Thelonious Monk

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风格: #波普　#后波普　#爵士　#调式爵士　#主流爵士　#硬波普
地区: United States of America 美国

艺人介绍

1917年Thelonious Monk出生于北卡罗莱纳州的洛基山。五岁时，Monk全家搬到纽约，一年以后开始学习钢琴演奏，十一岁时开始接受正规的钢琴教育。在高中时期他的物理和数学比较出色，有时也在教堂演奏管风琴。三十年代后期，他与一个福音乐团巡演，随后开始在俱乐部演奏，1941年至1942年间，他加入了Kenny Clarke的乐队任钢琴手，在敏顿俱乐部演出。1943年至1945年Monk在Coleman Hawkins的六重奏待过，1946年又加入Dizzy Gillespie的大乐队，1947年他开始领导自己的乐团。Coleman Hawkins为他提供了首次录音的机会，细心的人可以发现在乐曲“Flyin’　Hawk”中有Monk的一段精彩的独奏。然而，直到1947年Blue Note的一组唱片发行才使他成为众所周知的人物。

这组唱片中　Art Blakey任鼓手，使得节奏非常有感染力，和声复杂而吸引人，再加上Monk独一无二的不和协音演奏和节奏感，更为其增添魅力。这些唱片可以称得上是那十年间的精华之作。“’Round Midnight”很快就成为非常流行的曲子，其它的像“Ruby My Dear”，“Well You Needn’t”，“In Walked Bud”也成为爵士乐经典之作。Monk演奏钢琴时手指是平直放的，这是被学院派钢琴家所不齿的，但他言简意赅的风格是故意追求一种现代的感觉，而不是说没能力像Art Tatum或Oscar Peterson一样流畅地演奏。对Monk来讲，没有欧洲浪漫主义音乐的影响，他用Blues也能表现足够的浪漫；不用过热的Bebop来演奏也能表达激情。他的即兴演奏机智、简洁和发人深思。

1951年一项捏造的藏毒罪名使得Monk被剥夺了在纽约的演出执照，而且随后六年现场演出的被禁几乎毁掉了他音乐生涯。由于河岸唱片公司的支持，他能找到志同道合的乐手一起合作，有时是以他的名义，有时也作为像Miles Davis、Sonny Rollins和Clark Terry等的客座乐手参与录音。1957年重新获得演出许可后，Monk召集了一个强力的五重奏固定在Five Spot俱乐部演出，成员还包括鼓手Shadow Wilson、贝司手Wilbur Ware和萨克斯手John Coltrane。Coltrane经常声称其在这个乐团的短暂停留时期使他获益匪浅。尽管从没有录制现场专辑，John Coltrane和Monk合作的录音室专辑也称得上是经典。Monk为了报答Coleman Hawkins早期的知遇之恩，在这些专辑中也力邀其加入，历史和未来终于因Monk而握手，以前被认为演奏太出格的Monk，其音乐生涯终于开始起步了。

1957年，Monk与Gerry Mulligan一起合作录音，使得他被更多的观众所认识。与古典作曲家Hall Overton的合作使他的演奏管弦乐化（1959年在Town Hall的现场演出）。1961年他第一次巡演欧洲，1964年又去了日本，六十年代初期，Monk组建了一个稳定的四重奏，成员有次中音Charlie Rouse、贝司John Ore、鼓手Frankie Dunlop。乐评认为他和其他萨克斯手的合作要更为出色些，如Harold Land、Johnny Griffin，但是他们忽视了实际上只有Charlie Rouse才真正理解Monk的曲风，他也许算不上是位伟大的独奏者，但他粗砺、生硬的演奏恰好像手套一样契合Monk的曲子。

七十年代早期，他和Pat Patrick以及儿子T。S。Monk合作，病痛开始限制其活动能力。但1971－1972年间他还是和Giant Of Jazz一起巡演，1974年还率领自己的大乐队参与了新港爵士音乐节。1971年他为黑狮唱片公司录了两张专辑《Something In Blue》和《The Man I Love》，都是三重奏的作品，贝司手是Al Mckibbon，鼓手为Art Blakey。这是两张Monk的最佳专辑，充分展现了鼓手和钢琴手之间出神亲密的合作。1982年，Monk死于中风，之前六年他没有于任何公众场合演奏。

Monk的影响在八十年代开始逐渐地增强，Buell Neidlinger组织一个乐团，弦乐化的爵士，只演奏Monk和Ellington的作品；Steve Lacy，在六十年代早期也是有一段时期只演奏Monk的曲子；而且还有一系列向其致敬的专辑，如Arthur Blythe的《Light Blue》、Anthony Braxton的《Six Monk’s Compositions》、Paul Motian的《Monk In Motian》、Hal Wilner的《That’s The Way I Feel Now》等等。

Thelonious Monk具有一种独一无二的能力，能将精致、令人惊讶的和声转接以及古怪的节奏融进疯克味十足的Riff中，他的作品实际上比其他人的更有穿透力，对爵士乐来讲，这是种最高的赞扬。

by Scott Yanow

The most important jazz musicians are the ones who are successful in creating their own original world of music with its own rules, logic, and surprises. Thelonious Monk, who was criticized by observers who failed to listen to his music on its own terms, suffered through a decade of neglect before he was suddenly acclaimed as a genius; his music had not changed one bit in the interim. In fact, one of the more remarkable aspects of Monks music was that it was fully formed by 1947 and he saw no need to alter his playing or compositional style in the slightest during the next 25 years.

