Misha Mengelberg - Randy Weston

The melodies of Thelonious Monk are unusually robust and clear, following an almost child-like logic. The underlying harmonies, however, are complex and may occasionally seem jarring and twisted when heard for the first time. Monk's improvisations strongly lean on the melody, but the almost capriciously rhythmic angularity with which he sets the score and the incorporation of dissonant chords add an unusual charge to his music. Monk's music is a playful, contagious but also an intelligent narrative of the conflict between left and right hand: between harmony and melody, with a deep swing as the scene of action. The succinct individualistic logic of Monk's music is the reason why few musicians can sensibly play his work and incorporate it into their own idiom. Exceptions to the rule, are fellow pianists Misha Mengelberg and Randy Weston. Mengelberg spices Monk's masterful art with Herbie Nichols, Randy Weston adds Ellington's sassafras. In an interview with Erik van den Berg Mengelberg puts it like this: "Before you know it, you are a Monk specialist. Then you have to draw a radical line. It should not be harped about it, as long as it's all right. That's been achieved in the meanwhile. For the time being, no more Monk or Nichols, not at least under that label. As soon as everything is going well, I am no longer interested. What you can do well is no longer a challenge!" Randy Weston is definitely on the same wavelength. These two old tigers take on the honourable task of concluding this jazz season.