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But it developed that youthful Dizzy, with all his eccentricities and practical jokes, was the most stable man of the group. When I took my band to Europe, some of the guys threatened not to go if the frantic one went, too. For a while, everyone was set against this wild maniac. Right off, Gillespie showed up at rehearsal and began to play in an overcoat, hat and gloves. While he was at it, Teddy told me about Diz, who worked in his band following Eldridge. He’s forgotten all about you and everything else but that idea.”
Mop! Two days go by and he’s still at it. “He’s so absorbed in his task, he’s become almost mysterious. I believe he hopes one day to come out with something as far ahead of bop as bop is ahead of the music that went before it. Rather than go out now and have people think he’s just an imitator, Thelonious is thinking up new things. Though he won’t admit it, I think he feels he got a bum break in not getting some of the glory that went to others. Looking at Thelonious, he said: “There, my good man, is the guy who deserves the most credit for starting bebop. McGhee, fascinated, got Thelonious to dream up some trumpet passages and then conned Thelonious into writing them down on some score sheets that happened to be in the club. Roy Eldridge, Howard McGhee and Hill dropped around. The rest, like Diz and Charlie, came in only from time to time, at first.”īy the time we’d gotten that far, we had arrived at Minton’s, where Thelonious headed right for the piano. Along with bass and piano, I was always at the spot, and could keep working on the music. The piano lays the chord foundation and the rhythm foundation, too. “I think all styles are built around piano developments. “If my own work had more importance than any others, it’s because the piano is the key instrument in music,” he continued. Thelonious Monk (1917-1982) (Photo: William P.
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