Blog 4

     In the early 20^th century Thelonious Monks’ family migrated from the North Carolina to San Juan Hill, New York. The vastly diverse community of San Juan Hill maintained a violent reputation, plagued by hegemony-induced race riots and federal drug raids. (Kelley 19,31) Cultural partitioning within the severely condensed housing districts stimulated hostility amongst its diverse, well-defined subpopulations, and inevitably caused Monk to develop a pugilist demeanor amongst his peers. (Kelley 17, 33)  However, through vigilante enforcement of intolerant rules of conduct, the Columbus Hill Community Center served as an epicenter of social life and community service for all youth in San Juan Hill. (Kelley 28) The center was where Monk formed his first band with Charles Stewart, a fellow black, and Morris Simpson, a West Indian, and was home to the Friday night dances that the trio performed. (Kelley 35) Maintained through an adored all black staff, the community center served as a second home where Monk could experience freedom from the anxieties of San Juan Hill adversity.  

            The community center was similar to the Monk household in that it promoted strong morals. Thelonious’s propensity to deviate from the ill-mannered social norms of San Juan Hill was attributed to virtues engrained in Monk and his siblings by their mother Barbara. Through a “quiet, dignified strength” Barbara inspired her children to live a free-spirited, vocal, and opinionated life, all the while remaining respectful. She also encouraged her children to embrace the rich cultural life of the city by taking them to Central Park in the summer to hear Edwin Goldman’s orchestra perform classic European and American compositions. (Kelley 22) Furthermore, Barbara helped foster a whole-hearted community within the Monk apartment, through music, by always welcoming her children’s friends into her home. Marion, Thelonious’s sister, fondly remembers dancing in their front room with her friends at impromptu jam sessions between Thelonious and his friends. (Kelley 22) This openness allowed Thelonious to flourish and express individuality amongst diversity. The qualities bestowed on Thelonious by his mother influenced his development as a musician and a man, but the community outside of his home also contributed to his genius.

            Kelley remarks, “The neighborhood was full of jazz sounds.” (27) Monks’ first piano teacher, Simon Wolf, was an Austrian-born Jew and a well-trained classical pianist and violinist. (Kelley 26) After his skill excelled past Wolf’s ability Monk further developed his talent through observing and absorbing different forms of music played by the jazz community of San Juan Hill. This included, but was not limited to, Arabic, North African, calypso, salsa, and stride piano. (Kelley 23, 236) At the dinner table the Monk family quartet often sang sacred music of the black Baptist Church. Thelonious would also accompany Barbara, who emphasized regular church attendance and family rehearsals, during holiday performances at the church. (Kelley 27,32) The cultural diversity of San Juan Hill paralleled the motley aesthetics Monk exuded as his musical genius matured. This conglomeration of cultural influence is what some mean by “Jazz is New York, man?!”

            The San Juan Hill that the Monks experienced is analogous to the Leimert Park community. After race riots had disheveled the Leimert Park community cultural hubs like the Coffee House and World Stage emerged as public violence intolerant forums on which the community could express itself through dialogue and art. Similarly in San Juan Hill the Columbus Hill Community Center and the Monk apartment served as sanctuaries for the jazz community that surrounded Thelonious. In my opinion, artistic dialogues help create harmony within the communities in which jazz musicians grow up.

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