Thelonious Monk
For other uses, see Thelonious (disambiguation) and
Thelonious Sphere Monk (disambiguation).
Thelonious Sphere Monk[2] (October 10, 1917[3]
February 17, 1982) was an American jazz pianist and
composer. Monk had a unique improvisational style
and made numerous contributions to the standard jazz
repertoire, including "'Round Midnight", "Blue Monk",
"Straight, No Chaser" "Ruby, My Dear", "In Walked
Bud", and "Well, You Needn't". Monk is the sec-
ond most-recorded jazz composer after Duke Ellington,
which is particularly remarkable as Ellington composed
more than 1,000 pieces, whereas Monk wrote about 70.[4]
His compositions and improvisations feature dissonances
and angular melodic twists, and are consistent with
Monks unorthodox approach to the piano, which com-
bined a highly percussive attack with abrupt, dramatic use
of silences and hesitations.
He was renowned for his distinctive style in suits, hats,
and sunglasses. He was also noted for an idiosyncratic
habit observed at times during performances: while the
other musicians in the band continued playing, he would
stop, stand up from the keyboard, and dance for a few
moments before returning to the piano.
Monk is one of ve jazz musicians to have been fea- and how such invention was vital for musicians since at
tured on the cover of Time, after Louis Armstrong, the time it was common for fellow musicians to incorpo-
Dave Brubeck, and Duke Ellington and before Wynton rate overheard musical ideas into their own works without
Marsalis.[5][6]
1 Early life
Thelonious Sphere Monk was born two years after his sis-
ter Marion on October 10, 1917, in Rocky Mount, North
Carolina, the son of Thelonious and Barbara Monk. His
badly written birth certicate misspelled his rst name as
Thelious[7] or Thelius. It also did not list his mid-
dle name, taken from his maternal grandfather, Sphere
Batts.[8] A brother, Thomas, was born in January 1920.[9]
In 1922, the family moved to 243 West 63rd Street, in
Manhattan, New York City. Monk started playing the
piano at the age of six. Monk was largely self-taught, al-
though he did attend Stuyvesant High School, but did not
graduate.[10]
2 Early playing career
He toured with an evangelist in his teens, playing the
church organ, and in his late teens he began to nd work
playing jazz. In the early to mid-1940s, Monk was the
house pianist at Mintons Playhouse, a Manhattan night-
club. Much of Monks style was developed during his
time at Mintons, when he participated in after-hours
cutting competitions which featured many leading jazz
soloists of the time. The Mintons scene was crucial in
the formulation of bebop and it brought Monk into close
contact with other leading exponents of the emerging id-
iom, including Dizzy Gillespie, Charlie Christian, Kenny
Clarke, Charlie Parker and, later, Miles Davis. Monk is
believed to be the pianist featured on recordings Jerry
Newman made around 1941 at the club. Monks style
at this time was later described as hard-swinging, with
the addition of runs in the style of Art Tatum. Monks
stated inuences included Duke Ellington, James P. John-
son, and other early stride pianists. In the documentary
Thelonious Monk: Straight, No Chaser, it is stated that
Monk lived in the same neighborhood in New York City
as Johnson and knew him as a teenager.
Mary Lou Williams, who mentored Monk and his compa-
triots, spoke of Monks rich inventiveness in this period,
giving due credit. So, the boppers worked out a music
that was hard to steal. I'll say this for the 'leeches, though:
they tried. I've seen them in Mintons busily writing on
their shirt cus or scribbling on the tablecloth. And even
our own guys, I'm afraid, did not give Monk the credit he
had coming. Why, they even stole his idea of the beret
and bop glasses.[11]
3 Early recordings (19441954)
In 1944 Monk made his rst studio recordings with the
Coleman Hawkins Quartet. Hawkins was one of the ear-
liest established jazz musicians to promote Monk, and the
pianist later returned the favor by inviting Hawkins to join
him on a 1957 session with John Coltrane. Monk made
his rst 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
1
2 4 RIVERSIDE RECORDS (19551961)

ber of the Rothschild family and a patroness of several

New York City jazz musicians. She was a close friend
for the rest of Monks life, including taking responsibility
for him when she and Monk were charged with marijuana
possession.

