Happy birthday, Monty Alexander, born on this in 1944.

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JazzBaltica: Monty Alexander

Concerte date: 30.06.2024

Monty Alexander, p | Luke Sellick, b | Jason Brown, dr

***Set list Monty Alexander: Reggae later Monty Alexander: Think twice Monty Alexander: Look up Abide with me (trad.) Bob Marley: Running away Vincent Ford: No woman no cry Charlie Chaplin: Smile Monty Alexander: Happylypso Monty Alexander: Restoration Monty Alexander/L. Alexander: Whatever it is.

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Who is Monty Alexander?

Monty Alexander: The Joyful Bridge Between Jamaica, Jazz, and the World

Monty Alexander isn’t just a jazz pianist; he’s a force of nature, a cultural ambassador, and a living testament to the boundless power of musical joy. For over six decades, his fingers have danced across the keyboard, effortlessly weaving together the sophisticated harmonies of American jazz, the irresistible rhythms of his Jamaican homeland, and a deep reverence for the blues and gospel traditions. His music radiates an infectious exuberance that transcends genre boundaries, captivating audiences worldwide. This extensive exploration delves into the life, artistry, and enduring legacy of this remarkable musician.

Biography: From Kingston Streets to Global Stages

Born Montgomery Bernard Alexander on June 6, 1944, in Kingston, Jamaica, Monty’s musical journey began almost immediately. Surrounded by the vibrant sounds of calypso, mento, ska (in its nascent forms), American R&B, and gospel in church, the piano in his home became his sanctuary and playground by the age of four. He was largely self-taught, absorbing music by ear with astonishing speed and intuition. His prodigious talent was evident early on. By his early teens, he was playing professionally in Kingston’s hotels and clubs, backing visiting American artists and leading his own group, “Monty and the Cyclones.”

A pivotal moment arrived in 1961. While performing at the Half Moon Hotel in Montego Bay, he caught the ear of none other than Frank Sinatra and his friend, Jilly Rizzo. Impressed by the young pianist’s virtuosity and charisma, Rizzo invited Alexander to New York City. At just 17 years old, Monty made the life-changing move. He began playing at Jilly’s Saloon, a famed New York nightspot frequented by Sinatra and the Rat Pack. This baptism by fire immersed him directly into the heart of the American jazz scene.

His ascent was rapid. He recorded his debut album, “Alexander the Great,” for the prestigious Pacific Jazz label in 1964. More importantly, he forged crucial musical relationships. He became a protégé of the iconic bassist Ray Brown, a connection that profoundly shaped his understanding of swing, groove, and musical partnership. He also played and recorded with giants like Milt Jackson (of the Modern Jazz Quartet), Clark Terry, and Sonny Rollins. Throughout the 60s and 70s, Alexander established himself as a formidable leader and sideman, releasing acclaimed albums like “Spunky” (1965), “This Is Monty Alexander” (1969), and “Rass!” (1974), the latter already hinting at his deep Jamaican roots.

The 70s and 80s saw Monty Alexander become a truly international star. He toured relentlessly, headlining major festivals and concert halls across Europe, Japan, and beyond. He formed his long-standing trio, often featuring master bassists like John Clayton or Hassan Shakur and drummers like Duffy Jackson or Herb Lovelle, developing a telepathic interplay renowned for its driving swing and explosive energy. He also explored diverse projects, including collaborations with singers like Ernestine Anderson and Natalie Cole, and his unique “Ivory & Steel” project, blending jazz piano with Trinidadian steel pan virtuoso Othello Molineaux – a groundbreaking fusion that celebrated the African diaspora’s musical connections.

Alexander never forgot Jamaica. He frequently returned, drawing inspiration and paying homage. Albums like “Monty Meets Sly & Robbie” (2000) and “Goin’ Yard” (2001) explicitly fused jazz with contemporary Jamaican rhythms like reggae and dancehall. He became a cultural icon in his homeland, celebrated for bringing Jamaican musical sensibilities to the highest echelons of jazz.

