Episode 36-Thelonious Monk: Wrong Is Right-Part Two

The conversation continues.

In Part Two of Thelonious Monk: Wrong Is Right, Steve Braunginn returns to his extraordinary two-day conversation with T.S. Monk—Thelonious Sphere Monk III—and his son, Thelonious Monk IV.

We pick up with tenor saxophonist Charlie Rouse and a fascinating question: What made Rouse such a distinctive musical partner for Monk?

T.S. draws a revealing distinction between the great saxophonists who played with his father. Johnny Griffin, Sonny Rollins and John Coltrane brought powerful individual voices to Monk's music. Rouse, he says, found a way to play with Monk—to understand his time, space and musical language.

Then comes a remarkable Archie Shepp story, along with T.S.'s argument that Monk's harmonic influence reaches far beyond jazz. His shorthand for young musicians: "No Monk, no funk." And we hear why one of Monk's favorite sayings—"Wrong Is Right"—may tell us more about his musical revolution than a stack of textbooks.

The conversation moves into the present as Thelonious Monk IV discusses joining his sister Sierre in carrying the family legacy into the digital age—preserving archival recordings, confronting bootlegs and introducing Monk to generations born long after his death. Branding the name is their future, says T.S. Monk. The excitement about future products was so present that both men were almost giddy when disclosing consumer items yet to arrive at the marketplace. Secrets were kept close to the vest but they did whisper about the wine “Legit” and beer “Brother Thelonious Belgian Ale.”

But some of the most revealing moments are personal. T.S. forcefully challenges the mythology surrounding his father and remembers the man he knew: a working father, a family man and, simply, "Daddy."

And then there's Nellie Monk—Thelonious's lifelong partner and, in T.S.'s words, the support system without whom there might not have been a Thelonious Monk as we know him.

The music continues thanks to the Monk Estate, with selections from Thelonious Monk: Live in Paris, Volume 2, released October 9^th on the Rhythm-A-Ning Entertainment label. The playlist is: Epistrophy (with the opening), Blue Monk-5:15 and Oska_T-12:24.

Part Two brings the journey home: Charlie Rouse, Archie Shepp, "Wrong Is Right," the future of the Monk legacy—and the family behind one of the most singular voices in American music.

Strictly Jazz Sounds with Steve Braunginn—conversations that let the music breathe. Photo from Arthur R. George (Thelonious Monk with Children, T.S. and Barbara).

 

Check out this episode!

Episode 36-Thelonious Monk:Wrong is Right-Part One

Thelonious Monk changed the language of jazz. But behind the unmistakable harmonies, rhythms and compositions was a husband, father and grandfather whose story is still being told by the family carrying his legacy forward.

On this edition of Strictly Jazz Sounds, Steve Braunginn welcomes T.S. Monk—Thelonious Sphere Monk III—and his son, Thelonious Monk IV, for an expansive conversation about the man the world knows simply as Monk.

T.S. remembers his father not as the mysterious, eccentric figure often portrayed in jazz history, but as "Daddy"—a deeply committed family man who always came home. He also makes the case for recognizing Monk as the father of modern jazz, whose new musical vocabulary helped open doors for other jazz giants-Miles Davis, John Coltrane, Sonny Rollins-and generations that followed.

The conversation takes a particularly revealing turn toward Charlie Rouse, Monk's longtime tenor saxophonist. T.S. explains why Rouse's sound represented something new for Monk and explores the musical connections among Rouse, Coltrane and Monk.

Preserving the legacy of Thelonious Monk is what the family is all about today. The brand of Monk is their focus, says Monk IV as he and TS take us inside the continuing work of preserving the legacy. Thelonious Monk IV discusses Rhythm-A-Ning Entertainment and the challenge of bringing historic recordings to new audiences while protecting the catalog from decades of unauthorized releases, better known as bootlegs. He also gives us a peak at the merchandise they're selling to boost the brand: cabernet from Tuscany (Legit-bottled by Tolaini; imported by Banville Wine Merchants), a dark Belgian ale (Brother Thelonious Belgian Ale), even a hat and watch.

The conversation also explores Monk's relationship with Paris, the restoration and release of his remarkable 1967 Paris performance, the rediscovery of archival recordings such as Palo Alto, and what Monk's live performances reveal that his studio recordings sometimes do not and could not.

Most importantly, T.S. offers listeners a different way to hear his father's genius: don't listen only to Monk's solos. Listen closely to what he plays behind the other musicians—the countermelodies, rhythms and unexpected harmonies that could lift a soloist without ever getting in the way.

This is Thelonious Monk through the memories of his son, the perspective of his grandson, and a family determined to carry one of America's great musical legacies into the future.

