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Trinkle tinkle.

"i mean," sez budd johnson, "they wasn't calling it bebop then. even monk couldn't explain it,

but dizzy could, & he could develop. but now, i do remember this about monk. monk's feelings got hurt

because dizzy & charlie was getting all of the credit for this music, this style -

i used to go over to monk's house with him, drink some wine with him. 'come on, i want you to hear

what i'm doing,' he said. 'i'm gonna let them take that style, & go ahead, & i'm gonna get

a new style.' i used to go over to monk's & sit down & drink. his mother would fix some food for us,

& he would just play for me, all this funny-type music that he was playing & he had gone altogether different

from what he had been doing. i said, 'hey man . . . that's outtasight! what're you doing, whaddayou call that?'

'i don't know man, it's just - you know.' he couldn't explain it to me. & i never thought of monk

as a great piano player. but he would fumble on that piano & get these things out & made all the dissonant

chords, & major seconds, & minor seconds. & i said 'hey, man,

that's outtasight.' 'well, i'm going on now with my new music,' he said.

& he did. he did go right on along with his new music."

harmonie park detroit july 11, 1988
COPYRIGHT 1995 African American Review
No portion of this article can be reproduced without the express written permission from the copyright holder.
Copyright 1995, Gale Group. All rights reserved. Gale Group is a Thomson Corporation Company.

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Author:Sinclair, John
Publication:African American Review
Date:Jun 22, 1995
Words:224
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