Now in his eighth decade, Monty Alexander remains astonishingly vital. He tours constantly, his performances characterized by undiminished energy, technical brilliance, and palpable joy. He leads various ensembles: his classic “Monty Alexander Trio,” the larger “Harlem-Kingston Express” (explicitly exploring the New York/Jamaica axis), and special projects. He continues to record prolifically, receiving Grammy nominations and critical acclaim. Based primarily in Florida, he is a revered elder statesman of jazz, yet one whose music remains as fresh and exciting as ever.

Music Style: A Unique Tapestry of Influences

Monty Alexander’s style is instantly recognizable, a vibrant tapestry woven from distinct threads:

1. Jamaican Rhythmic Foundation: This is the bedrock. The lilt of mento, the skank of reggae, the driving pulse of ska and rocksteady are ingrained in his rhythmic conception. Even when playing straight-ahead swing or bebop, there’s often an underlying Caribbean buoyancy, a subtle syncopation in his left-hand comping or a particular accent in his phrasing that signals his heritage. He doesn’t just “add” reggae; he thinks rhythm from a Jamaican perspective.
2. Hard-Swinging Jazz Piano Tradition: Alexander is a master of the mainstream jazz piano lineage running from Art Tatum and Teddy Wilson through Oscar Peterson (a major influence, particularly in his virtuosic technique and blues-infused swing) and Erroll Garner (whose rhythmic joy and orchestral approach resonate). He possesses formidable technique – blindingly fast runs, powerful octaves, locked-hands block chords – always deployed musically, never merely for show.
3. The Blues and Gospel: Deeply felt blues inflections permeate his playing. His touch can be powerfully percussive or tenderly lyrical, often within the same phrase. The call-and-response patterns, the emotional rawness, and the sheer soul of gospel music are central to his expressiveness. His ballads often carry a profound, almost church-like reverence.
4. Bebop Vocabulary: Alexander is fluent in the complex harmonic language and rapid-fire melodic lines of bebop. He can navigate intricate chord changes with ease, but he typically filters this complexity through his innate sense of groove and melodic accessibility. It’s bebop with a danceable pulse.
5. Melodic Lyricism: Above all, Alexander is a supreme melodist. His solos are consistently songful, even at breakneck tempos. He prioritizes strong, memorable melodic ideas over abstract harmonic exploration. This innate lyricism makes his music incredibly accessible and emotionally resonant.

Improvisational Licks and Approach: Groove, Storytelling, and Joy

Alexander’s improvisation is less about specific, endlessly repeated licks and more about a holistic approach driven by feel, melody, and interaction:

• Rhythmic Vitality: His lines are infused with rhythmic energy. Expect syncopations that push and pull against the beat, repeated rhythmic motifs that build tension, and a constant dialogue with the drummer’s ride cymbal and snare. He might take a standard bebop line and subtly shift the accents to give it a reggae “skank” or a calypso lilt.
• Blues-Based Phrasing: Pentatonic scales, blues scales, and bent notes (mimicking the human voice or a guitar slide) are fundamental building blocks. He uses bluesy enclosures and grace notes around chord tones for expressive effect.
• Oscar Peterson Influence: The sweeping arpeggios, the cascading runs (often using chromatic approaches), the powerful left-hand stride or walking tenths, and the use of locked-hands chords for climactic moments all show the Peterson lineage, though Alexander’s feel is distinctly his own – often lighter and more rhythmically playful.
• Motivic Development: He excels at taking a small, simple rhythmic or melodic idea and developing it throughout a solo, varying it rhythmically, harmonically, and dynamically. This creates a sense of narrative and coherence.
• Dynamic Storytelling: Alexander’s solos have clear arcs. He builds intensity masterfully, starting perhaps with sparse, bluesy statements, gradually introducing faster lines and denser harmonies, reaching thrilling climaxes with roaring octaves or thunderous block chords, before resolving back to melodic simplicity. He understands drama and release.
• The “Jamaican Lick”: While not a single lick, listen for moments where he superimposes a distinctly Jamaican rhythmic figure over jazz changes. This could be a left-hand pattern reminiscent of a reggae guitar chop, or a right-hand melodic phrase that implies a mento or ska rhythm within a bebop line.
• Quoting and Playfulness: He frequently interjects playful quotes from Jamaican folk tunes, pop songs, classical melodies, or other jazz standards, always seamlessly integrated and often eliciting laughter and delight from the audience. This reflects his inclusive, joyful spirit.