Part-one closes as we learn how important Monk was to Miles Davis, leaving listeners wondering where this fantastical story goes. Part two is close behind.

The music is provided by Rhythm-A-Ning Entertainment. Music from the Thelonious Monk/Live in Paris 1967, Vol. 1 playlist includes: 1. Ruby My Dear-7:08, Epistrophy-9:37, Osaka-T-07:50.

Thank you for listening. Subscribe and you become one of the first to get the podcast episodes, annual top 20 jazz music playlist and jazz articles. Photo is by Olivia Monk. 

 

Check out this episode!

Episode 11-Jon Irabagon: Always Moving Forward

Episode 11- Jon Irabagon: Always Moving Forward

Jon Irabagon is always driving ahead whenever he wants to make a statement with a new recording. With his saxophones facing forward, Jon’s bold and articulate improvisations draw on his singular drive to create a pathway for the future of jazz. He draws on the forces of the hand-chosen musicians, each becoming a lifelong ally in the music business.

Jon is first-generation Filipino American, and the father of two girls. Jon is influenced more by the individualistic philosophies and accomplishments of the Chicago-based organization, the Association for the Advancement of Creative Musicians, or AACM. These mixed complex-compositional ensembles, highly influenced by the works of John Coltrane, Ornette Coleman, and Albert Ayler, are the basis for Jon’s work but it’s the future of this music that he seeks to play, not the rehashing of the music of the past. 

Jon Irabagon ’s life story begins in Chicago, the town of the tenor sound. It was in high school in the Chicago north suburbs when he was driven to seek out the music of the tenor titans: John Coltrane and Sonny Rollins and an alto titan, Sonny Stitt. After earning a Bachelor of Music from DePaul University, Jon went on to earn a Master of Arts from the Manhattan School of Music and then post-graduate studies at Julliard. In 2008 Jon went on to win the Thelonious Monk Saxophone Competition and years later the Philippine Presidential Award.

Jon prefers to look ahead, seeking the future of the music, of the sound of jazz. For him, it’s all about what’s next. This is the main driving force for him. He’s fortunate to have a gaggle of musicians with whom he can play the music. Furthermore, Jon has his own label, Irabbagast Records which gives him a label to publish music that may be considered more challenging to other commercial labels. Jon also accommodates his friends who are true to the music and the sound they prefer to play.

In this episode we hear story after story about Jon and his music, his family, the creation of a record label so he can have a place to record his music, spreading the music as an instructor, and when Jon went to stay with his in-laws in South Dakota at the beginning of the pandemic lockdown intending an eight-week stay and winding up living with them for eight months, spending countless hours playing to the canyons, and so much more. The stories insistently pique your interest. So, strap yourself in for this ride. 

This will be the opening episode, complete with two tracks of music. There is a bonus episode that completes the full episode. The interview weaves great tales and the music wraps it all up tightly. In the opening episode you will find this music. Thanks to Jon Irabagon for all the music. Please remember to subscribe if you haven’t already.

 The music tracks in Episode 11 include the following and with the noted personnel: Anchors (Outright! Innova Recordings, 2008) 8:27

Jon Irabagon-alto saxophone, Russ Johnson-trumpet, Kris Davis-piano, Eivind Opsvik-bass, Jeff Davis-drums

 Mammoth (Rising Sun, Irabbagast Records, 2022) 11:59

Jon Irabagon-tenor saxophone, Adam O’Farrill-trumpet, Matt Mitchell-piano, Chris Lightcap-electric bass, Dan Weiss-drums

When you’re done with this episode, listen to the bonus episode complete with more music. Enjoy the conversation with Jon Irabagon, the sax player who’s always looking forward. Here on Strictly Jazz Sounds. Thanks for listening.

Steve Braunginn

 

Check out this episode!

Episode 9-Laura Ann Gentry: Destination? Jazz of course!

What’s the difference between a producer of an event and a promoter? I’ve often wondered about that when it comes to producing or promoting a music community event or a jazz concert. Cincinnati, Ohio resident and Jazz Alive Executive Director Laura Ann Gentry set the record straight for me on Strictly Jazz Sounds, your conversation about all things jazz.

In episode 9 of Strictly Jazz Sounds, I spend time with Laura Ann Gentry, president of LAG (Laura Ann Gentry) Productions, LLC. She’s a producer and promoter and has been for more than 24 years.  She produces and promotes jazz events in a variety of settings in the greater Cincinnati, Ohio, northern Kentucky, and southeast Indiana area, the tri-state area.

