Looking to the past for inspiration brings the music into the future for MONK'estra, Vol. 2,
which masterfully applies a rich orchestral palette across an array of
modern infectious rhythms, while discovering new dimensions of the
classic compositions that emerge directly from their deepest jazz roots.
John Beasley expands on the inspiration that earned him two GRAMMY® Award nominations, plus widespread critical and popular acclaim, for MONK'estra, Vol. 1.
Beyond just adapting the indelible themes of Thelonious Sphere Monk
(subject of many centennial celebrations this year) for a 16-member big
band plus incomparable guest artists, these 10 songs explode into new
musical experiences due to the collective unit embracing a new strain of
jazz, which features diverse sounds and a broad base of influences from
the entire black music canon.
Consider: trumpeter Dontae Winslow breaks out a fierce rap, appropriate for these modern times, between his horn solos on "Brake's Sake." Regina Carter bows in the soulful vein of Ray Nance on Beasley's homage-to-Ellington treatment of "Crepuscule for Nellie." Tenor saxophonist Kamasi Washington wails at full throttle, à la Pharoah Sanders, on the first half of "Evidence," followed by Conrad Herwig's "I want to be happy!" trombone history-of-techniques lesson. Dianne Reeves enacts "Dear Ruby" with lyrics written by Sally Swisher, originally recorded by the great Carmen McRae. Pedrito Martinez
infuses "Criss Cross" with an Afro-Cuban beat. With his multi-faceted
talents being recognized on the largest scale, Beasley has been invited
to conduct global jazz orchestras playing the music of MONK'estra.
Live
performances have given him a deeper understanding of the genius and
wit of Monk and how he gave space for musicians to interpret freely. "We
did a lot of concerts prior to recording Volume 2," Beasley says,
"which allowed me to 'feel out' our band's personality and tweak
arrangements so we would not sound like a wind chamber ensemble - which
can be kind of stuffy - but instead like a juicy, funky, street big band
- you know, jazzy. Witnessing audiences reacting to this sound, made me
write more of this feeling into Volume 2."
The
"juicy, funky, street" elements are evident from the get-go - Winslow's
rap about racial and economic justice also bears throwback resonance.
"While this is a Monk tribute record, it expresses ideas about the human
experience at his time and at our time - how we live and what we value
with a poignant point that the equality issues that his generation of
black musicians faced are still present today," comments Beasley. "I
mean, yes, we've come a long way, but have we really?"
As
such themes from Monk's life and his music endure, Beasley's
interpretations are informed by the music of his generation: "Our time,
which I think of as a fair amount of funk, rhythm and blues, Afro-Cuban
influence, hip-hop, all of that. For me," he continues, "arrangements
start with a rhythmic groove. I'm not trying to recreate the great
earlier versions, because they've already been done. I'm trying to put
my own personality into the mix. I orchestrate and write at the same
time, thinking 'How about this counter-line? What color would be cool
underneath it?'" So hear handclaps and finger snaps beneath Regina
Carter. Terreon Gully's drums and Ben Shepherd's bass punctuate the freely improvised group section of "Evidence" (Beasley says he was thinking of Coltrane's "Ascension").
Low
and muted brass and high reeds usher in a lush trombone on "Ugly
Beauty," then whisk it into "Pannonica." New Orleans syncopation
launches "I Mean You," with funk riffs lending body. Beasley's organ
swirls under the ultra-romantic harmonization of "Light Blue."
Irresistible clave drives "Criss Cross," coming to a head in staggered
parts of call-and-response after passages of montuno and barrelhouse
piano. "Work" has a mysterious, cinematic, narrative complexity.
John Beasley is the director, grandly re-envisioning stories born from the genius of Thelonious Monk on MONK'estra, Vol. 2.