4 Riverside Records (19551961)

By the time of his signing to Riverside, Monk was highly
regarded by his peers and by some critics, but his records
remained poor sellers, and his music was still regarded
as too dicult for more mainstream acceptance. In-
deed, with Monks consent, Riverside had managed to
buy out his previous Prestige contract for a mere $108.24.
He willingly recorded two albums of jazz standards as a
means of increasing his prole: Thelonious Monk Plays
the Music of Duke Ellington (1955) and The Unique Th-
From left, Monk, Howard McGhee, Roy Eldridge, and Teddy elonious Monk (1956).
Hill, Mintons Playhouse, New York, N.Y., c. September 1947 On Brilliant Corners, recorded in late 1956, Monk mainly
performed his own music. The complex title track, which
featured Rollins, was so dicult to play that the nal ver-
became a jazz drummer. A daughter, Barbara (aection- sion had to be edited together from multiple takes. The
ately known as Boo-Boo), was born in 1953 and died in album, however, was largely regarded as the rst success
1984 from cancer. for Monk; according to Orrin Keepnews, It was the rst
In August 1951, New York City police searched a parked that made a real splash.
car occupied by Monk and friend Bud Powell. They found After having his cabaret card restored, Monk relaunched
narcotics in the car, presumed to have belonged to Powell. his New York career with a landmark six-month resi-
Monk refused to testify against his friend, so the police dency at the Five Spot Cafe in New York beginning in
conscated his New York City Cabaret Card. Without June 1957, leading a quartet with Coltrane on tenor sax-
this, Monk was unable to play in any New York venue ophone, Wilbur Ware on bass, and Shadow Wilson on
where liquor was served, and this severely restricted his drums. Little of this groups music was documented ow-
ability to perform for several years. Monk spent most ing to contractual problems: Coltrane was signed to Pres-
of the early and mid 1950s composing, recording, and tige at the time, but Monk refused to return to his for-
performing at theaters and out-of-town gigs. mer label. One studio session by the quartet was made
for Riverside, three tunes which were not released until
After his cycle of intermittent recording sessions for
Blue Note during 194752, Monk was under contract 1961 by the subsidiary label Jazzland along with outtakes
from a larger group recording with Coltrane and Hawkins,
to Prestige Records for the following two years. With
Prestige he cut several highly signicant, but at the time those results appearing in 1957 as the album Monks Mu-
sic. An amateur tape from the Five Spot (a later Septem-
under-recognized, albums, including collaborations with
saxophonist Sonny Rollins and drummers Art Blakey and ber 1958 reunion with Coltrane sitting in for Johnny Grif-
n) was issued on Blue Note in 1993; and a recording
Max Roach. In 1954, Monk participated in a Christmas
Eve session which produced most of the albums Bags of the quartet performing at a Carnegie Hall concert on
Groove and Miles Davis and the Modern Jazz Giants by November 29 was recorded in high delity by Voice of
Davis. Davis found Monks idiosyncratic accompaniment America engineers, rediscovered in the collection of the
style dicult to improvise over and asked him not to ac- Library of Congress in 2005, and released by Blue Note.
company, which almost brought them to blows. However, Crepuscule with Nellie, recorded in 1957, was
in his autobiography Miles, Davis claims that the anger Monks only, whats called through-composed composi-
and tension between them did not take place and that the tion, meaning that there is no improvising. It is Monks
claims of blows being exchanged were rumors and a concerto, if you will, and in some ways it speaks for it-
misunderstanding.[12] self. But he wrote it very, very carefully and very delib-
In 1954, Monk paid his rst visit to Paris. As well as erately and really struggled to make it sound the way it
performing at concerts, he recorded a solo piano session sounds. [... I]t was [13]
his love song for Nellie, said biogra-
for French radio (later issued as an album by Disques pher Robin Kelley.
Vogue). Backstage, Mary Lou Williams introduced him The Five Spot residency ended Christmas 1957; Coltrane
to Baroness Pannonica Nica de Koenigswarter, a mem- left to rejoin Daviss group, and the band was eectively
 3

