[Dixielandjazz] Fwd: Fw: delanceyplace.com 6/27/13 - thelonious monk, 'round midnight, and the atomic age

Thu Jun 27 06:09:13 PDT 2013

Strange that Monk's slow number should be given as an exaple of music "Fast
and dissonant."  Dissonant - OK, but "'Round Midnight" is anything BUT fast!
Not that it should be of much interest to this list.
Cheers

---------- Forwarded message ----------

Date: 27 June 2013 15:40
Subject: Fw: delanceyplace.com 6/27/13 - thelonious monk, 'round midnight,
and the atomic age
To: Marek Boym <marekboym at gmail.com>

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*From:* delanceyplace <daily at delanceyplace.com>

<mnboym at 012.net.il>
*Sent:* Thursday, June 27, 2013 10:36 AM
*Subject:* delanceyplace.com 6/27/13 - thelonious monk, 'round midnight,
and the atomic age

    www.delanceyplace.com Click here
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 In
today's *encore* selection -- in the dawn of the Atomic Age, the hottest
music trend was bebop. Fast and dissonant, it packed returning soldiers
into New York's nightclubs on *The Street* -- 52nd Street. The high priests
of this music were Charlie "Bird" Parker, Dizzy Gillespie, and their young
protege Miles Davis. To those players, the father of this new music was
Thelonious Monk, with "'Round Midnight," his angst-laden song filled with
all the strange angularities of the new music:

"The war officially ended on September 2, 1945. A celebratory mood pervaded
the country, including The Street, where the hipsters were usually too cool
to care. War-weary New Yorkers were ready to put the past behind them and
embrace the promise of peace, prosperity, and productivity. It was the dawn
of a new era, the 'American Century,' when the U.S. emerged as the leading
global power. Technology became the country's obsession -- the
possibilities of space exploration, jet travel, the availability of cheap
televisions and high-fidelity recordings. Speed was the order of the day.
It was also a period of uncertainty. The atomic age had arrived, revealing
an ominous side with the destruction of Hiroshima and Nagasaki, but also
promising new sources of power (energy and military).

"Jazz was the perfect accompaniment to the new atomic age. It had become
faster and more dissonant, without losing its sense of joy and humor.
Audiences were drawn to Bird's velocity and his joyous, spring-like
melodies. From Hawk [Coleman Hawkins], Monk, and company, came hip
harmonies, danceable tempos, and nostalgic references to foot-stomping
swing. ... The popularity of the clubs exploded. For anyone looking to
celebrate the return of the GIs, to laugh after so many years of killing
and dying, here was exuberant fun. Monk pulled listeners in because he made
them laugh and wonder if he was for real. Miles Davis would rush over to
the Down Beat Club to catch Hawkins and Monk while on his break from
playing with Bird. ...

<http://r20.rs6.net/tn.jsp?e=001ZORQCojxmVeTmlVXnXy88eyFNBLJFE__eur_YU4eg6FepgedhMkpm7W4_JoPUXzrgYCe29UsySTLxwaqErivhXPMztw67pxS6U34fd44w6MKwHIMKYMLWNeiFjVQScStYJBr2w_aTco-n-BwpJUqF7dtJyFK3EvUzSbi5bcmccndbHtgFRY8fPJiAWnD3sWB>
*Thelonious Monk, Minton's Playhouse, New York, N.Y., ca. Sept. 1947*"Miles
had great admiration for Monk as a teacher and elder (nine years separated
them), and he found his compositions brilliant and beautifully balanced.
As someone who spent his days at Juilliard studying the great composers of
the Western tradition, Miles believed ' 'Round Midnight' was as challenging
as anything Ravel, Schoenberg, or Bach had to offer. ...

"Virtually every arts and entertainment magazine was scrambling for
anything related to the hottest trend in music -- bebop. Besides the jazz
mainstays -- *Down Beat*, *Metronome*, *The Record Changer* -- popular
magazines such as *The New Republic*, *Esquire*, and *Saturday
Review*began carrying profiles, editorials, and curiosity pieces on
bebop and its
major players throughout 1947, a good six months to a year before debates
over the new music began to really heat up. The battles were fierce: bebop
was great, or terrible. No one could define it musically, but that didn't
matter. ... Of course, those musicians who came to represent the different
camps continued to call music 'music,' and neither generational nor
stylistic differences kept them from sharing the bandstand or a recording
studio. But collaboration, flexibility of style, and ambiguity in genre
distinctions didn't sell magazines.

"Bird and Diz suddenly became the new heroes -- or antiheroes, depending on
one's stance -- in the jazz wars. And in virtually every interview they
granted, they mentioned Thelonious Monk. Monk had mastered the new harmonic
developments; he was one of the pioneers at Minton's Playhouse. Suddenly
Monk came across as the 1940s version of Buddy Bolden, that missing link
who started it all but then disappeared. To [*Down Beat* writer Bill]
Gottlieb, he was 'the George Washington of bebop.' "

Author: Robin D.G. Kelley
Title: *Thelonious Monk: The Life and Times of an American Original*
Publisher: Free Press
Date: Copyright 2009 by Robin D.G. Kelley
Pages: 106, 122-123

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Thelonious Monk: The Life and Times of an American Original
by Robin Kelley by Free Press
Paperback ~ Release Date: 2010-11-02

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