By Frederick Engels Karl Marx
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Extra info for Collected Works, Vol. 23: Marx and Engels: 1871-1874
It’s gotta be swinging, and he plays, he puts his stuff on top of it, and that’s magic. If the rhythm section’s rushing and dragging and slipping around and everything else, then it would simply destroy what he’s trying to do. Then it would all sound like chaos, you know, sound like avant-garde somethin’-or-other. . You know, I produce a lot of records, so, in other words, I’m in there, and all of a sudden I can push a button and, and, eliminate the bass, and push another button and eliminate the drums, you know, if I want to be able to hear what the piano player is doing, for example.
What results from hearing monk 29 this approach is not so much an analysis of what Monk and his music are, or even were, but of what they have been to the community loosely defined as the collection of people with Monk as a common interest. Rather than a process of translation—finding the appropriate technical language to express experiential descriptions of Monk’s music—this amounts to a kind of discovery through asking what it is about Monk’s music that prompts these experiences. Although the question is not, strictly speaking, historical, it provides a critical perspective on two of the most important aspects of jazz history—the recordings and the people’s discourse about them—ultimately making it possible to situate Monk more carefully in some narrative contexts.
Monk’s relationship with Blue Note continued for a few years, into 1952, and his career moved steadily forward, despite major personal and professional troubles. In 1951 Monk was arrested and convicted on narcotics charges. The legal trouble and its aftermath could have been devastating, but Monk persevered, and the event became one of the most important in defining his image for succeeding generations. The arrest was not groundless—Monk was in possession of narcotics, for whatever reason— but the matter was probably treated more severely than it might have been had Monk not been black, defiant, and a jazz musician.