Thelonious Monk

Thelonious Monk is a very interesting character in jazz history. While many jazz musicians seem to stretch the boundaries of music as it was known at their time, Monk takes this to a new level. Not only his music, but his very technique and persona were radically different from anyone in his time. Because of the overwhelming amount of information about Monk, my post this week is going to be limited to his music.

In a world of bop where most playing is angular, Monk's playing seems ever more angular than most. Monk's playing is usually described as percussive or harsh. The following pieces are a good example of this: 

'Round Midnight

Trinkle Tinkle

Even though these two pieces have opposite styles, Monk's has the same feel. He plays very harshly even on the ballad piece. He doesn't use any semblance of legato but rather separates almost every notes other than his arpeggios. 

If careful attention is played to the video of "'Round Midnight", Monk is seen to frequent lift his hands off the piano only to let them drop back down. He also plays with his elbows stuck out at awkward angles and with flat fingers. He even plays with his elbows instead of his hands sometimes. Playing with his elbows sometimes makes him play multiple notes that are very close together. This same sound is heard frequently in his playing because he plays flat fingered which causes him to hit multiple accidental notes.

To some, Monk's playing sounds sloppy and unpracticed. However, while Monk's playing is highly unorthodox, his style is very much the product of practice and skill. When Monk plays lyrical passages or arpeggios, it is easy to see that he has had classical training and that it has stuck with him. Monk's "sloppiness" is his own choice. By abandoning his orthodox training, Monk created his own musical persona and style that while largely unaccepted during the 40s was admired during the 50s and 60s.

Sources: 
Bebop by Thomas Owens
Thelonious Monk: The Life and Times of an American Original by Robin D.G. Kelley