A SELECTION OF MONK SOURCES.

Jazz research materials occupy an unsettled position in the bibliographic universe, poorly served by periodical indexes and bibliographies and often ephemeral, out of print, or hidden away in books. Much writing appears first in liner notes or unindexed periodicals and then finds its way into unindexed book chapters, moving from one murky area to another. Jazz magazines go in and out of print, and due to their often ephemeral nature and inadequate distribution, many never make it into library collections.

In the case of Thelonious Monk, most writing about him could until recently be found in liner notes and periodical articles (with a great deal of borrowing between these two mediums), relying on a very small set of biographical facts. The material consists mostly of biographical profiles and reviews of recordings, with some analytical and critical commentary interspersed throughout. Critical appraisal in the form of extended essays has been sporadic, and analysis, at least the kind that relies on musical notation and terminology, has until recently only been available in theses and dissertations.

A chronology of the literature on Monk begins with profile pieces introducing him to the public (late 1940s), followed by critical appraisals of his music (late 1950s), interviews and descriptions of his career and life (1960s-1970s), retrospectives (1980s), and finally; monographs and analyses (1990s). The items listed here represent a basic collection of sources relating to Monk and his music. They include all of the monographs and selections from English-language periodicals, book chapters, liner notes, documentaries, and World Wide Web sites.

Books

Buin, Yves. 1988. Thelonious Monk (in French). Paris: P.O.L.

Organized around Monk's compositions, his associations with other musicians, and New York, this is a poetic interpretation relying on personal reflections with staccato-like delivery. Commentary on specific recordings is interwoven with biographical circumstances. This book depends almost exclusively on French sources.

de Wilde, Laurent. 1997. Monk. Translated by Jonathan Dickinson. New York: Marlowe. (Originally published as Monk. Paris: Editions Gallimard, 1996.)

This is no biography but rather an insightful and passionate essay by a Monk-worshiping jazz pianist that is low on facts and high on personal opinion. De Wilde's style emulates New York hipster lingo, so that the book reads like stream of consciousness.

Fitterling, Thomas. 1997. Thelonious Monk: His life and music. Translated by Robert Dobbin. Foreword by Steve Lacy. Berkeley, Calif.: Berkeley Hill Books. (Originally published as Thelonious Monk: Seine Leben, seine Musik, seine Schallplaten. Waakirchen, Germany: Oreos Verlag, 1987.)

The 1987 German edition of this book was the first book-length treatment of Monk, and it was conceived as part of the Collection Jazz series, in which each volume presents a brief biography, a discussion of the music, and an album-by-album description of recorded works, including photos of album covers. This is not an in-depth study, but it works well as an introduction to Monk.

Gourse, Leslie. 1997. Straight, no chaser: The life and genius of Thelonious Monk. New York: Schirmer.

This book is the first English-language biography on Monk, a stringing together of quotes from existing sources and much-needed new interviews with fellow musicians, friends, and family, which were conducted by Gourse. Included is substantiated speculation on Monk's mental health; lacking is any discussion of the music.

Ponzio, Jacques, and Francois Postif. 1995. Blue Monk: Un portrait de Thelonious. Aries: Actes Sud.

This is a solid biography by two longtime commentators for Jazz Hot and Jazz Magazine. The book is dependent on previously published material, some of it by the authors, with useful appendixes on Monk's compositions, compositions dedicated to Monk, a discography, and a chronology.

Special Features in Periodicals

Du vol. 3 (March 1994).

A glossy Swiss lifestyle magazine, Du commissioned original research for this issue, titled "Misterioso: Jazzlegende Thelonious Monk," which contains German articles on Monk's life and music, the jazz label Mosaic, and the Dutch discographer Fred Cante. Contributions by Abdullah Ibrahim, Amiri Baraka, Thomas Fitterling, Brian Priestley, Francois Postif, and others are included. The issue contains photos, poetry, and a chronology of Monk's life.

Jazz Magazine 306 (April 1982).