Thelonious Monk grew up in New York, started playing piano when he was around five, and had his first job touring as an accompanist to an evangelist. He was inspired by the Harlem stride pianists (James P. Johnson was a neighbor) and vestiges of that idiom can be heard in his later unaccompanied solos. However, when he was playing in the house band of Mintons Playhouse during 1940-1943, Monk was searching for his own individual style. Private recordings from the period find him sometimes resembling Teddy Wilson but starting to use more advanced rhythms and harmonies. He worked with Lucky Millinder a bit in 1942 and was with the Cootie Williams Orchestra briefly in 1944 (Williams recorded Monks Epistrophy in 1942 and in 1944 was the first to record Round Midnight), but it was when he became Coleman Hawkins regular pianist that Monk was initially noticed. He cut a few titles with Hawkins (his recording debut) and, although some of Hawkins fans complained about the eccentric pianist, the veteran tenor could sense the pianists greatness.

The 1945-1954 period was very difficult for Thelonious Monk. Because he left a lot of space in his rhythmic solos and had an unusual technique, many people thought that he was an inferior pianist. His compositions were so advanced that the lazier bebop players (although not Dizzy Gillespie and Charlie Parker) assumed that he was crazy. And Thelonious Monks name, appearance (he liked funny hats), and personality (an occasionally uncommunicative introvert) helped to brand him as some kind of nut. Fortunately, Alfred Lion of Blue Note believed in him and recorded Monk extensively during 1947-1948 and 1951-1952. He also recorded for Prestige during 1952-1954, had a solo set for Vogue in 1954 during a visit to Paris, and appeared on a Verve date with Bird and Diz. But work was very sporadic during this era and Monk had to struggle to make ends meet.

His fortunes slowly began to improve. In 1955, he signed with Riverside and producer Orrin Keepnews persuaded him to record an album of Duke Ellington tunes and one of standards so his music would appear to be more accessible to the average jazz fan. In 1956 came the classic Brilliant Corners album, but it was the following year when the situation permanently changed. Monk was booked into the Five Spot for a long engagement and he used a quartet that featured tenor saxophonist John Coltrane. Finally, the critics and then the jazz public recognized Thelonious Monks greatness during this important gig. The fact that he was unique was a disadvantage a few years earlier when all modern jazz pianists were expected to sound like Bud Powell (who was ironically a close friend), but by 1957 the jazz public was looking for a new approach. Suddenly, Monk was a celebrity and his status would not change for the remainder of his career. In 1958, his quartet featured the tenor of Johnny Griffin (who was even more compatible than Coltrane), in 1959 he appeared with an orchestra at Town Hall (with arrangements by Hall Overton), in 1962 he signed with Columbia and two years later was on the cover of Time. A second orchestra concert in 1963 was even better than the first and Monk toured constantly throughout the 1960s with his quartet which featured the reliable tenor of Charlie Rouse. He played with the Giants of Jazz during 1971-1972, but then in 1973 suddenly retired. Monk was suffering from mental illness and, other than a few special appearances during the mid-70s, he lived the rest of his life in seclusion. After his death it seemed as if everyone was doing Thelonious Monk tributes. There were so many versions of Round Midnight that it was practically a pop hit! But despite the posthumous acclaim and attempts by pianists ranging from Marcus Roberts to Tommy Flanagan to recreate his style, there was no replacement for the original.

Some of Thelonious Monks songs became standards early on, most notably Round Midnight, Straight No Chaser, 52nd Street Theme, and Blue Monk. Many of his other compositions have by now been figured out by other jazz musicians and are occasionally performed including Ruby My Dear, Well You Neednt, Off Minor, In Walked Bud, Misterioso, Epistrophy, I Mean You, Four in One, Criss Cross, Ask Me Now, Little Rootie Tootie, Monks Dream, Bemsha Swing, Think of One, Friday the 13th, Hackensack, Nutty, Brilliant Corners, Crepuscule With Nellie (written for his strong and supportive wife), Evidence, and Rhythm-a-Ning, Virtually all of Monks recordings (for Blue Note, Prestige, Vogue, Riverside, Columbia, and Black Lion) have been reissued and among his sidemen through the years were Idrees Sulieman, Art Blakey, Milt Jackson, Lou Donaldson, Lucky Thompson, Max Roach, Julius Watkins, Sonny Rollins, Clark Terry, Gerry Mulligan, John Coltrane, Wilbur Ware, Shadow Wilson, Johnny Griffin, Donald Byrd, Phil Woods, Thad Jones, and Charlie Rouse. His son Thelonious Monk, Jr. (T.S. Monk) has helped keep the hard bop tradition alive with his quintet and has headed the Thelonious Monk Institute, whose yearly competitions succeed in publicizing talented young players.

Thelonious Monk　塞隆尼斯·孟克 / Thelonious Sphere Monk

艺人介绍

热门评论

最新简评（共133条）

Thelonious Monk 塞隆尼斯·孟克 / Thelonious Sphere Monk

艺人介绍

热门评论

最新简评（共133条）

Thelonious Monk　塞隆尼斯·孟克 / Thelonious Sphere Monk