A Quote by Glenn Ligon
I love Thelonious Monk's song "Just a Gigolo." It's probably a minor song for him, but whenever I hear a recording of him playing it, I'm mesmerized, because Monk clearly loved pop music. He took it very seriously and made an amazing thing out of it.
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I love Monk's song, 'Just a Gigolo.' It's probably a minor song for him, but whenever I hear a recording of him playing it, I'm mesmerized because Monk clearly loved pop music. He took it very seriously and made an amazing thing out of it.
I play a Monk song, it's like you get possessed. And then you have to break that spell. You have to remind yourself that you are an individual, or that you aren't Thelonious Monk.
At first I didn't understand what [Thelonious Monk] was doing, but I went back again, and what I can say about Monk is that I heard ancient Africa in his music. When he played, it was like a ballet. He captured the sound of the universe. Monk could take a triad, a simple chord, and make it sound dissonant. I'm sure that element he had in his piano was part of the two years he spent traveling with his mother in gospel music in the tent shows.
The first jazz pianist I heard was Thelonious Monk. My father was listening to an album of his called 'Monk's Dream' almost every day from the time I was born.
[Thelonious] Monk is a subject in itself. I mean, most piano players in most big bands sit down and they play with the band, you know. But Monk would just sit there like this. And all of a sudden there'd be a pause from all the trumpets and everything and Monk would go 'plink!' like that. And everybody would go 'Yeah!
Working with Monk brought me close to a musical architect of the highest order. I felt I learned from him in every way--through the senses, theoretically, technically. I would talk to Monk about musical problems, and he would sit at the piano and show me the answers just by playing them. I could watch him play and find out the things I wanted to know. Also, I could see a lot of things that I didn't know about at all.
When I came out of the conservatory, the first thing I did was to go see Thelonious Monk.
I got into music when I was a little boy. My dad was always into jazz. I got my education from him. The first time I listened to jazz, he gave me a Thelonious Monk record. It was so different from anything I had ever heard. It took me a while to understand it, and I liked that. I liked the fact that it wasn't immediately palatable.
If you're recording the song on your four-track in your kitchen, when you finished writing the song, you're recording, and it's cool, and honor that. And maybe that's the version that should be released. And if you're recording the song again, it shouldn't be because there's a version you love that you're chasing. It should be because "You know what? I made a recording, but I don't love it emotionally." So, okay, then record again. And be in it and take advantage of the buzz and energy of "I'm getting to record right now!" It's such a beautiful and cool privilege.
Trane was the perfect saxophonist for Monk's music because of the space that Monk always used. Trane could fill up all that space with all them chords and sounds he was playing then.
My favourite song of Elton's is... it's a tricky one for me. I'm a proper fan and I've probably seen him in concert about a dozen times before I even met him. Mona Lisas and Mad Hatters, which isn't in this film... but whenever I see him, I always tell him that Passengers is my favourite song because it's one of his least auspicious ones.
Monk was a gentle person, gentle and beautiful, but he was strong as an ox. And if I had ever said something about punching Monk out in front of his face - and I never did - then somebody should have just come and got me and taken me to the madhouse, because Monk could have just picked my little ass up and thrown me through a wall.
I was one of those guys, you know, playing and singing, and there was no reason for me to write a song, because there were so many beautiful songs out. And Bob Dylan was always the ultimate songwriter, and nobody could ever write a song as good as him, and nobody ever has written a song as good as him.
I'm trying to use people like Meredith Monk and Philip Glass and Terry Riley as the backing tracks for new pop songs. It's really hard trying to use the format and write a pop song on top of avant-garde music, so we'll see. It could be cool, or it could totally flop.
It's so funny because if you tweet your lyrics and then you hear it in a song next week, you're like, 'Hey I had that same idea.' I'm very secretive with my music. We have to send emails password protected. Because once that song gets out, you aren't selling that thing.
Here's some free advice; like the folkies of yore, you need to be not just a writer of songs, you need to be a lover of songs, a listener of songs and a collector of songs. If you hear a song in a club that knocks you out or you hear an old recording of a great song you never knew existed, it does not diminish you to record it; it actually exalts you because you have brought a great song from obscurity to the ear of the public.
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