This French-language issue contains several previously published interviews by Ira Gitler, Jean Clouzet and Michel Delorme, Jean-Louis Noames, and Paul Slaughter (either originally published in French or translated from English), interviews with Charlie Rouse and Pat Patrick, and photos. It appears that Monk was more talkative, forthcoming, and articulate with French interviewers than with American interviewers.

Keyboard 8, no. 7 (July 1982).

The issue contains a twenty-page feature with contributions by Bob Doerschuk, Orrin Keepnews, Ran Blake, Chick Corea, and several other musicians. The several brief anecdotes recounted by the musicians are revealing as part of a composite portrait of Monk.

Articles and Book Chapters

Bacon, Paul. 1949. The high priest of bebop: The inimitable Mr. Monk. Record Changer 8, no. 11 (November): 9-11, 26. (Originally published in French [translated from English] as Portrait de Thelonious Monk. Jazz Hot [September 1949].)

Bacon's article represents the best of the handful of early profiles on Monk and was published in a small, obscure jazz magazine in the wake of the hyperbolic Blue Note press releases. Bold for its time, Bacon's article offers penetrating comments on Monk's music and persona from a visual artist who knew Monk well.

Balliett, Whitney. 1982. The talk of the town. New Yorker [March]: 37-38.

This is one of the more thoughtful eulogies following Monk's death. Balliett's distilled insight and imaginative use of metaphor capture the essence of Monk and his music for musicologist and layperson alike. It is from here that we get the often-repeated phrase, "His improvisations were molten Monk compositions, and his compositions were frozen Monk improvisations."

Blake, Ran. 1982. The Monk piano style. Keyboard 8, no. 7: 26-30.

Blake's article is a lucid analytical summary of Monk's music that illustrates specific techniques with musical examples. It is accompanied by a full transcription of the much-discussed 1954 solo on "Bags' Groove," recorded for Prestige with Miles Davis.

Farrell, Barry. 1964. The loneliest Monk. Time (February 28): 84-88.

Accompanied by a menacing portrait of Monk on the cover, this is a lengthy profile that recounts the standard anecdotes and portrays Monk as a highly successful, if eccentric, jazz musician.

Feinstein, Sascha. 1997. Epistrophies: Poems celebrating Thelonious Monk and his music. African American Review 31, no. 1: 55-59.

Monk has inspired the writing of more poems than perhaps any other jazz musician. This article touches on some of the themes used by poets such as Amiri Baraka, Art Lange, and Al Young and provides quotes. This is a brief but useful survey of poetry about Monk.

Harrison, Max. 1976. Thelonious Monk. In A jazz retrospect, 28-31. New York: Crescendo. (Originally published in Jazz Journal [June 1961].)

This is a short but incisive analysis by a renowned jazz critic, with a brief discussion on the interconnected roles of melody, harmony, and rhythm in Monk's music.

Hentoff, Nat. 1960. The private world of Thelonious Monk. Esquire [April]:133-137. (Reworked and reprinted in Three ways of making it: John Lewis, Miles Davis, Thelonious Monk. In The jazz life, by Nat Hentoff, 170-221. New York: Dial Press, 1961.)

Following a May 1959 profile in Ebony by Frank London Brown, Hentoff introduced Monk to Esquire readers with a lengthy and engaging portrait. This article contains the usual stories plus quotes by Dick Katz, Alfred Lion, Gigi Gryce, and Nellie Monk.

Hodeir, Andre. 1976. Monk or the misunderstanding. In Toward jazz, translated by Noel Burch, 156--177. 1962. Reprint, New York: Da Capo. (Originally published in Jazz Hot, nos. 142 and 143 [1959].)

French critic and composer Hodeir offers many memorable quotes, controversial statements, and convincing arguments in a personal essay that covers a wide range of problems, from the general issue of form in jazz to the specific problem of Monk's accompaniment. This essay includes the quote, "Thelonious Monk is to be hailed as the first jazzman who has had a feeling for specifically modern aesthetic values."

