Editorial Reviews From Publishers Weekly Elusive, mysterious, strange, eccentric, weird, genius—the legend of jazz pianist Thelonious Monk began early in his career, propagated by supporters and detractors in equal measure. Kelley (Race Rebels) breaks down the mythology, taking great pains to establish, for example, that Monk, far from being an untutored savant, was intimately familiar with classical and popular music. Every step of Monk's musical journey is teased out in meticulous detail, from his childhood piano lessons to his groundbreaking half-year run headlining at New York's Five Spot, along with behind-the-scenes stories from the recording sessions for classic albums like Brilliant Corners and Monk's Music. Kelley also explains Monk's most notorious behaviors—stony silences when confronted in public, exuberant dancing during concerts—as the outward signs of a bipolar disorder that went unrecognized for much of his life, with immeasurable impact on his career. (He was often unable to even play in New York jazz clubs because his reputation precluded him from getting a work license from city authorities.) Sometimes, the sheer amount of information can be overwhelming, but whether he's charting the highs or lows of Monk's emotional swings, Kelley rarely strays from his central theme of an extraordinary talent pushing against the boundaries of his art. (Oct.) Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved. Review "A seminal examination of the man and his music." —Bay State Banner"An honest and eloquent treatment of one of our most important artists, Thelonious Monk: The Life and Times of an American Original is a stunning tour de force! It is the most comprehensive treatment of Monk's life to date. Furthermore, in Monk's story, Kelley has found the perfect medium to shed light on a nation's and a people's history and persistent quest for freedom. In so doing he has given us a book that is as bold, brilliant, and beautiful as Monk and his music." —FARAH JASMINE GRIFFIN, author of If You Can't Be Free, Be a Mystery: In Search of Billie Holiday"...extraordinary and heroically detailed... I doubt there will be a biography anytime soon that is as textured, thorough and knowing as Kelley's. The 'genius of modern music' has gotten the passionate and compassionate advocate he deserves." —August Kleinzahler, The New York Times Book Review"Robin D. G. Kelley’s exhaustive, necessary, and as of now definitive [book] offers a Baedeker of sorts…Kelley has created a lush portrait of the private, off-camera Monk, one it would have been difficult to paint without the unprecedented access he had to the Monk family." —David Yaffe, The Nation"Thelonious Monk: The Life and Times of an American Original is one of the most anticipated books in jazz scholarship, and well worth the wait. Robin D. G. Kelley represents one of this generation's most important voices equipped with the knowledge, passion, and respect for both jazz and jazz musicians required to interpret the many details and nuances of Thelonious Monk's life. This compelling book will both challenge old assumptions and inspire new assessments of the life and legacy one of the world's greatest musicians." —GERI ALLEN, pianist, composer, and Director of the Jazz Studies Department at the University of Pittsburgh"Robin Kelley's new biography Thelonious Monk: The Life and Times of an American Original is a breath of fresh air among the biographies of our legendary jazz musicians. This book is thorough, detailed, and written with a true affinity for Monk's humaneness and creative musical output. It fills in the missing pieces about the growth of the jazz scene in New York through the forties, fifties, and sixties, detailing each step of Monk's development—who passed through his bands, what gigs he played, and what happened on those scenes. It's an invaluable and close look at the center of the world's most important creative musical developments in those decades: New York City." —Chick Corea, the Grammy-winning composer and pianist"Powerful, enraging, and enduring.... In Robin Kelley's finely grained and surely definitive life and-times study, Thelonious Monk, an American original, has found an original biographer." —DAVID LEVERING LEWIS, biographer of W. E. B. Du Bois and Pulitzer Prize winner"An omnibus of myth busting." —Ben Ratliff, The New York Times"This is an authoritative tome that pulls aside, without completely lifting, the shroud of mystery that has long surrounded one of the most enigmatic figures in the history of jazz." —Russ Musto, AllAboutJazz.com"…as complete a picture of this complex, original and enigmatic artist as possible… this very welcome book is certain to be a go-to reference." —Down Beat Magazine"Kelley hopes to balance Monk's brilliance and historic achievements with his quirks and serious problems (bipolar disorder) to take the true measure of the man. Dedicated readers of jazz history and students of Cold War and Civil Rights Era culture won't be disappointed." —The New Haven Advocate"Every step of Monk's musical journey is teased out in meticulous detail...whether he's charting the highs or lows of Monk's emotional swings, Kelley rarely strays from his central theme of an extraordinary talent pushing against the boundaries of his art." —Publishers Weekly"Thelonious Monk was a true original… This affectionate biography fills in the fascinating and heart-wrenching backstory of an artist the world has always longed to know better." —The Christian Science Monitor"Monk’s story, from roots in slavery, to