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“Over all, I think the main thing a musician would like to do is give a picture to the listener of the many wonderful things that he knows of and senses in the universe. . . That’s what I would like to do. I think that’s one of the greatest things you can do in life and we all try to do it in some way. The musician’s is through his music.” - John Coltrane
 
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 Thursday, 08 January 2009
Monking Around With the Laura Caviani Trio Print E-mail
Written by Andrea Canter, Contributing Editor   
Friday, 12 October 2007

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Laura Caviani©Andrea Canter
Thelonious Monk is generally regarded as one of the maverick composers of modern jazz, even in the 21st century. Now 25 years after his death, his compositions continue to intrigue, inspire and even frustrate jazz musicians, from high school students to esteemed veterans. An esteemed interpreter of Monk on the local scene, pianist Laura Caviani salutes Monk with an almost annual gig on or around the anniversary of his birth on October 10, 1917, coinciding with her own birthday (October 11th). At the 2007 celebration at the Artists Quarter, the audience was doubly rewarded with an evening of inventive music and a slice of birthday cake. With bassist Adam Linz and drummer Phil Hey, the Laura Caviani Trio somersaulted through two sets of Monk tunes, some readily recognized and a few surprises.

You can’t find Laura Caviani without finding Thelonious Monk; Monk’s compositions appear on her recordings and are frequently featured in her live performances. At a Soul Café engagement—combining the music of Monk with readings of the beat generation poets, someone asked, “Why Monk?” “Because after Ellington, Monk was the one,” she replied, and then demonstrated some of the classic Monkisms of rhythm and harmony that illustrate his eccentric, inventive approach to the keyboard. Indeed, Monk’s quirky behavior (many assumed he was truly crazy), individual style, and unique compositions were far ahead of the bop and post bop inventions that followed many years later. For a long time, only the most sophisticated jazz musicians, including Coleman Hawkins and John Coltrane, appreciated his genius. Yet today, variations of Monk’s compositions are part of the standard repertoire of jazz, from straight ahead to avant garde. “A younger me found Monk's music too angular and quirky, not romantic enough, perhaps,” said Laura recently. “Now, his humor keeps me sane in this crazy world.”

Personally I have long been a fan of Monk, the gymnast of jazz composition. Working from a (usually) melodic core, he turned 4/4 into jigsaw puzzles, simultaneously elegant and quirky, translating his eccentric personality into some of the most enjoyable riffs ever written. Monk melded traditions as if they were always partners—blues, montuno, bebop, classical, gospel. Not intimidated by his genius, Laura Caviani dissects an already jagged time and, particularly when working with such partners as Linz and Hey, refashions rhythms as if Monk was on hand himself.

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Laura Caviani Trio with Davis Wilson©Andrea Canter
On birthday night at the AQ, the trio opened with a bouncing romp through “I Mean You,” the less familiar “San Francisco Holiday” and showcased Phil Hey’s elastic percussion on “In Walked Bud.” Introducing “Epistrophy,” Laura noted that the title meant “to spin around,” which the trio demonstrated as they encircled Monk’s theme, taking their own spins, with Laura twisting and vaulting through a standout solo. Her intro to “Misterioso” was another highlight, as was the rambunctious playing (and audible vocalizing) of bassist Adam Linz. Linz particularly ignited on “Monk’s Dream,” his body language almost as mesmerizing as his playfully melodic basslines—he truly dances with his instrument. A beautiful “Ask Me Now” followed, buoyed by the interaction between piano and bass, while the first set closed with the too-seldom heard “Bright Mississippi”, introduced by the understated energy of Phil Hey.

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Adam Linz©Andrea Canter
The second set opened with “Rhythm-a-ning” and a new addition to Laura’s repertoire (and my listening library), “Coming on the Hudson,” complete with an appropriate quote of “Autumn in New York” and embellished (again) by a tastefully quirky solo from Adam Linz. Possibly my favorite Monk, “Bemsha Swing,” seemed to bring out the best in everyone, showcasing Laura’s dexterity, sharp sense of time and never-ending invention. Adam delivered his most dramatic solo of the evening, while Phil Hey replied in kind, for a while with one stick/one hand, erupting in a shower of percussive popcorn. “Let’s Call This” was filled with Monk quotes, polyrhythms and a recurring keyboard montuno. The closing “Blue Monk” ultimately seemed to include a quote from all of the above, a grand finale to a grand evening.

“For me,” Laura says, “the beauty of Monk's compositions are in their deceptively difficult nature. He'll set you up, then make a quick left and leave you wondering where ‘one’ is! Monk's compositions leave enough space for musicians to make their personal mark, and it's been fun interpreting his work with Adam and Phil.” And perhaps Monk appeals to Laura because she also is a highly inventive musician with a great appreciation and apparent understanding of the complexities of odd rhythms, dissonant harmonies, and the great opportunities that Monk’s music affords clever improvisers. In both her recorded work and in live performance, Monk lives not so much in her adherence to his melodies but in the spirit of her deconstructions and re-inventions. The spirit soared on Monk’s 90th birthday here at the Artists’ Quarter.

Visit Laura Caviani’s website at www.lauracaviani.com


Video by Don Berryman 

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