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Claudia Kuster - Geschäftsführerin???

Claudia Kuster - "CEO"?

Even big fraud started off small.
Resist the beginnings - we - may directly and indirectly pay for the dupes.




Yes she is a manager, she understands "their" business.


Even a very active one.

D WARNING
struggling to entrepreneurs / farmer.
-> Details of "takeover attempts" here lle

W arnungan A.

Claudia Kuster has changed the domicile.
This scam is well known, yet little attention is paid to it.
is new address: -

Claudia Kuster Frehner
Ulmenweg 2a
8856 Tuggen

So if an operation information on the charge of Tuggen SZ Office is required, the answer is
No entries
arises therefore ( only with a change of domicile) of the impression that the financial situation of this person would be "clean".
private prosecutions are known to be totalized to 08.03.2007: Fri 196'309 .70
As leaders of the GEON AG totalized prosecutions: Fri 659'039 .43
As the person responsible for bankruptcy Lowe AG (damage approx.): Fr.3 '000 '000 .00
addition, there are still spoken in court (but not months later fulfilled) claims to former Employees of tens of thousands of francs.
Neither the "acquisition of the machinery by a local political figure," nor the change the company name GEON AG ->> GEON Produktions AG, nor the "Replacing the Processor" (Jörg Lowe instead of Claudia Kuster), nor the sure is kept new correspondents (Helena, Andrea, Silvia, etc.) can improve something.
The whole thing is built on fraud, .... (for who builds on sand ...)

If you want to know what's going on with GEON AG, click here: GEON is more like it?

If you want to know how it ever came so far, click here: GEON felt like it so far?

If you want to know what the current brings day, you can (from HE) put the cards - or wait and see. We will report on it.


If Sie sich mit dem Verkauf Ihres Unternehmens tragen (Nachfolgeregelung, Verkauf, Kontinuität des Namens, Weiterbestand der Firma, etc.) lassen Sie sich AUF KEINEN FALL mit Claudia Kuster (bzw. mit ihr über "Firmenkonstrukte" verbundene Personen) ein, ein Desaster ist vorhersehbar.
Sie versucht immer wieder, entsprechende Kontakte zu knüpfen!
Für ein solches "Geschäft" sollte Ihnen Ihr Lebenswerk zu wertvoll sein.
Sie verlieren nicht nur Ihr Geld, auch der Name Ihrer Firma wird zunichte gemacht.
Hoffentlich helfen Ihnen nachstehend gelistete Beispiele!




Verpassen Sie keine frisch eingetroffenen Informationen
(wählen Sie unter A nsicht den Punkt Neu Laden (Aktualisieren oder ähnlich), damit wird die Seite aktualisiert)

Einige Beispiele aus ihrer "erfolgreichen" Karriere:

EVOLUT AG Lachen / SZ
Beratung von Kunden im Finanzbereich
Eingetragene Personen neu oder mutierend:
Kuster Claudia von Eschenbach SG in Uznach.
Präsidentin und "Geschäftsführerin" .
-->KONKURS ---> "Geld verloren"





Benken GmbH OPTIMA Carpenter / SG
operating a carpentry
Registered Persons:
Kuster Claudia von Eschenbach SG Uznach.
partner and "CEO" .
-> BANKRUPTCY ---> "lost money"





Federnfabrik Schmerikon Lowe AG / SG
production of springs of all types and their distribution
people newly registered or mutating:
Kuster Claudia von Eschenbach SG in Uznach.
Mitglied mit Einzelunterschrift "Geschäftsführerin" .
-->KONKURS ---> "Geld verloren ??"





Dieser Konkurs wurde bewusst herbeigeführt,bei den Vorherigen haben wir noch nicht recherchiert. (Dies wäre eigentlich die "Arbeit" der Behörden, was sollen wir uns [so lange kein direkter Auftrag vorliegt] "den Arsch aufreissen"? ! )
Claudia Kuster gründete am 18/06/2004 a company GEON AG with the same activity as the Lowe AG.
The GEON Company "asleep" but until the "decisive moment". This was officially
of bankruptcy - the day of Lowe AG.
officially?
Before the bankruptcy Claudia Kuster has fraudulent (air - business - or imagination) transferred material and values \u200b\u200bin this GEON AG.
been in bankruptcy controls everything right?
Where are the inspectors who are interested in such machinations?