disbanded. Monk did not form another long-term band the Jazz Workshop, both recorded in 1964, the latter not
until June 1958, when he began a second residency at the being released until 1982. After the departure of Ore and
Five Spot, again with a quartet, this time with Grin (and
Dunlop, the remainder of the rhythm section in Monks
later Charlie Rouse) on tenor, Ahmed Abdul-Malik on quartet during the bulk of his Columbia period was Larry
bass, and Roy Haynes on drums. Gales on bass and Ben Riley on drums, both of whom
On October 15, 1958, en route to a week-long engage- joined in 1964. Along with Rouse, they remained with
ment for the quartet at the Comedy Club in Baltimore, Monk for over four years, his longest-serving band.
Maryland, Monk and de Koenigswarter were detained by
police in Wilmington, Delaware. When Monk refused to
answer the policemens questions or cooperate with them, 6 Later life
they beat him with a blackjack. Though the police were
authorized to search the vehicle and found narcotics in Monk had disappeared from the scene by the mid 1970s
suitcases held in the trunk of the Baronesss car, Judge and made only a small number of appearances during
Christie of the Delaware Superior Court ruled that the the nal decade of his life. His last studio recordings as
unlawful detention of the pair, and the beating of Monk, a leader were made in November 1971 for the English
rendered the consent to the search void as given under Black Lion label, near the end of a worldwide tour with
duress.[14] the Giants of Jazz, a group which included Gillespie, Kai
Winding, Sonny Stitt, Al McKibbon and Blakey. Bassist
McKibbon, who had known Monk for over twenty years
5 Columbia Records (19621970) and played on his nal tour in 1971, later said: On that
tour Monk said about two words. I mean literally maybe
After extended negotiations, Monk signed in 1962 with two words. He didn't say 'Good morning', 'Goodnight',
Columbia Records, one of the big four American record 'What time?' Nothing. Why, I don't know. He sent word
labels of the day. Monks relationship with Riverside had back after the tour was over that the reason he couldn't
soured over disagreements concerning royalty payments communicate or play was that Art Blakey and I were so
and had concluded with a brace of European live albums; ugly.[18] A dierent side of Monk is revealed in Lewis
he had not recorded a studio album since 5 by Monk by 5 Porter's biography, John Coltrane: His Life and Music;
in June 1959. Coltrane states: Monk is exactly the opposite of Miles
[Davis]: he talks about music all the time, and he wants
Working with producer Teo Macero on his debut for the so much for you to understand that if, by chance, you ask
label,[15] the sessions in the rst week of November had a him something, he'll spend hours if necessary to explain
line-up that had been with him for two years: tenor sax- it to you.[19] Blakey reports that Monk was excellent at
ophonist Rouse (who worked with Monk from 1959 to both chess and checkers.[20]
1970), bassist John Ore, and drummer Frankie Dunlop.
Monks Dream, his rst Columbia album, was released in The documentary lm Thelonious Monk: Straight, No
1963. Chaser (1988) attributes Monks quirky behaviour to
mental illness. In the lm, Monks son says that his fa-
Columbias resources allowed Monk to be promoted
ther sometimes did not recognize him, and he reports
more heavily than earlier in his career. Monks Dream be- that Monk was hospitalized on several occasions ow-
came the best-selling LP of his lifetime,[16] and on Febru-
ing to an unspecied mental illness that worsened in the
ary 28, 1964, he appeared on the cover of Time magazine, late 1960s. No reports or diagnoses were ever publi-
being featured in the article The Loneliest Monk.[17]
cized, but Monk would often become excited for two
According to biographer Kelley, the 1964 Time appear- or three days, then pace for days after that, after which
ance came because "Barry Farrell, who wrote the cover
he would withdraw and stop speaking. Physicians rec-
story, wanted to write about a jazz musician and al- ommended electroconvulsive therapy as a treatment op-
most by default Monk was chosen, because they thought tion for Monks illness, but his family would not allow it;
Ray Charles and Miles Davis were too controversial. ... antipsychotics and lithium were prescribed instead.[21][22]
[Monk] wasn't so political. [...O]f course, I challenge that Other theories abound: Leslie Gourse, author of the book
[in the biography]", said Kelley.[13] Straight, No Chaser: The Life and Genius of Thelonious
Monk continued to record studio albums, including Criss Monk (1997), reported that at least one of Monks psychi-
Cross, also from 1963, and Underground, from 1968. But atrists failed to nd evidence of manic depression (bipolar
by the Columbia years his compositional output was lim- disorder) or schizophrenia. Another physician maintains
