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An early article on T Monk, "Jazz Milieu" (1944)


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You can read this extremely interesting article here.

The depression of Dante’s Inferno continues even unto today as piano players are concerned.  Just imagine, hornblowers playing on an instrument with a faulty lower and upper register.  Just imagine, violinists playing on an instrument that has just been painted over with white enamel paint.  Just imagine, drummers playing on an instrument with a faulty pedal.  Thelonious Monk of the “Downbeat Club” would probably lose his mind if he suddenly came to work one night and discovered an unpainted Baldwin Concert Grand on the bandstand.

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Thelonious Monk is an oddity among piano players.  This particular fellow is the author of the weirdest rhythmical melodies I’ve ever heard.  They are very great too.  (Don’t ever praise Monk too much or he’ll let you down.)  But I will say that I’d rather hear him play a ‘boston’ than any other pianist.  His sense of fitness is uncanny.  However, when Monk takes a solo, he seems to be partial to certain limited harmonies which prevent him from taking a place beside Art [Tatum] and Teddy [Wilson].  He seems to be in a vise as far as that goes and never shows any signs of being able to extricate himself.

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On AAJ in 2003, our old friend Deep identified Hartzfield as a member of Floyd Horsecollar Williams's band:

Jesse Drakes (tp) Joe Evans, Floyd Horsecollar Williams (as) Johnny Hartzfield (ts) Duke Jordan (p) Gene Ramey (b) J.C. Heard (d) Etta Jones

He also seemed to suggest -- though with Deep it's hard to tell -- that he was familiar with Hartzfield's music to some extent and though well of it.

Horsecollar Williams, BTW, was someone Nichols played with too.

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From an online D. Jordan discography:

Horsecollar Williams / Floyd Horsecollar Williams  (Chicago 102)

Jesse Drakes (tp) Joe Evans, Floyd Horsecollar Williams (as) Johnny Hartzfield (ts) Duke Jordan (p) Gene Ramey (b) J.C. Heard (d) Etta Jones (vo -2)

Chicago, IL, February, 1945

1. How You Like That

2. You Ain't Nothing Daddy

P.S. In the prior post, "though" should be "thought."

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From the Chccago Report in the 1/26/40 issue of the magazine Jazz Information:

"John Levy's band, at the Club 65, is a fair outfit. The pianist, Jimmy Wood, plays a lot of piano; Russ Gillam, trumpet, and John Hartzfield, tenor, play very well on occasion, and Hilliard Brown, Kolax's old drummer, is steady."

In the 1970s, I heard Hilliard Brown (very tasty player), along with the mighty Truck Parham, in Art Hodes' rhythm section.

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Sorry, "plat" should be "play."

Also, if I'm right about the vintage of "boston," Nichols' use of it here may be consciously, wryly archaic/ironic. As I recall, in the liner notes to his Blue Note 12 incher, he uses the early '40s term "vonce" (i.e. "musically advanced") in a similiarly sly fashion -- fondling a piece of slang that by that time no one used anymore. Nichols was a deep soul.

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