tag:blogger.com,1999:blog-14410967.post2580083707721426532..comments2024-03-25T19:00:40.046-06:00Comments on The Constructive Curmudgeon: Monk, Ambiance, and ApologeticsDouglas Groothuis, Ph.D.http://www.blogger.com/profile/08766692378954258034noreply@blogger.comBlogger7125tag:blogger.com,1999:blog-14410967.post-45265113986158767622007-05-07T19:25:00.000-06:002007-05-07T19:25:00.000-06:00Amen to what Paul Adams said in reference to playi...Amen to what Paul Adams said in reference to playing guitar. When I was performing full-time I always encouraged guys in the band to listen to anything and everything they could get their ears on - didn't matter if it was good or bad because you can learn from all of it - either what to do or what not to do.<BR/><BR/>As far as reading goes - I wish I had the time to read everything on my list, but alas I doubt that will happen. I wonder if there will be books in heaven? :)<BR/><BR/>If not, then I hope at least chess is available!<BR/><BR/>ShawnShawn Whitehttps://www.blogger.com/profile/11806200574697538078noreply@blogger.comtag:blogger.com,1999:blog-14410967.post-18679954430406615012007-04-26T14:05:00.000-06:002007-04-26T14:05:00.000-06:00On "developing chops....READ."So very true. After ...On "<I>developing chops....READ.</I>"<BR/>So very true. After playing professionally for more than twenty years, I can honestly say that the more I listened to good musicians the better I got at playing. Imagine what kind of guitar player would turn out from a steady diet of Neil Young or Bob Dylan instead of Wes Montgomery, Jim Hall, Biréli Lagrène, just to name a few!Paul D. Adamshttps://www.blogger.com/profile/18213551311029058377noreply@blogger.comtag:blogger.com,1999:blog-14410967.post-59998901575536982912007-04-26T14:04:00.000-06:002007-04-26T14:04:00.000-06:00This comment has been removed by the author.Paul D. Adamshttps://www.blogger.com/profile/18213551311029058377noreply@blogger.comtag:blogger.com,1999:blog-14410967.post-612374799741567252007-04-18T15:47:00.000-06:002007-04-18T15:47:00.000-06:00Hobie:Those are astute insights into Monk, despite...Hobie:<BR/><BR/>Those are astute insights into Monk, despite your dig.Douglas Groothuis, Ph.D.https://www.blogger.com/profile/08766692378954258034noreply@blogger.comtag:blogger.com,1999:blog-14410967.post-20194965977761480992007-04-18T12:28:00.000-06:002007-04-18T12:28:00.000-06:00While the Monk-cum-apologist angle seems a little ...While the Monk-cum-apologist angle seems a little contrived (okay, so all preachers have chops; I get the jazz perspective on all this, I guess), any chance to consider the art of Thelonious Monk is probably time well spent.<BR/><BR/>It is probably important for you poor, misunderstood apologetics geniuses to recognize and console yourself with the fact that not everybody got Monk. Monk’s approach to music was as different as his approach to everything else in his life. Upon examination it appears that he used conventional chords and rhythms, but you really can’t believe that when you listen to his performances. The chords seem bent, the rhythmic patterns unrepeatable. He had a way of emphasizing notes in a chord (“playing the notes you really mean,” he called it) that transformed the chord into something different, something seemingly personal. Musicians constantly and famously complained and then later marveled at working through Monk’s compositions. Consider that none less than Sonny Rollins was involved in the production of the album Brilliant Corners, the title selection of which required over 20 takes and much editing to finally complete the finished work we hear today.<BR/><BR/>Great story on Monk (I forget the source): He was in a studio in 1957, recording what was to be Monk’s Music, arguably the greatest record he ever made with horns. His sidemen included the greatest tenor legend of his day, Coleman Hawkins, and the man who was to be the greatest tenor of all time, John Coltrane. <BR/><BR/>Monk had written music for this event that the Two Tenors were clearly not enjoying. Finally Hawkins, with Trane in tow, approached Monk and asked him what he wanted them to do with this music. “You’re the great Coleman Hawkins, aren’t you? The man who invented the tenor saxophone?” Monk questioned. Hawkins, never one to give to give away a compliment, replied affirmatively. “And you’re the great John Coltrane, aren’t you?” Monk continued. Coltrane was much more self-effacing in his response.<BR/><BR/>“Well,” Monk continued, “the music is in the horn. Between the two of you, you ought to be able to work it out.” That was it. The music is in the horn. Everytime I hear Monk’s Music, I think to myself: it certainly is.hobiehttps://www.blogger.com/profile/10831318649226843700noreply@blogger.comtag:blogger.com,1999:blog-14410967.post-65058414805351486082007-04-16T12:36:00.000-06:002007-04-16T12:36:00.000-06:00Read.Read.Douglas Groothuis, Ph.D.https://www.blogger.com/profile/08766692378954258034noreply@blogger.comtag:blogger.com,1999:blog-14410967.post-58464999825714404952007-04-16T09:09:00.000-06:002007-04-16T09:09:00.000-06:00...apologists need to develop their chops, such th...<I>...apologists need to develop their chops, such that they are worth listening to in the first place.</I><BR/><BR/>Any thoughts on how to accomplish that?ChrisBhttps://www.blogger.com/profile/04611311820554248004noreply@blogger.com