ited, and only his nal Columbia studio record Under- that Monk was misdiagnosed and prescribed drugs during
ground featured a substantial number of new tunes, in- his hospital stay that may have caused brain damage.[21]
cluding his only waltz time piece, Ugly Beauty. As his health declined, Monks last six years were spent
As had been the case with Riverside, his period with as a guest in the Weehawken, New Jersey, home of his
Columbia contains many live albums, including Miles and long-standing patron and friend, de Koenigswarter, who
Monk at Newport (1963), Live at the It Club and Live at had also nursed Parker during his nal illness. Monk
4 9
did not play the piano during this time, even though
one was present in his room, and he spoke to few vis-
itors. He died of a stroke on February 17, 1982, and
was buried in Ferncli Cemetery in Hartsdale, New
York. In 1993, he was awarded the Grammy Lifetime
Achievement Award.[23] In 2006 he was awarded a special
Pulitzer Prize for a body of distinguished and innovative
musical composition that has had a signicant and en-
during impact on the evolution of jazz.[24] During his
lifetime, his style was not universally appreciated. Poet
and jazz critic Philip Larkin once dismissed Monk as the
elephant on the keyboard.[25]
The Thelonious Monk Institute of Jazz was established in
1986 by the Monk family and Maria Fisher. Its mission is
to oer public school-based jazz education programs for
young people around the globe, helping students develop
imaginative thinking, creativity, curiosity, a positive self- 8 Discography
image, and a respect for their own and others cultural
heritage. In addition to hosting an annual International Main article: Thelonious Monk discography
Jazz Competition since 1987, the Institute also helped, Further information: List of Thelonious Monk composi-
through its partnership with UNESCO, designate April tions
30, 2012, as the rst annual International Jazz Day.
Monk was inducted into the North Carolina Music Hall
of Fame in 2009.[26]
7 Tributes
Soprano saxophonist Steve Lacy performed as
Monks accompanist in 1960. Monks tunes became
a permanent part of his repertoire in concert and
on albums. Lacy recorded many albums entirely fo-
cused on Monks compositions.
Gunther Schuller wrote the work Variants on a
Theme of Thelonious Monk in 1960. It was later
performed and recorded by other artists, including
Ornette Coleman, Eric Dolphy, and Bill Evans.
In 1983, saxophonist Arthur Blythe's album Light
Blue: Arthur Blythe Plays Thelonious Monk was re-
leased by Columbia Records.
In 1984, a compilation album Thats The Way I Feel
Now: A Tribute To Thelonious Monk was released
by A&M Records. The album features such notable
musicians as Donald Fagen, Todd Rundgren, Peter
Frampton, Carla Bley, Joe Jackson, Steve Lacy,
John Zorn, NRBQ, Bruce Fowler, Chris Spedding,
Steve Khan, Sharon Freeman, Gil Evans, Mark
Bingham, Was Not Was.
Anthony Braxton recorded Six Monks Compositions
[10] Kelley, Robin D. G. (2009). Thelonious Monk: The Life
(1987) in 1987. Singer Carmen McRae released
Carmen Sings Monk in 1988. Pianist Ran Blake
recorded Epistrophy in 1991.
Round Midnight Variations is a collection of vari-
ations on the song "'Round Midnight" premiered
REFERENCES
in 2002. Composers contributing included Milton
Babbitt, William Bolcom, David Crumb. George
Crumb, Michael Daugherty, John Harbison, Joel
Homan, Aaron Jay Kernis, Gerald Levinson,
Tobias Picker, Frederic Rzewski, Augusta Read
Thomas and Michael Torke.[27]
Free jazz pianist Alexander von Schlippenbach and
his band recorded every composition by Monk for
Monks Casino released as a triple CD set in 2005.
Visual artist Jean-Max Albert created monumental
trellis-works : Iapetus (1985) which refers to the
structure of Thelonious Monks Misterioso [28] and
published Thelonious Monk Architect.[29]
9 References
[1] Yanow, Scott. Thelonious Monk. AllMusic. Retrieved
2012-03-31.
[2] Thelonious Monk (American musician) Britannica On-
line Encyclopedia. Encyclopdia Britannica. Retrieved
2012-03-31.
[3] Robin D.G. Kelley Thelonious Monk: The Life and Times
of American Original, London: JR Books, 2010, p.1. The
source identies the day of Monks fortieth birthday in
1957.
[4] Giddins, Gary & Scott DeVeaux. Jazz (2009). New York:
W.W. Norton & Co, ISBN 978-0-393-06861-0.
[5] Time cover Feb. 28, 1964. Retrieved 2010-12-22.
[6] Search of Time covers for jazz. Retrieved 2010-12-22.
[7] Solis, Gabriel (2007). Monks Music: Thelonious Monk
and Jazz History in the Making. University of California
Press. pp. 1920. ISBN 9780520940963.
[8] Mathieson, Kenny (2012). Giant Steps: Bebop And The
Creators Of Modern Jazz, 194565. Canongate Books. p.
127. ISBN 9780857866172.
[9] Robin D.G. Kelley Thelonious Monk: The Life and Times
of an American Original, London: JR Books, 2010, p13
and Times of an American Original. Free Press. p.
31. ISBN 978-0-684-83190-9. Retrieved November 23,
2013.
[11] Mary Lou Williams interview, Melody Maker, 1954.
Ratical.org. Retrieved 2012-03-31.
 5

