here all rise to the challenge – each of the solos sparkle. Riley – Monk’s drummer through the 60’s – contributes playing that is subtle and amazing.

We See
Ellery Eskelin
The Secret Museum (Hatology, 2000)
Ellery Eskelin – Tenor Saxophone, Andrea Parkins – Accordion, Jim Black – Drums

I just had to include this crazy performance! It’s an absurd rave up/deconstruction of Monk’s tune. There’s nothing else like it.

Hornin’ In
Sphere
Sphere (1998, Verve)
Kenny Barron – Piano, Gary Bartz – Alto Saxophone, Buster Williams – Bass, Ben Riley – Drums

This performance is a refined contrast to the raucous Eskelin track above. The group Sphere was dedicated to making Monks’ tunes part of the repertory, and the elan displayed on this, one of Monk most difficult compositions, shows the result of that dedication. Barron’s solo in particular is fantastic!

In Walked Bud
Steve Lacy Four
Morning Joy: Live at Sunset Paris (Hatology, 1989)
Steve Lacy – Soprano Saxophone, Steve Potts – Alto Saxophone, Jean-Jacques Avenal – bass, Oliver Johnson – drums

When Monk’s reputation was in obscurity in the 1950’s, one of his acolytes was Steve Lacy, who formed a band with Roswell Rudd that played nothing but Monk tunes (captured on the album School Days). Even after Lacy developed into a distinctive composer and concentrated on the performing his own tunes, he continued to carry the Monk torch. Recorded at the Sunset Paris club in 1986, the band is really on fire. The way that Lacy and Potts play unison lines is really special, and the support from Avenal and Johnson is stellar. It’s a shame that you can hear there’s maybe a dozen people in the audience – a fate that Monk had to contend with as well. May our heroes always have an audience to appreciate their art!

James Koblin