Chord Progressions and Harmonic Language: Accessible Sophistication

Alexander’s harmonic approach prioritizes clarity, groove, and melodic support over extreme dissonance or abstraction:

1. Rooted in Tradition: He primarily operates within the harmonic language of the Great American Songbook and bebop. Standards (“Sweet Georgia Brown,” “Body and Soul,” “Sweet Lorraine”) form a core part of his repertoire, approached with fresh rhythmic energy and personal inflection.
2. Blues Foundation: The 12-bar blues, in its myriad jazz variations, is central. He explores its harmonic possibilities deeply but always keeps the blues feeling paramount.
3. Strong Functional Harmony: He favors clear chord progressions (II-V-I, turnarounds, blues changes) that provide a solid foundation for swinging and for his melodic improvisation. His comping is rhythmically driving and harmonically supportive, often using rootless voicings in the left hand while the right adds rhythmic chords or counter-melodies.
4. Reharmonization with Taste: While not as radically reharmonizing as some contemporary players, Alexander does employ subtle and effective substitutions to add color and surprise. This might involve:
   • Tritone Substitution: Replacing a dominant 7th chord with another dominant 7th chord a tritone away (e.g., substituting Db7 for G7 leading to C).
   • Secondary Dominants: Adding extra dominant chords to intensify the pull towards a target chord.
   • Modal Interchange: Borrowing chords from parallel minor or major scales (e.g., using a iv minor chord in a major key).
   • Chord Planing: Moving a chord shape in parallel motion.
   • Adding Extensions: Using 9ths, 11ths, and 13ths for color, but usually within a context that preserves the essential character of the progression.
5. Jamaican Harmony in Fusion: When explicitly incorporating reggae or ska, he utilizes the simpler harmonic structures typical of those genres (often revolving around I, IV, V, and minor chords) but enriches them with jazzier voicings and passing chords, creating a sophisticated blend. Songs like “The River” or his reggae interpretations of standards demonstrate this beautifully.
6. Gospel Influence: His harmonic choices in ballads or more introspective moments often lean towards the rich, comforting harmonies of gospel – extended chords (9ths, 13ths, suspensions) used for their emotional resonance rather than complexity.

Influences: A Global Musical Feast

Alexander’s musical DNA is remarkably diverse:

• Jamaican Roots: Mento (Count Lasher, Stanley Motta), early Ska (The Skatalites, Don Drummond), Reggae (Bob Marley – whom he knew and deeply admired, and whose music he interprets with profound respect), Jamaican R&B, church music.
• Jazz Piano Giants: Oscar Peterson (the most profound technical and stylistic influence), Art Tatum (virtuosity, harmonic daring), Nat King Cole (lyricism, trio concept), Erroll Garner (rhythmic joy, orchestral piano approach), Ahmad Jamal (space, dynamics, trio interplay), Wynton Kelly (groove, blues feeling), Thelonious Monk (angularity, rhythmic surprise – admired though less directly emulated).
• Bebop Masters: Dizzy Gillespie (trumpet lines adapted to piano), Charlie Parker (melodic language).
• The Great American Songbook: Composers like Gershwin, Porter, Berlin, Kern – their melodies and harmonies are his playground.
• Blues Legends: Count Basie (simplicity, swing), various blues pianists and guitarists.
• Brazilian Music: Antônio Carlos Jobim (Alexander has recorded several bossa nova albums).
• Classical Music: He acknowledges the influence of composers like Chopin and Liszt on his technique and romantic sensibility.

