INTERVIEW: Thelonious Monk to be celebrated at Smoke Jazz Club
Photo: Orrin Evans will celebrate the music of Thelonious Monk at Smoke Jazz Club. Photo courtesy of the artist / Provided by AMT PR with permission.
The jazz legend Thelonious Monk will be celebrated with a special two-week event at New York City’s Smoke Jazz Club. Musicians Orrin Evans and Kevin Hays will lead various players in unique set lists of Monk’s most appreciated and well-known compositions, and there should be a few surprises each evening. The festival kicks off tonight, Oct. 8, and continues through Oct. 19.
Evans, a Philadelphia-based pianist, will lead the first week of concerts. Joining him on stage will be Melissa Aldana on tenor saxophone, Robert Hurst on bass and Terri Lyne Carrington on drums.
Recently Hollywood Soapbox exchanged emails with Evans to learn more about his illustrious career and his appreciation for Monk’s music-making. On his official website, Evans is described as a pianist, composer, producer and performer, i.e. a multi-hyphenate who has carved out a top spot in the world of jazz and funk. With his group, the Captain Black Big Band, Evans has released numerous records and earned plenty of accolades, including Grammy Award nominations. Questions and answers have been slightly edited for style.
How did Thelonious Monk change jazz music?
Rather than speak of his influence on “jazz,” I’d rather mention how Monk changed my vision of what “jazz” was at an early age. Although artists and musicians surrounded me, most of what drew me to “jazz” was based in the Great American Songbook and musical theater. I’d spend my time in the library listening to records, but only ones that included songs I recognized. “Autumn Leaves,” “It Had To Be You,” “Summertime” and others were at the top of my list. It wasn’t until one day that I accidentally picked up Mulligan Meets Monk at the library, which included a piece entitled “Decidedly.” At the time, my high school jazz ensemble was playing the Charlie Shavers composition “Undecided,” and curiosity hit. I needed to know if these songs were connected. I’ll leave my explanation of how the two songs connect for the classroom or my next master class, but listening to that record led me to Monk.
Not only did I enjoy the jazz standards on the record, such as “Sweet and Lovely,” but I also continued to appreciate the compositional excellence of Thelonious Monk. The beauty of “Round Midnight” changed my life. Dissonant harmonies, angular melodies and rhythmic complexity characterize Monk’s unique and influential compositions and improvisations. It was the first time my young, eager “jazz”-loving self felt a need to dance while listening to “JAZZ.” Thelonious Monk changed “jazz” for me by showing me the importance of rhythm and dance in the music! It’s alright to move to this music!
How complicated is it to play Monk’s music?
Things are complicated when they are not respected. If you appreciate the genius of Monk’s music and dedicate the necessary time to mastering the language, you will find Monk’s music is totally accessible to play. Don’t ignore the groove, story, notes or composer, and the music will be your reward.
What’s it like playing with Melissa, Robert and Terri Lyne?
I have no idea what it’s like to play with Melissa, Robert and Terri. This week is the first time all four of us have played together, and I look forward to the unknown. I’ve shared the bandstand with each of them individually, and that’s what made me want to see what it’s like when we all get together. In a previous interview, I mentioned Chopped as one of my favorite television shows. I’m eager to open the basket and cook up a delicious meal with Melissa, Robert, Terri and all our wonderful friends in the audience.
How strong is Philadelphia’s jazz scene?
I am a proud student of the Philadelphia music scene. I grew up learning with the Who’s Who of the jazz world today. Presently, the scene has changed, and most of the problem lies in the fact that most of my generation hasn’t picked up the ball and claimed their throne. As a young student in Philly, it was a blessing to hear what Shirley Scott, Trudy Pitts, Mickey Roker and others had to say, even if I didn’t want to listen to it. Today, most older musicians remain quiet out of fear. As I’ve said before, the present jazz scene has become bastard children, and my generation needs to step up by mentoring the younger ones. Remove the fear, and share the love.
Your own music can sometimes stray into the funky. Has funk and soul always been an interest?
Music, dancing, fellowship, laughing and making people feel good have been lifelong interests for me. You can find all those things in Miles, Run-DMC, Coltrane, Ravel, Ronnie Laws, Carmen McCrae, Todd Rudgren, The O-Jays and any other good music. I don’t think the music strays because that implies someone’s lost. The music doesn’t stray. It takes you where you need to be. Let it lead!
Does running Imani Records give you more freedom as a producer and musician?
Imani Records is freedom, but freedom comes with a cost. I’m not opposed to doing a record one day with a “major” label with a “huge” budget, but the music doesn’t wait for you to catch up with it. So I keep running toward freedom because the cost is worth every penny. Although I’ve found my freedom at Imani Records right now, I think any smart label will allow an artist the freedom to tell their stories. I’m glad to tell the stories of Imani Artists on an African-American, artist-run, independent label started by my wife and me.
By John Soltes / Publisher / John@HollywoodSoapbox.com
Thelonious Monk Celebration takes place Oct. 8-19 at Smoke Jazz Club in New York City. Orrin Evans will perform Oct. 8-12. Click here for more information and tickets.
