excerpt from 'Hear Me Talkin' To Ya: The Classic Story of Jazz as Told by the Men Who Made It' pp. 311 (214 words)

excerpt from 'Hear Me Talkin' To Ya: The Classic Story of Jazz as Told by the Men Who Made It' pp. 311 (214 words)

part of

Hear Me Talkin' To Ya: The Classic Story of Jazz as Told by the Men Who Made It

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urn:iso:std:iso:639:ed-3:eng

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311

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text excerpt

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Two other pianists I met in Kaycee [Kansas City, Missouri] during the mid-thirties were Tadd Dameron and Thelonious Monk. I was to get to know both of them well in New York in later years.

Tadd, who came from Cleveland, was just starting out playing and writing for a band from Kansas. Though very young, he had ideas even then that were 'way ahead of his time.

Thelonius, still in his teens, came into town with either an evangelist or a medicine show--I forget which. While Monk was in Kaycee, he jammed every night, used to really blow on piano, employing a lot more technique than he does now. Monk plays the way he does now because he got fed up. I know how Monk can play.

[…] He was one of the original modernists, all right, playing pretty much the same harmonies then that he's playing now. Only in those days we called it "zombie music" and reserved it mostly for musicians after hours.

Why "zombie music"? Because the screwy chords reminded us of music from "Frankenstein" or any horror film. I was one of the first with these frozen sounds, and after a night's jamming, would sit and play weird harmonies (just chord progressions) with Dick Wilson, a very advanced tenor player.

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excerpt from 'Hear Me Talkin' To Ya: The Classic Story of Jazz as Told by the Men Who Made It' pp. 311 (214 words)

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