Thelonious Monk

Why would she want something like that to be released? Wow.

Here's Thelonious Monk for your entertainment here on KXSF.

do do Thank you.

Thank you.

Thank you.

Thank you.

There's Thelonious Monk and Blue Monk here on the Everything Show.

We've got room for, I think we've got room for just one more.

Like I've learned from recordings, you know, I just moved and, uh, one of the kind of, uh, you know, now I just had to move a bunch of boxes of CDs around.

So I'm like, wow, this is the foundation of all my knowledge is this like 2000 CDs that I have in like several hundred LPs, you know? Um, So in that sense, I spent thousands of hours with people who aren't alive, you know, like Thelonious Monk and Duke Ellington and Andrew Hill and Ahmad Jamal, people who have passed, you know, or people whom I never had the privilege of getting to know, like Betty Carter or Shirley Horne or Nina Simone, you know, that I got to witness them from afar.

But, you know, all the time I spent studying the music and learning from it, Billie Holiday, you know, Lester Young, John Coltrane, Alice Coltrane, that, you know, I've learned so much just by, you know, the thing about listening to recorded music in particular is that you are then placed into that very similar kind of mutually embodied relationship because you're living through the same time that it took to do these things, right? And it's actually not that different from like, if you look at a Chopin score that say, Okay, let me put my hands this way, the way he put his hands, you know, then you're also trying to put yourself there, like you're trying to kind of you're somehow merging with someone who's not here anymore.

And we can call that culture.

Godfrey has a melodic bass solo next, and Murphy is back for a final melody section to wrap this one up.

Track five, Thelonious Monk's Evidence, a tune he recorded in 1948, and the notes say that Monk is one of Servini's all-time favorite musicians and composers.

Can't argue with that.

His

Well, this was fresh and interesting.

Ernesto Cervini's three original compositions are all very unique and different.

Although it's a short recording, the variety widens with versions of songs from Glenn Miller, Thelonious Monk, and the band the smile that's a lot of ground for six tunes it's easy to hear why cervini wanted to play with these younger musicians andrew marzotto has a distinctive guitar style and as the only chordal instrument he sets the atmosphere for a lot of the songs with his chords and rhythmic playing his solos are adventurous and free from cliches k murphy also has an individual trumpet sound and style taking chances in improvisations and adding tonal variety bringing in the electronic valve instrument for a tune mark godfrey's bass playing is solid and often provides the pulse freeing up cervini to do more decorative drum work and he gets some nice bass solo spots as well Servini's drum playing is versatile, going from gentle textures and intricate cymbal work to hard-driving swing.

He gives most of the spotlight to his companions here.

Duke Ellington, Count Basie, Nina Simone.

of Thelonious Monk.

That was like classical music in my, right, right, right.

Absolutely.

When it came out in the jazz style, did that surprise you?

Well, no, no, no. It's not like I sat down and I put my hands on the piano and suddenly, you know, Theolonious Monk came out.

No, no,

no, no.