NYU Black Renaissance Noire Winter 2014 - Page 36

34 Monk wrote many new compositions including his signature classic “’Round Midnight” in 1941 and continued to work in relative obscurity at Minton’s and other small clubs in Harlem and in the famed midtown 52nd street clubs and bars where his angular dissonant harmonies, dynamic rhythms, and soaring, lyrical melodies quickly made him a leading and influential figure among the modernist Jazz cognoscenti. Working closely with such fellow pioneers of this exciting new music as the extraordinary drummer Kenny “Klook” Clarke, revolutionary guitarist Charlie Christian, iconic saxophonist Charlie ‘Bird’ Parker, and trumpet legend John “Dizzy” Gillespie, Monk soon became a major mentor to many young emerging musicians like the then newly arrived 19 year old Miles Davis in 1945. By this time scores of musicians were experimenting with new harmonic structures, melodic ideas, and rhythmic conceptions. The intense cross-fertilization of styles, ideas, and musical structures were deeply rooted in the modern experimentations with form and content that were sweeping all the arts of the period in literature, painting, dance, and cinema and “Bebop” (or as the musicians themselves simply called it “modern music”) was at the forefront of this cultural and aesthetic revolution. It was abundantly clear, as Monk himself told a number of interviewers, that his style was “more original” than many of the standardized, generic, and conventional forms of the Bebop movement. Yet Monk was already one of the primary architects of the best and most creative aspects of this movement and was a major source of distilling, synthesizi