James, Michael. 1960. Thelonious Monk: A personal appreciation. In Ten modern jazzmen: An appraisal of the recorded work of ten modern jazzmen, 81-92. London: Cassell. (Originally published in Jazz Monthly 3, no. 5 [1957].)

This piece is earnest and perceptive, with comments on Monk's treatment of popular song, his accompaniments, use of humor and irony, and ability to form extramusical associations.

Jones, Leroi [Amiri Baraka]. 1967. Recent Monk. In Black music, 26-34. New York: William Morrow. (Originally published as The Acceptance of Monk. Down Beat [February 27, 1964].)

Beginning with a critique of the 1964 Time cover story, this article provides a detailed description of Monk's lengthy engagement at the new Five Spot.

Keepnews, Orrin. 1988. Three separated views of Thelonious. In The view from within: Jazz writings, 1948-1987, 108-144. New York: Oxford University Press. (Originally published as Thelonious. The Record Changer 7, no. 4 [April 1948]; as selections of liner notes to various Riverside recordings made during the 1950s; and as the liner notes to Thelonious Monk: The complete Riverside recordings of Thelonious Monk [Riverside RCD-022-2].)

This piece conveniently brings together representative samples of Keepnews' writings on Monk, many of which appeared initially in liner notes. The 1948 article was one of the first feature articles on Monk and was based on an interview in which Keepnews questioned Monk's bebop connection. The Riverside excerpts are culled from a large number of liner notes that Keepnews wrote as Monk's producer; and the box-set notes give a detailed summary of the Riverside sessions.

Langford, Jef. 1970. Monk's horns. Parts 1--3. Jazz Journal International 23, no. 11: 1--6; 24, no. 1: 7--8; and 24, no. 2: 3-4, 40.

Langford's article is a 12,000-word critical review and appraisal of Monk's recordings from the perspective of contributions made by and interactions with the various horn players who recorded with him. The article also includes comments about the rhythm sections with which he played.

Sales, Grover. 1960. I wanted to make it better: Monk at the Blackhawk. Jazz: A Journal of American Music 5:31-41.

This is a vivid description of Monk's first successful engagement on the West Coast in 1959, interspersed with substantive and colorful quotes from an interview with Monk by Sales; for example, "Music theory? Well, when I was a kid, I knew I only wanted to make it better."

Santoro, Gene. 1997. Master of space. In Stir it up: Musical mixes from roots to jazz, 80-84. New York: Oxford University Press. (Originally published in The Nation 258, no. 14 [1994].)

This is a brief essay that draws far-flung but meaningful connections between Monk's music, postwar suburbia, John Cage, physics, and Sun Ra. It contains exceptionally rich and potent metaphors.

Schuller, Gunther. 1964. Thelonious Monk. In Jazz panorama: From the pages of the Jazz Review, edited by Martin Williams, 216-238. New York: Collier Books. (Originally published in Jazz Review [1958 and 1960]).

This is an assessment of Monk's recorded work on the Blue Note, Prestige, and Riverside labels. Schuller is not afraid to criticize or praise accordingly, offering many trenchant comments on individual success and failures in Monk's music. The article also provides an analysis of the characteristics of Monk's music, including his use of whole-tone patterns and large intervals, an unorthodox piano technique, and his distinctive tone.

Williams, Martin. 1983. Thelonious Monk: Modern jazz in search of maturity. In The jazz tradition, 154-171. New and rev. ed. New York: Oxford University Press.

Williams is a long-time champion of Monk's music--particularly viewed as a manifestation of improvised composition--and offers insights into the relationship between components of his music: rhythmic virtuosity, sound instead of harmony, and innate form. Williams has written extensively on Monk, but this brief essay encapsulates his core thoughts.

Liner Notes

Cuscuna, Michael. 1983. Thelonious Monk: The early years; The Blue Note recordings. Liner notes, The complete Blue Note recordings of Thelonious Monk. Mosaic MR 4101.

--. 1985. Thelonious Monk: The final professional years. Liner notes, The complete Black Lion and Vogue recordings of Thelonious Monk. Mosaic MR 4112.