[12] Miles: The Autobiography With Quincy Troupe, 80 10 External links

[13] Looking At The Life And Times Of Thelonious Monk,
transcript of interview with Robin D.G. Kelley by Terry
Gross on Fresh Air, NPR; conducted in 2009, replayed
December 17, 2010. Retrieved 2010-12-22.
[14] State v. De Koenigswarter, 177 A.2d 344 (Del. Super.
1962).
[15] Marmorstein, Gary. The Label The Story of Columbia
Records. New York: Thunders Mouth, 2007, pp. 314
315.
[16] Monk, Thelonious. Monks Dream. Columbia reissue CK
63536, 2002, liner notes, p. 8
[17] Gabbard, Krin (February 28, 1964). The Loneliest
Monk. Time (Time, Inc.) 83 (9). Retrieved 2007-11-
12.
[18] Voce, Steve (August 1, 2005). Obituary: Al McKibbon.
The Independent (Findarticles.com). Retrieved 2007-11-
12.
Thelonious Monk at DMOZ
Thelonious Monk Institute of Jazz
The Ocial Thelonious Sphere Monk Website and
Home of Thelonius Records
Thelonious Monk: The Life and Times of an Amer-
ican Original website for the biography by Robin
D. G. Kelley
Thelonious Monk page in Jazz at Lincoln Centers
Nesuhi Ertegun Jazz Hall of Fame
Thelonious Monks birth certicate
Roundabout Monk: The European Monk Website
Thelonious Monk at All About Jazz
IMDb entry for Thelonious Monk: Straight, No
Chaser

[19] Porter, Lewis (1998). John Coltrane: His Life and Mu- CBC.ca Article on 2006 Pulitzer Prize Winners
sic. University of Michigan Press. p. 109. ISBN 0-472-
Thelonious Monk Multimedia Directory Kerouac
10161-7.
Alley
[20] Art Blakey: Bus Delights and Laments, by John B
Not So Misterioso: Robert Christgau on Monk
Litweiler in Downbeat magazine, March 25, 1976.
Photo of Monks grave at Findagrave
[21] Gabbard, Krin (Autumn 1999). Evidence: Monk as
Documentary Subject. Black Music Research Journal Thelonius Monk at Library of Congress Authorities,
(Center for Black Music Research Columbia College with 182 catalog records
Chicago) 19 (2): 207225. doi:10.2307/779343. JSTOR
779343.