the Great Migration north, to the cultural explosions of the 40s, 50s, and 60s, encapsulates a vivid tableau of twentieth-century American life and music. This biography is, at its best, a fitting tribute to one of America’s most original and lasting creative geniuses." —The Sacramento Book Review"A wealth of historical context is richly studded with details of Monk's family background and the broader world in which he lived and worked... Likely the most thorough possible illumination of the man behind the legend." —Library Journal"...a massive and impressive undertaking... Thoroughly researched, meticulously footnoted, and beautifully crafted, Thelonious Monk presents the most complete, most revealing portrait ever assembled of the man known as the high priest of bebop." —Steve Greenlee, The Boston Globe About the Author Robin D. G. Kelley teaches History at UCLA and is the author of several books, including Freedom Dreams: The Black Radical Imagination and Hammer and Hoe: Alabama Communists During the Great Depression. Excerpt. © Reprinted by permission. All rights reserved. Ï»¿PRELUDE I have a choice here between writing about Monk as he is, or as he seems to be, and is generally thought to be. There isn't any great difficulty about it, because both sides are fertile ground; the stories merely differ in plausibility. Critic Paul Bacon, 1949 Benetta Smith -- known affectionately as "Teeny" -- loved to visit her Aunt Nellie and Uncle Thelonious. For a kid growing up in the late '50s and early '60s, the Monks' tiny ground-floor apartment at 243 West 63rd Street, must have seemed almost carnivalesque. Uncle Thelonious sat at the piano turning Christmas carols into Monk originals, or holding forth with a string of friendly put-downs or challenging questions about the ways of the world. Aunt Nellie chatted away, sometimes entertaining the kids with wild and wonderful stories, sometimes cursing booking agents, managers, and anyone else who took advantage of her dear husband, sometimes gently scolding one of her nieces not to "bang" on the piano. Their two children, "Toot" (Thelonious, Jr.) and "Boo Boo" (Barbara), added to the drama and the fun; they were full of energy, and their parents encouraged them to express themselves freely. The apartment and the neighborhood became a playground for Teeny's six siblings, as well as her cousins and their family friends. Uncle "Baby," Thelonious's younger brother Thomas, lived a couple of doors down, so his four children were always in the mix. Like all his nieces and nephews, Teeny treated her uncle as an uncle -- not as some eccentric genius or celebrity. During one of her many visits in 1959 or '60, when she was about twelve years old, Teeny noticed a book of compositions by Chopin perched on her uncle's rented Steinway baby grand piano. Monk's piano was notorious for its clutter. It occupied a significant portion of the kitchen and extended into the front room. The lid remained closed, since it doubled as a temporary storage space for music, miscellaneous papers, magazines, folded laundry, dishes, and any number of stray kitchen items. Teeny thumbed through the pages of the Chopin book, then turned to her uncle and asked, "What are you doing with that on the piano? I thought you couldn't read music? You can read that?" The challenge was on. In response, Monk sat down at the piano, turned to a very difficult piece, and started playing it at breakneck speed. "His hands were a blur," she recalled decades later. "Then after he was through, he jumped up from the piano and just started grinning. So then I said, 'You didn't play that right.'" "Whaaaa? What are you talking about? I played it ten times faster than anyone could!" Teeny sassed back, "It is supposed to be played adagio and you played it allegro." Monk loved that kind of one-upmanship, the playful banter, challenges from those who weren't afraid to engage him. And he was proud of his family, including Teeny's burgeoning knowledge of music. For well over half a century, the press and the critics have portrayed Monk as "eccentric," "mad," "childlike," "brooding," "naïve," "intuitive," "primitive," even "taciturn." As Nat Hentoff, one of the few critics who got to know Monk, observed: "Monk...became a stock cartoon figure for writers of Sunday-supplement pieces about the exotica of jazz. Pictures of Monk in dark glasses and goatee would usually be captioned 'Mad Monk' or 'The High Priest of Bop.' Exaggerated stories of his personal life were the 'substance' of the articles. There was no attempt to discuss the nature or seriousness of his musical intentions." Journalist Lewis Lapham's sympathetic portrait of Monk for the Saturday Evening Post is typical of much of the writing about Monk. He described Thelonious as an "emotional and intuitive man, possessing a child's vision of the world, Monk talks, sleeps, eats, laughs, walks or dances as the spirit moves him." He was said to be uncommunicative, and music was the only way he could communicate. He supposedly lived in his own little world, exiled from reality, and had no interest in anything except his music and himself. The only music that interested him was his own, or the pop tunes and old standards that he transformed into his own idiom. Even his fans and defenders made authoritative statements about Monk's lack of interest and/or knowledge of other musical genres -- especially classical music. In what was intended to be a genuine compliment, French critic André Hodeir insisted that this "true jazzman" had no interest in "serious music." He assured his readers that "no twelve-tone sirens have lured Monk away from jazz. He probably doesn't even know that such music exists. I can safely say that the gradual development of his language has been the result of intuition and intuition alone." Pianist, critic, and educator John Mehegan said much the same thing in a 1963 essay. "The entire body of resources of Western man," he mused, "relating to the playing of the piano, which dates back to the sixteenth century, remains unknown to Thelonious Sphere Monk for the simple reason that Monk is not Western man. He is a Black man." Even fellow jazz pianist Bill Evans famously stated that Monk's "unique and astoundingly pure music" can be explained by his lack of "exposure to the Western classical music tradition or, for that matter, comprehensive exposure to any music other than jazz and American popular music." Quincy Jones extended the myth of pure genius to Monk's entire interaction with the world, as if he were a sealed fermentation vat: "He is not familiar with many classical works, or with much life outside himself, and I think because of this he did not create on a contrived or inhibited basis." The myth is as attractive as it is absurd. The truth is, Thelonious Monk possessed an impressive knowledge of, and appreciation for, Western classical music, not to mention an encyclopedic knowledge of hymns and gospel music, American popular songs, and a variety of obscure art songs that defy easy categorization. For him, it was all music. Once in 1966, a phalanx of reporters in Helsinki pressed Monk about his thoughts on classical music and whether or not jazz and classical can come together. His drummer, Ben Riley, watched the conversation unfold: "Everyone wanted him to answer, give some type of definition between classical music and jazz...So he says, 'Two is one,' and that stopped the whole room. No one else said anything else." Two is one, indeed. Monk loved Frédéric Chopin, Sergei Rachmaninoff, Beethoven, and Bach, and like many of his peers of the bebop generation, he took an interest in Igor Stravinsky. And his life was no more monastic than any other urban jazzman's. Indeed, it was far more colorful and interesting than a true monk's. The myths surrounding Monk have gotten in the way of the truth, and the truth about his life and music is fascinating and complicated -- and no less original or creative than the myth. Monk wasn't born with some kind of natural musical knowledge and ability, nor was he entirely self-taught (though he did have perfect pitch). He received a formidable music education and worked very hard to achieve his distinctive sound. Nor did he withdraw into an isolated musical meditation, away from the world. It took a village to raise Monk: a village populated by formal music teachers, local musicians from the San Juan Hill neighborhood of New York in which he grew up; an itinerant preacher, a range of friends and collaborators who helped facilitate his own musical studies and exploration; and a very large, extended family willing to pitch in and sacrifice a great deal so that Thelonious could pursue a life of uncompromising creativity. He drew inspiration, ideas, and lessons from family members, daily experience, joys and hardships, and the city itself -- its sounds, its colors, its drama. Hence this book is not just about him, or his music; rather, it is an intimate story about the folks who shaped him -- his hardworking and devoted mother, Barbara, his wife, Nellie, and her entire family, their children, his brother and sister and their kids, his musical kith and kin, his patron saint and friend the Baroness Nica de Koenigswarter, his childhood friends and first crushes, the people of the local community center, his ancestors and the legacy they bestowed upon him; not to mention the agents, managers, producers, critics, judges, cops, attorneys, and others whose actions and decisions directly affected Monk's livelihood. Thelonious Monk was very much of the world, at least until mental and physical illness finally caused him to withdraw, making his world seem much smaller, self-contained, and at times impenetrable. For most of his life he remained engaged and fascinated with his surroundings. Politics, art, commerce, nature, architecture, history were not beyond his ken, and Monk was the kind of man who loved a good debate, despite stories of his inability to communicate. Fortunately, many of his close friends and family members have been willing to share their stories, most of which have never been told before in print. They reveal a startlingly different Thelonious Monk -- witty, incredibly generous, intensely family-oriented, curious, critical, and brutally honest. In addition, Monk himself was frequently captured on tape telling stories, debating, or just shooting the breeze. The tapes were made by his friend and supporter the Baroness Nica de Koenigswarter, the photographer W. Eugene Smith (at whose loft Monk's big band often rehearsed), or by his wife, Nellie. Such tapes are a biographer's dream, for they capture impromptu conversations and ideas unmediated by interviewers or media outlets. One of those recordings, made by W. Eugene Smith during a big-band rehearsal in June of 1964, caught Monk in a funny conversation about the power of porpoises. Overhearing soprano saxophonist Steve Lacy talk about his friend, trombonist Roswell Rudd, getting a job at the Library of Congress working for Alan Lomax organizing recorded music from around the world, Monk's ear... Read more