IN THE WORLD OF THE JAZZ GREATS, RARE IS THE ARTIST THAT EVER LOOKS BACK ON HIS PREVIOUS WORK. THERE IS SOMETHING UNIQUE ABOUT THE CREATIVE MIND THAT ALWAYS KEEP LOOKING FORWARD TO THE NEXT MUSICAL WORLD TO CONQUER, SO IT CAME AS A PLEASANT SURPRISE TO HEAR THAT BASS MAESTRO RON CARTER WAS RETURNING TO CARNEGIE HALL TO PERFORM MUSIC FROM AN ALBUM RECORDED DURING THE REAGAN ADMINISTRATION.
RECORDED IN 1984 WITH THE KRONOS QUARTET, MONK SUITE WAS A GLORIOUS EXPLORATION OF THE MUSIC OF NOT ONLY THELONIUS MONK, BUT INCLUDING MATERIAL FROM THE DUKE ELLINGTON SONGBOOK.
WE HAD A CHANCE TO LISTEN TO MAESTRO CARTER GIVE SOME INSIGHT TO NOT ONLY THE MUSIC FOR THE CONCERT, BUT HIS INTRODUCTION TO THE SOUNDS OF 20TH CENTURY AMERICAN CLASSICAL MUSIC.
YOU’VE RECENTLY PERFORMED A CONCERT AT CARNEGIE HALL WITH THE ETHEL STRING QUARTET, FEATURING MUSIC THAT YOU RECORDED 40 RING MUSIC THAT YOU RECORDED 40 YEARS AGO WITH THE KRONOS QUARTET.
WHAT ATTRACTED YOU BACK THEN TO RECORD “THE MONK SUITE” BACK THEN?
My friend at the time, Orrin Keepnews was co-owner and producer of Milestone Records. He called me and said he had a new project, and if I’d be interested in doing it, as he couldn’t think of any other bass player besides George Duvivier who had an interest in this sort of music and with a certain skill level. I was available and I hopped right on it.
WHEN IT COMES TO MUSIC BY THELONIUS MONK, DO YOU APPROACH IT DIFFERENTLY THAN OTHER COMPOSERS?
All composers, whoever they are, you play the music the way they dictate it; that’s what makes it sound so good. Whether it’s Brahms, Bach, Beethoven or Monk
I don’t give anyone’s music any different attention or any special concept except what the music will allow me to serve on my own and to present it the way the wrote it
YOU ALSO PLAYED WITH THELONIUS MONK AT ONE TIME
I played with him at a concert in New York. I arrived in 1959 and so I played with him in 1960
The situation was that Sam Jones was his bass player at the time, but he became sick. Sam Jones called me and said that Thelonius Monk had a concert at a place called Circle In The Square in the Village. I told him that I was available
I went down there and Mr. Monk said “Are you Sam’s substitute”, and I said “Yes, I am”
He shook my hand and said, “Do you know any of my songs?”
“Yes, I know a lot of them”
He answered “Tonight, we’re going to find out how many you don’t know”
And we started playing, with Specs Wright on drums and Charlie Rouse on saxophone.
We played the gig, he told me he appreciated it, and he hired me the next week, in Philadelphia.
GOING FROM JAZZ COMBO TO STRING FORMAT, ARE THERE ANY ADAPTATIONS YOU HAD TO DO?
There are no drums with the string quartet, otherwise it was a normal gig for me.
YOU ALSO PLAYED DUKE ELLINGTON MUSIC. WHAT WAS YOUR FIRST EXPOSURE TO HIS MUSIC?I
I heard that great album of Duke Ellington with Jimmy Blanton. I appreciated his sound with the band, and that they stayed together for such a long time. The band knew what his concept was.He wrote music for specific players. Ellington was always great.
MAESTRO CARTER IS PRESENTLY ON TOUR, AND WILL BE AT CATALINA’S FOR A FEW DAYS STARTING MARCH 19 WITH HIS QUARTET. AS TO BE EXPECTED, IT WILL BE A COLLECTION OF TIMELESS MUSIC, AND A RARE CHANCE TO HEAR AN IMPORTANT LINK IN THE CHAIN OF AMERICA’S SONGBOOK.