[22] Spence, Sean A (October 24, 1998). Thelonious

Monk: His Life and Music. British Medical Jour-
nal (BMJ Publishing Group) 317 (7166): 1162A.
doi:10.1136/bmj.317.7166.1162a. PMC 1114134.
PMID 9784478.

[23] GRAMMY.com Lifetime Achievement Award. Past

Recipients. National Academy of Recording Arts and Sci-
ences. Retrieved 2007-11-12.

[24] The 2006 Pulitzer Prize winners: Special Awards and

Citations. The Pulitzer Prizes. Retrieved 2007-11-12.

[25] Spencer, Charles (September 4, 2010) In the steps of

Larkin. The Spectator, London.

[26] 2009 Inductees. North Carolina Music Hall of Fame.

Retrieved September 10, 2012.

[27] Matthew Quayle

[28] Michel Ragon, Jean-Max Albert Iapetus, Lart abstrait

vol.5, ditions Maeght, Paris, 1989.

[29] Fleeting white Space, New York, 2001. And Thelonious

Monk Architecte, L'art du jazz, ditions Le Flin, Paris,
2009
6 11 TEXT AND IMAGE SOURCES, CONTRIBUTORS, AND LICENSES

11 Text and image sources, contributors, and licenses

11.1 Text
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Tarquin, Koyaanis Qatsi, Andre Engels, Deb, Merphant, Camembert, Jazz77, Infrogmation, Liftarn, Cribcage, TUF-KAT, Setimo, Bass-
wulf, SeanO, , Dod1, Lommer, RodC, Johnwhite79, Hyacinth, Steen Lwe Gera, Carbuncle, Jni, Xiecfox, Angelique,
Mervyn, JackofOz, Ndorward, Aomarks, DocWatson42, Taco~enwiki, Berasategui, Everyking, Perl, Gamaliel, M. E. Smith, Yekrats,
Ferdinand Pienaar, Gyrofrog, Andycjp, Ruy Lopez, Zeimusu, Antandrus, Adamrice, Dunks58, TronTonian, Ukexpat, Deeceevoice, D6,
Freakofnurture, RossPatterson, A benign hum, Mani1, Pnevares, Bender235, ESkog, Jaberwocky6669, Jnestorius, RoyBoy, Aaronbrick,
Guettarda, Viriditas, Kevin Myers, Mendali, Analogdemon, Knucmo2, Alansohn, Philip Cross, Ricky81682, Monk127, Mattley, Abu-
lanov, Bbsrock, Andrew Norman, Ndteegarden, Tainter, Gmaxwell, Scriberius, Rictus, Briangotts, Dodiad, Jleon, Paxsimius, Taestell,
Stevenplunkett, Ted Wilkes, Rock8888, Jorunn, Rjwilmsi, Koavf, Jazzcowboy, Brighterorange, Fred Bradstadt, SchuminWeb, Crazy-
computers, Hottentot, Ppk80, Banazir, Pinkville, RobyWayne, Elsrkite, AllyD, YurikBot, Hillman, GLaDOS, Stephenb, Gaius Cornelius,
Pseudomonas, Philopedia, TheGrappler, Msikma, Kisch, Howcheng, Sojambi Pinola, Diotti, Dethomas, Crasshopper, Davidsomnus, Rock-
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KnightRider~enwiki, SmackBot, Moeron, Terry1944, D C McJonathan, Teto, Cazort, Gilliam, Betacommand, Stevage, Dr. Shagge-
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The people from the Tango! project. And according to the meta-data in the le, specically: Andreas Nilsson, and Jakub Steiner (although
minimally).
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States Library of Congress's Music Division under the digital ID gottlieb.06201.
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Original artist: William P. Gottlieb
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Contributors: ? Original artist: ?

11.3 Content license

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