Legacy: The Joyful Ambassador

Monty Alexander’s legacy is multifaceted and profound:

1. Cultural Bridge-Builder: He is arguably the most successful and influential musician to seamlessly and authentically integrate Jamaican music into the jazz mainstream. He didn’t dilute either; he proved their inherent compatibility and enriched both traditions. He paved the way for greater appreciation of Caribbean rhythms within jazz.
2. Master of Groove and Joy: In a genre sometimes perceived as overly intellectual or somber, Alexander stands as a beacon of pure, infectious joy and rhythmic vitality. His music is celebratory, life-affirming, and deeply communicative. He reminds audiences that jazz can be sophisticated and immensely fun.
3. Trio Master: His work with his trios over decades sets a benchmark for interaction, swing, and collective energy. The communication between piano, bass, and drums is often telepathic, a masterclass in ensemble playing.
4. Virtuoso with Heart: He possesses dazzling technique but always subordinates it to musical expression and emotional connection. He proves virtuosity and soul are not mutually exclusive.
5. Enduring Inspiration: Generations of pianists, especially those with Caribbean roots or an interest in rhythmic fusion, cite Alexander as a major influence. His approachable yet profound style continues to inspire musicians worldwide.
6. Global Ambassador: Through relentless touring and recording, he has brought his unique musical vision to every corner of the globe, spreading the gospel of jazz infused with Jamaican sunshine.

Major Works and Projects: Highlights of a Prolific Career

• The Ray Brown Connection: Numerous recordings and tours with the legendary bassist were foundational.
• The Monty Alexander Trio: His primary vehicle for decades, featuring a who’s who of bassists (John Clayton, Hassan Shakur, Paul Keller, Rodney Whitaker) and drummers (Herb Lovelle, Duffy Jackson, Jason Brown, Obed Calvaire). Landmark live albums capture their magic.
• Ivory & Steel: Revolutionary collaborations with steel pan master Othello Molineaux (albums: “Ivory & Steel,” “Jamboree,” “Caribbean Circle”). A unique and joyous fusion.
• Monty Meets Sly & Robbie: Bringing together jazz piano and the legendary Jamaican rhythm section (drummer Sly Dunbar, bassist Robbie Shakespeare) for a potent reggae-jazz fusion.
• Harlem-Kingston Express: A larger ensemble concept explicitly exploring the musical journey from Jamaica to New York. Albums under this name (“Harlem-Kingston Express Vol. 1 & 2”) are electrifying blends of jazz, ska, reggae, and funk.
• Solo Piano: Powerful recordings like “Solo” and “My America” showcase his virtuosity and deep musicality without a net.
• Tribute Albums: Deeply felt homages to artists he admires: “Stir It Up: The Music of Bob Marley,” “The Good Life: Monty Alexander Plays the Songs of Tony Bennett,” “Love Notes” (Nat King Cole tribute with vocals), “Uplift” (Jazz & Gospel project).
• Collaborations: Countless sessions with icons including Dizzy Gillespie, Sonny Rollins, Quincy Jones, Milt Jackson, Ernest Ranglin, Ernestine Anderson, Natalie Cole, and many more.

Filmography: Music On and For the Screen

While not primarily an actor, Alexander’s music and presence grace several films:

• Bird (1988): Clint Eastwood’s Charlie Parker biopic. Alexander appears as pianist “Monty” and contributed to the soundtrack, playing piano in scenes depicting the bebop era clubs. He also arranged some music for the film.
• The Cotton Club (1984): Contributed to the soundtrack.
• Short Films/Documentaries: Featured in various jazz documentaries and has been the subject of a few, including “Monty Alexander: Live at the Iridium” (concert film) and segments in broader jazz histories.