Laura Ann Gentry, who has an easy laugh, is a passionate, humorous, and interesting storyteller of her adventures and misadventures as an African American woman producing jazz events. It is not an easy world for a woman, let alone an African American woman in what has long been considered a man’s game. She tells a story of losing her shirt on her first production that featured saxophonist Javon Jackson and NEA Jazz Master, now deceased organist Dr. Lonnie Smith. And as an African American woman doing this work, there’s a challenge that Javon Jackson, also Jazz Studies Director at the Jackie McLean Inst. at the University of Hartford, spells out for her. It’s a rough path to blaze for a woman, let alone an African American woman. He actively mentored her early on in her journey. 

Fortunately, Laura had her backup skills of accounting, her other full-time job. She was able to cover the loss and learn a big lesson. Laura Ann Gentry puts in some serious time, all day, every day.

Her drive and passion put her in the forefront of presenting women jazz musicians in the tri-state area. Laura pursues the proliferation of jazz with purpose. And if that’s not enough, she is involved in jazz education as a board member of the Jazz Education Network. Everyone needs to learn about jazz and its cultural value. Laura spoke very plainly that jazz education should be available for all ages.  

The source of Laura’s passion is truly from home. Like so many people, she was exposed to music through her parents and grandparents, the place where all sorts of music wafted through the air. She could not escape it if she tried. Her love of jazz was born at home.

Check out this episode!

Episode 8-Brian Blade: The Beat That Keeps On Coming

2022 was a banner year for drummer Brian Blade. Nine recordings were released with Brian as a leader, co-leader, or side-player that year. As the year was coming to a close, I began to compile my list of “Best Jazz of 2022”. It was then that I realized that Brian had been a very busy man during the last few years. My curiosity was spiked about this. I wanted to talk to Brian about this prolific output of music but, you see, I had already interviewed him in 2022, twice. But, hey, I wanted to find out more about his incredible list of recordings.

We begin exploring the nine releases with the Life Cycles recording that paid tribute to Bobby Hutcherson. It was recorded by this little-known sextet that mostly played in underground night clubs in Manhattan in 2001 with some appearances at festivals around the country. This latest album by Life Cycles was recorded in 2018 by a reassembled group with a couple of additions to the original band.

So, on this eighth episode of Strictly Jazz Sounds, Brian Blade and I have our third conversation in a year. The initial focus of this podcast was to be Brian’s latest released recording by a band he co-led in 2001, Life Cycles. The recording was saluting NEA Jazz Master, vibe and marimba artist Bobby Hutcherson with Life Cycles 1&2: Now & Forever: Honoring Bobby Hutcherson. But a few months had passed since this conversation took place and Brian just released another recording, Mama Rosa.

Brian Blade has had a life well lived and he’s only 52 and still rolling! He’s a multi-Grammy-award winning drummer, group leader, record label founder and owner. He’s recorded and performed with a list of artists too long to list here, but I shall list some very notable ones: Wayne Shorter, Chick Corea, Christian McBride, Joshua Redman, John Patitucci, Brad Mehldau, Danilo Perez, Joni Mitchell, and Emmylou Harris.

What is wonderful about this conversation, different from the last two, is learning more about Brian as a person as well as a musician, an artist. And learning about what’s behind some of the recordings and bands he’s created with people like the late maestros Wayne Shorter and Bobby Hutcherson, as well as the great drummer Joe Chambers, and his relationship with singer songwriter and pianist Norah Jones. Spoiler alert-Brian Blade plays guitar. And he played it with Norah Jones who was not playing piano. She was on drums.

_________________________________________________________________The music you hear on this podcast is from the Life Cycles album: 

“Now “ by Bobby Hutcherson and Gene McDaniels and “Forgotten Memories” by Myron Walden. The Life Cycles personnel include: Brian Blade, drums; Jon Cowherd, piano; Myron Walden, saxophone; Doug Weiss, bass; John Hart, guitar; Monte Croft, vibes/vocals; and, Rogerio Boccato-percussion.

BTW, you’ll hear a dog on this episode, as well.

I invite you to subscribe so you are alerted to future episodes and articles written by me as well as events and information I want to pass on to you. I am looking for sponsors so please consider it and email me at strictlyjazzsounds.com. I’m interested in your feedback. I always need to improve what I’m doing. And, finally, support live jazz wherever you are. Thanks for listening.

Check out this episode!

Episode 7-Fabian Almazan: This Environmental Warrior Plays Piano

Fabian Almazan gives his heart, music, and soul to sustaining the environment. He gives so much that he started a record label, Biophilia Records, that does not print CDs or vinyl records. How does he sell recordings? Each carefully designed CD sleeve has a digital code that buyers use to purchase the tracks. If that’s not enough, all recording artists who sign on to the label must commit to giving back to the environment in their own way.

