LHôtel sens dessus dessous (French Edition)

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The performer still grinned. Thelonious was in action. Fingers poised stiffly, stabbing rather than touching the keys, legs trashing wildly beneath the piano, searching for the pedal, missing it, banging the floor, body swaying, grunting audibly, arms stretching and bending as he felt for unusual chords, all but disguising the theme.

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At the end of the second chorus he suddenly got up from the piano and pointed one large, banana-like finger at Jean-Louis Viale, the young French drummer. The tense, white faces of the two supporting musicians showed that they had long since abandoned all hope of a logical performance. Viale, recovering from this new shock, commenced a percussion solo, appearing somewhat relived to be musically free from the comedy which had been taking place at the piano.

The large finger remained pointed at him, the sly-blue socks and suede shoed jogged rhythmically as the invention of the solo unfolded, the dark face had swiveled back to the audience and still grinned superfluously. Then, as Viale drew to a conclusion, he retreated once more to the keyboard, the playing becoming even more weird, the legs thrashing more wildly, the grunting increasing; he struck chords with his elbow, and at one point thrust his hand into the piano and flicked the hammers onto the strings.

Flash bulbs exploded. Even the lay press was excited by this spectacle…. Arles: Actes Sud, , pp. Horricks, Jazz Monthly , avril , pp. So naturally, saying the band was a real triumph is way below the truth. Everyone was delirious! Difficult to take the stage after Claude. All the more since Monk's music, already so disconcerting for even his admirers and some of them were there, too had absolutely nothing going for it with that audience even his name was unknown to them and they'd only gone inside to hear Luter. Back in the wings at Pleyel, Monk was already 'smashed' and behaving very mysteriously, which did nothing to straighten things out.

On top of this, he'd been weaned off drugs in the United States and the effect of what he'd taken was probably ten times stronger. We finally went onstage. Monk settled down at the piano and started playing; he had an amazing stare. Then after a good half-hour, without warning, he leapt up from his stool and, with a vacant look in his eye, pointed a vengeful, unwavering finger at Jean-Louis Viale, who wondered what he'd done to deserve it. Caught off-guard and at a loss for what to do, he immediately launched into a brilliant solo.

At this, Monk, who looked furious, left the stage and downed a scotch in one gulp, before serenely returning to the piano to finish the piece they were playing, as if this way of doing things was their normal practise. Shortly after, in his dressing-room, he explained that when he gets up it means that the concert's over: you have to take a bow and leave.

Jean-Louis couldn't get over it; he hadn't seen anything like it before! Without a murmur he walked out for good.

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Madame Figaro , mars , Les victoires de la musique. On the Bean Whispering is very lively. Ce titre est inclus dans le cd de la bande originale, pochette. The music of Monk, on the contrary, is that of a powerful artist. On escompte Be my guest tonight :

So there we were, without a drummer, for the second part of the concert. It was certainly a flop as a concert, but it didn't matter much: after Claude Luter had played that night, there was nothing left to say.

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It goes without saying that responsibility for what he says is entirely his own, but we feel it's important to quote him because his words are a good indication of the gulf between Monk and his audience that could exist at that time. These words also gave rise to other comments and their replies that appeared afterwards in the same magazine R.

Horricks, Jazz Monthly, April , pp. Slowly going up to the microphone, he said in French, correctly if uneasily, "Bonsoir tout le monde The audience, usually rather lively, was sinking into a torpor from which only a few murmurs emerged.

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This time sitting in and disrupting a session by the Gerry Mulligan Quartet, normally a piano-less group. Monk whipped out some of his contrived harmonies and upset the poise of the musicians completely. It must have been one of the most chaotic its ever played. By the time the sky-blue-socks and shirt walked off the stand I was at the bar talking with trumpeter Jonah Jones, the least temperamental and most convincing jazz soloist playing at the Fair that year.

Jonah chewed his cigar stub and clutched a long lemonade, and complained that his doctor had taken him off whiskey—and between times talked about jazz.

baidripcenka.ga Suddenly Monk appeared at our side with Charles Delaunay. This was answered by the broadest of smiles but no speech. It was the nearest point I ever came in Paris to getting a coherent conversation out of Thelonious Monk. Later I saw him once talking quite earnestly to Delaunay, but as far as I know most writers ran up against a blank wall when they tried to interview Monk at the Fair.

I remember the attempt by Steve Race to interview Charlie Parker at the Paris Festival when, instated of leading a musical discussion, Parker had insisted upon reading passages aloud from Omar Khayyam. At least Steve had heard his quarry speak! Monk represented a study in human isolation, someone oblivious to all praise or criticism, or public relations. Perhaps not so unlikely though, because by this time Gerry and Thelonious had become firm friends. Monk whipped out some of his most advanced and previously unheard harmonies, and immediately there were anxious frowns from other musicians.

But Gerry then rallied and the set only ended abruptly when Mrs Mulligan reappeared. Yet, it was an important set in that it left the two composers filled with curiosity about each others' music. London: Apollo Press Ltd. These Jazzmen of Our Time. London: Victor Gollancz, , p. The text reproduces the part of the Jazz Monthly article devoted to concerts in Paris, slightly rewritten, the text contains some additional information.

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I know all too well the situation to which Mr. I even recall Mr. Horricks, whom I remember as being pretty tall and who was wearing a green jacket at the time! Monk gave me the name of his hotel and told me to come there the next day at 6-o-clock…. Combelle's big band—declared to Charles Delaunay that he'd found him excellent…. The following references to a jam session with Thelonious Monk at the Jazz Fair's club called "Le Cabaret" aren't dated. We do not know if there were several:. This was how people were able to see Gerry Mulligan playing in turn with Alix Combelle and his orchestra—which ensured the continuity of the show as well as providing interludes for dancing—and then with Alix and Jonah Jones, as well as with Thelonious Monk.

Bobby Forest, too, showed all the dynamism with which we were familiar.

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Thelonious Monk hurried over to the piano and started accompanying him You can blame Monk if you want. The following account is not dated. I've met him. He played all night, everyone fell asleep. When we woke up the next morning, he was still playing. Gerry Mulligan overheard this and turned to the pianist.

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London: Victor Gollancz, , footnote 1 , p. The text reproduces the part of the Jazz Monthly article devoted to concerts in Paris, slightly rewritten the text contains some additional information. Mulligan overheard this and turns to the pianist.

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It marked the beginning of creative understanding between the two men. He was on his bed and wore a fancy silk dressing gown. In the beginning we talked about Paris, Monk was really interested.

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He asked me number of precise questions which I was unable to answer…. I tried to bring the conversation around to his family. I thought that it might be for Monk as it was for Bird. I then switched to problems of commercialism in jazz. It is possible that this was the reason he accepted me…. No concert at p.

Confirmed by Raymond Horricks, published two years after the event wrong sequencing :. After a set of bright and unpretentious music by the Daly group, Thelonious walked onto the stage to receive a scattering of disrespectful gestures. They were unnecessary. An obviously changed man, calm and subdued, Monk played some of the most advanced and imaginative modern jazz piano I had heard. Thus, the complete enigma that is Thelonious Monk, the curtain parting to reveal the other facet of his nature, the Jekyll and Hyde existence. An act confusing every attempt at evaluation.