Discography: A Vast Ocean of Sound (Select Highlights)

With over 80 albums as leader, here’s a chronological sampling of essential works:

• Alexander the Great (1964)
• Spunky (1965)
• Zing! (1969)
• This Is Monty Alexander (1969)
• Rass! (1974) (Early Jamaican fusion)
• Montreux Alexander: The Monty Alexander Trio Live! (1976) (Classic live trio)
• Ivory & Steel (1979) (With Othello Molineaux)
• Triple Treat (1982) (With Ray Brown & Herb Ellis)
• Full Steam Ahead (1985) (Trio)
• The River (1986) (Reggae/Jazz fusion)
• Jamboree (1988) (Ivory & Steel)
• Caribbean Circle (1992) (Ivory & Steel)
• Steamin’ (1995) (Trio)
• Echoes of Jilly’s (1998) (Solo piano tribute to his NYC start)
• Stir It Up: The Music of Bob Marley (1999)
• My America (2001) (Solo piano)
• Goin’ Yard (2001) (Reggae/Jazz)
• Impressions in Blue (2003) (Trio)
• Concrete Jungle: The Music of Bob Marley (2006)
• The Good Life: Monty Alexander Plays the Songs of Tony Bennett (2008)
• Harlem-Kingston Express: Live! (2011) (Grammy Nominated)
• Harlem-Kingston Express Vol. 2: The River Rolls On (2014)
• Love Notes (2017) (Nat King Cole tribute w/ vocals)
• Wareika Hill: Rasta Mon Vibrations (2019) (Deep exploration of Jamaican roots & jazz)
• The Monty Alexander Trio: Live in Holland (2021) (Documenting enduring trio mastery)

Most Known Compositions and Performances

• Compositions:
  • “The River” (Rass): Perhaps his most famous original, a beautiful, flowing melody with a strong reggae undercurrent.
  • “Regulator” (Rass): A driving, energetic tune showcasing his fusion concept early on.
  • “Renewal” (Full Steam Ahead): A powerful, gospel-tinged anthem.
  • “Hurricane Come and Gone” (Goin’ Yard): A poignant reflection on Jamaican resilience.
  • “Hope” (My America): A moving solo piano piece.
  • “King Tubby Meets The Rockers Uptown” (Harlem-Kingston Express Live!): His thrilling arrangement of the Augustus Pablo reggae classic.
• Performances/Interpretations: While a brilliant composer, Alexander is equally revered as an interpreter:
  • “Sweet Georgia Brown”: A perennial showstopper, often played at blistering tempos with incredible dexterity and swing.
  • “Body and Soul”: Deeply lyrical and personal ballad readings.
  • Bob Marley Catalog: His interpretations of “No Woman, No Cry,” “Redemption Song,” “Three Little Birds,” “Running Away,” “Jammin’,” “Could You Be Loved” are definitive jazz-reggae fusions, filled with respect and inventive energy.
  • “Sly Mongoose” (Traditional Jamaican): A frequent and joyful showcase of his roots.
  • “Day-O (The Banana Boat Song)”: His swinging, jazzy take on the Harry Belafonte calypso classic is iconic.
  • “Happylypso” (Ernest Ranglin): A tribute to his fellow Jamaican guitar legend, often played with infectious glee.

Conclusion: The Eternal Sunshine of Monty’s Music

Monty Alexander is more than a pianist; he is a phenomenon. His music is a potent elixir, blending the harmonic sophistication of jazz, the deep emotional wellsprings of blues and gospel, and the irrepressible, life-affirming rhythms of Jamaica into a sound that is uniquely and gloriously his own. His technical mastery is awe-inspiring, but it always serves the music’s soul and its fundamental purpose: to communicate joy, to uplift the spirit, and to make people feel alive.

He stands as a vital link in the chain of jazz piano tradition while simultaneously forging a new path, proving that cultural roots can be a source of profound innovation rather than limitation. As a bridge between Kingston and Harlem, between reggae riddims and bebop changes, between virtuosic display and heartfelt melody, Monty Alexander’s legacy is one of unity, celebration, and the enduring, universal power of musical joy. Six decades into an extraordinary career, the sunshine he channels through his piano keys continues to warm and invigorate audiences around the world, a testament to the boundless energy and undimmed passion of a true musical master. The beat, the swing, the skank, the soul – it all flows eternally through the fingers of Monty Alexander.