Fabian, who is Cuban-born, Miami-raised and lives in Harlem, NY, feels that a strong connection with the natural world also exists in music. It’s about sustaining music as well as the environment. It’s all part of feeling a connection with the natural world. The very name of the label, Biophilia, explains why New Yorkers would pay outrageously high prices to live near Central Park. He says that human beings are innately drawn to nature. There is a commitment to environmental justice that is intricately connected to the freedom demonstrated by the music and artform called jazz.

I was awestruck by the intensity of Fabian Almazan’s personal perspectives on environmental injustice and the importance of sustainability in how we all must live. There is as much passion for his music as he has for addressing climate change and how both affect our children. We have an obligation to save the environment from a catastrophic loss and to assure that our children are exposed to music and other artistic expression.

It’s the disparate worlds that pains him as they leave so many children behind. Those who have get more while the weak ones wallow in despair.

Listen to Fabian’s own words and how he thinks deeply about his music, sustaining our environment and saving our children from the loss of both.

---

His Biophilia-released recordings as a leader include Personalities-2011, Alcanza-2017 (the scores are also available on his website), and This Land Abounds with Life-2019. He has two other recordings as a leader, Rhizome with Rhizome (ArtistShare, 2014) and SWR New Jazz Meeting 2015 (Jazzhaus, 2017). As an environmentalist and naturalist, Almazan travelled back to his birthplace where he made field recordings of endemic Cuban birds which were then Incorporated into This Land Abounds with Life (which can be heard in "Songs of the Forgotten".

Remember to subscribe so you can be informed when the episodes are released. Thanks to Fabian/Biophilia Records for providing two recordings for this podcast, “Songs of the Forgotten” and “Folklorism” from This Land Abounds with Life.

Check out this episode!

Episode 6 Timo Vollbrecht: Gives and Takes

German-born saxophonist and jazz educator Timo Vollbrecht is a mild-spoken man which slightly disarms you. You would not know by first sight that he is a practitioner and scholar of electronic-infused improvised jazz. He has long been a fan of transforming acoustic sounds with synthesizers, including using the saxophone as a tool.

Timo is also a scholar of the “nth” degree and a saxophonist who adores the multitude of sounds he can create with electronic tools. Meet Professor Vollbrecht, Director of Jazz Studies at Brown University. Yes, that Brown University. He was, in his previous academic pursuit, an adjunct professor at NYU.

His passion is 21^st-century experimental electric-infused music, merging the sonic colors and texture of electronic sounds with acoustic intricate song forms. Timo became interested in improvised music at an early age. He fell in love with the saxophone first and later pursued creating the coolest and most captivating sound collages to his music.

What’s even more important to Timo, though, is community; he keeps it in the broader sense as well as in the studio and on the bandstand. He remarks that he is likely to be seen with his friends in the local pub in his Brooklyn neighborhood.

Timo, who has a PhD from NYU Steinhardt, was asked if the old school of learning jazz by ear had fallen off to the wayside. His response reveals the marriage he has as an improvisor and a professor of jazz studies. Students need to step out from behind the classroom walls and hang out at the jazz clubs.

Another amazing thing about Timo is the dissertation he wrote about one of the more mysterious characters in the jazz diaspora, ECM owner/producer Manfred Eicher. The dissertation “Manfred Eicher, ECM Records: An Analysis of the Producer as Auteur,” portrays the producer as an improvisor whose ‘instrument’ is the studio. A cool thing about this is that he was able to observe Eicher producing albums with Joe Lovano, Ralph Alessi, Ravi Coltrane, among others.

 

Timo has three albums on the Berthold label. They are Givers and Takers (2022), Fly Magic (2016), and Faces in Places (2018), all released to international critical acclaim. Timo’s bold sound is inspired by saxophonist Sonny Rollins while his electric sound concept, combining acoustic with noise was embodied in Jim Black’s band AlasNoAxis. “He’s an inspiration to his band members, encouraging them to make the sound interesting, to do it in a different way so that the elements shine balancing the music with other components,” says his remarkably talented guitarist Keisuke Matsuno.

We had so much to talk about. I was hoping Timo could provide a live display of him playing his saxophone while creating the electronic sounds he is known to do but couldn’t figure out how to make it happen via the internet connection. He did, though, pass on an extended piece he recorded so listeners could hear his extraordinary work.

Thanks for listening to the podcast. Please leave a review on Apple or my website and subscribe so you can be informed when new episodes and/or jazz news are published. And tell your friends, family and colleagues to go to: https://strictlyjazzsounds.com. Finally, go out and support live jazz.

Check out this episode!