Priestley, Brian. 1985. Thelonious Monk. Liner notes, The complete Black Lion and Vogue recordings of Thelonious Monk. Mosaic MR 4112.

The Mosaic box sets have set new standards in documentation for jazz reissues. Both sets of notes are worth reading for their insight and information. The notes contain extensive commentary +by Cuscuna on the Blue Note sessions.

Discography

Bijl, Leen, and Fred Cante. 1985. Monk on records. 2nd ed. Amsterdam: [Fred Cante].

This is an accurate and comprehensive listing of all known recording sessions featuring Monk, accompanied by exhaustive information about North American, European, and Japanese LP releases. Cante is preparing a third edition that will focus on CDs and cassettes. (The Web sites listed below also contain extensive discographies, regularly updated.)

Musical Transcriptions and Arrangements

The following is a selection of monographs of published transcriptions and arrangements of Monk's compositions and piano playing. With the exception of books by Isacoff and Grigson, none pretend to represent what was played on record but instead liberally fabricate composites drawn from different recorded versions. Missing is any depiction of the interplay between Monk's themes and his integral accompanying left-hand figures (as well as interaction with rhythm section members).

Aebersold, Jamey. 1993. Thelonious Monk. Play-a-long book and recording set. A new approach to jazz improvisation, vol. 56. New Albany, Ind.: Jamey Aebersold Jazz.

Grigson, Lionel. 1993. A Thelonious Monk study album. London: Novello.

Houston, Bob. 1977. Thelonious Monk. Sydney: Wise Publications.

Gerard, Charley. 1997. Thelonious Monk: Originals and standards. 2nd ed. Brooklyn, N.Y.: Gerard and Sarzin Publishing.

Isacoff, Stuart. 1987. Thelonious Monk. 1978. Reprint. New York: Amsco Publications.

Films

Thelonious Monk: Straight no chaser. 1988. Directed by Charlotte Zwerin. Produced by Charlotte Zwerin and Bruce Ricker. Executive-produced by Clint Eastwood. 90 min. Warner Brothers. Videocassette.

This documentary is constructed around footage of Monk taken by Michael and Christian Blackwood in 1967 and 1968 and includes many revealing shots of Monk in Europe for his 1967 tour. The film also includes footage of a CBS recording session with Teo Macero, the 1957 "Sound of Jazz" television appearance with Count Basie looking on approvingly, and backstage footage at the Village Vanguard. Interviews with Harry Colomby, Charlie Rouse, Bob Jones, and T. S. Monk are included.

Thelonious Monk: American composer. 1991. Directed by Matthew Seig. Produced by Toby Byron and Richard Saylor, with Quincy Troupe. 60 min. BMG Video. Videocassette.

Seig's film is less successful and informative than Charlotte Zwerin's film, but it is still worthwhile because of the interviews with Randy Weston, Billy Taylor, Orrin Keepnews, T. S. Monk, and others, some of them held on-site at the now defunct Minton's. Many photographs and concert footage from other videos (Monk in Oslo, for example) are interspersed.

Websites

The Thelonious Monk Web site. http://www.achilles.net/~howardm/tsmonk.html (Accessed November 15, 1999).

Created and maintained by Howard Mansfield since 1996, this site is both a tribute and clearinghouse, regularly updated, which includes an extensive discography, reprints of liner notes and notable quotes, album covers, selected articles, information about new publications, and anything else related to Monk.

The alternate Thelonious Monk Web site. http://www.maison-orangina.org/orangina/assocs/jazz/html/monk.html (Accessed November 15, 1999).

Created and maintained by Jacques Ponzio since 1998, this site is organized by using Monk titles as headings, including a copy of the useful but difficult-to-obtain Jazzophone article by Phillippe Baudoin in which all of Monk's themes are listed with their incipits. The site also includes a discography, list of musicians who played with Monk, a copy of Monk's birth certificate, and photos.

ROB VAN DER BLIEK is music librarian at York University, Toronto. He is the editor of the forthcoming book The Thelonious Monk Reader.