 |
|
|
|
|
|
|
|
|
|
|
|
 |
|
||||||||||
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
|
Ce qui est remarquable, c'est qu'il en existe de deux types :
- la plus habituelle, avec un grand paraphe et le prénom complet et,
- plus rarement, une forme plus angulaire avec juste l'initiale du prénom.
Il semble bien que les deux formes soient authentiques, et dans ce cas elles doivent correspondre à des états (de stress, de fatigue, d'humeur?) différents.
© Archives Juan (from Coruña - Spain)
May 7, 1966
To Ny and Henry Renaud - 1954
The actual is in my 1969 diary on blue paper and blue ink. I was at Village Vanguard in January 1969 (not December 1969). I copied (xeroxed) the blue page on white paper, cut out those lines, dates
© Archives Niranjan Jhaveri
© Archives Niranjan Jhaveri
In the
diary page I wrote Walter Booker's tel.no. (I can't remember why!). I
was 40 years old then and it was my 2nd visit to USA (first was 1938,
too young to know jazz & to go to the Cotton Club or Savoy Ballroom
- my father's office was in Antwerp so when World War was likely, he shipped
all the diamonds to India and we "escaped" on the Queen Mary
to New York. War did not start as Chamberlain & Daladier flew to Munchen
and gave Hitler Czechoslovakia. WWII started later). But in 1969, I had
a ball! Sonny Rollins was already my friend - he was in Bombay for 3 months
in 1968. My "guides" in NY were Willis Conover and Rev. Genzel.
The US State Dept. helped me but did not sponsored me. We got Statler
Hilton Hotel room at $18 for the double (same rates GIs would pay), it
was bang opposite the Madison Square Garden and the tel. n°. of the
hotel was still Pennsylvania 6-5000 (remember Glenn Miller's tune?). State
Dept. arranged for me to meet CBS-A&R man John Hammond and I played
Indian scat vocal (Tarana) LP for him and he jumped from his seat saying
"…and we thought there was nothing new left under the sun!…
look at THAT!… Ella must listen to it!"
Many more such stories are in my memoirs which I've started writing. I'm
looking for a Publisher!
__________________________________________
© Niranjan Jhaveri
Honorary Secretary General
Jazz-India / JazzYatra / Jazz-India Vocal Institute
nmjazz@vsnl.com
Cependant l'existence d'autres formules graphiques équivalentes m'incitent maintenant à en faire profiter le public de "round about monk".
Thelonious Monk signe plusieurs fois sur le même bout de papier, comme s'il s'entraînait à changer de signature, ou à s'en créer une, comme font les enfants. Et, soit dit en passant, cela confirme l'authenticité de la seconde forme de sa signature, celle qui est beaucoup plus sobre et angulaire.
Mais ce qui est véritablement poignant, c'est le petit dessin du bonhomme triste, hyper-stylé, où ne reste que l'essentiel, deux yeux, une bouche triste aux coins tournés vers le bas, et quelques poils de barbe. le tout dans une tête ovale. L'inverse parfait du petit "smiley" rieur d'usage si courant maintenant.
Et, comme pour confirmer cette impression de tristesse, ces deux mots, biffés, "Help Me", suivis d'une note sur une portée, d'une cible de reprise et d'un paraphe griffonné.
On doit remercier le vendeur (encore anonyme) de cette pièce de collection d'avoir mis la photo sur son site de vente aux enchères.
© Jacques Ponzio - janvier 2003
American Federation of Musicians, a recording
contract with Associated Recording Studios, to record two tracks "Monks
Dream" and "April in Paris Revisited".
February 1965.
Strangely enough, Monk didn't fulfilled this contract; during the next
years, he played "April in Paris" twice, in performance only,
and never "Monk's Dream".
lire {
voir {
écouter {
jouer {
partager {
reflections • epistrophy • well you needn't
we see • introspection • monk's mood
monk's point • ask me now • humph • children song • work
evidence • oska T • let's call this • four in one
think of one • chordi@lly
} read
} see
} listen
} play
} share