Here's a little proof that Claudia Kuster together with Jörg Lowe with the creation of GEON AG is a construct on the basis of "one-man operation" with "helpers" were planning.
For ease of implementation ("unencumbered") was (consciously and deliberately?) Worked towards bankruptcy.
We do not at the moment (due to space and other reasons) to the entire multi-page publication that "future plans".





publish By popular request, we here some pages of the bankruptcy office available.
inserted comments in red are from us, it is our opinion.
Look at the first four and the last page views.
Form your own opinion.
The red color us only serves to highlight it (directly) nothing to do with the (each occurring in a lie) Wangenröte of "managing directors".







Such bankruptcies each year about 4.5 billion CHF (4.5 billion) to volkswirtschaftichem damage caused " ".

There are not only those responsible for SWISS, SWISS FIRST, etc. but "our friendly neighbors / neighbors" who rip off and cheat us. Similarly, an Alfred C. Claver (GEROLAG) may also be those people that the judge said will be charged:
Such persons have "a penchant for other people's money"

(Please not on our obsolete, things for your kind)

Tip Claudia Kuster (and all who want to dispute with such scams her life):
cleverness is one of them; crude bankruptcies are not clever!

Info to CK: These can "fly up", even if no authority makes sure we work on it!
(cheated and deceived people from the immediate environment (individuals, [Former] colleagues, associates, employees, etc.), we even help!

(Yes, Yes CK Look whom you trust, -. "Friends" can not post, if such "friends" not satisfied, they can even fall in the back)
[has not noticed? ;-)]

ertrogenen These funds are not lost or burned, they were the perpetrators of "ill-gotten with fraudulent and stolen".
We must these scams with pension cuts, tax increases (for reduced tax revenues and social security costs), additional deductions from wages (for social security, unemployment insurance, etc.) . Pay

Important Notice to all former Lowe - and current GEON - employees
(by chance your company is called the same as the title of the blog, which shows here or on the bottom link (You but such a story ..) reach. is [there are coincidences in life])


Now that the next "news" is emerging following very important for you!
(you could several 10 `000 -. Lose francs)

Please Controls (! In your interest) as soon as possible to your AHV - and pension funds - accounts. (With regard to pension funds: ask your (n) Employee representatives [GK, MV in our opinion more of a "employer representative" is] whether the "workers' representatives - control," according to law * [not like HR R..] running). We have concrete information that Claudia Kuster these funds not properly settles
(that is for you ->
pension loss and specifications for the workers' representatives -> legal responsibility).
* [The "BVG - Guidance for Trustees" may be obtained at any time to go through it with us, Ask us]
A IK - (Individual account) you can extract the AVS request through the Internet or by mail
:
AHV - number, name, address, (in Internet: own email address) :
SVA
Brauer Strasse 54 9016 St. Gallen


direct request of the IK-statement via the Internet



Important message for victims NIEDERÖST-/GEON- termination at the end of the next (GEON AG) site!


Such "Directors and Managing director (whether large or small, thick or thin) is the craft down.

alone from the above-mentioned bankruptcy (OPTIMA and Lowe) results:

- for workers, communities, the District, the suppliers, the state
a loss of several million.

- Claudia Kuster for a profit of just those millions!!
(This is her again in private homes and [declared and undeclared] create securities and their "friends" keep in good spirits)

Ugh, to hell with such a rip-off


What do you too our laws (and their guardians) who allow such activity?


If "someone" put together by the community and their "by the court," someone "from the Land Registry," someone "from the tax office," someone "from the Social Security and any one know" about this "business woman "would replace (and should!) - this" someone "-.? group would be alarmed by the impending work


we want this
The reexamination of constructs that clarification with the cash flow, checking the ownership, understand finance, etc. would be associated with some research.



But we can not exactly a little help (The original documents are located at the tax office Uznach, the tax commissioner, they can call on their computer) declared

These assets Claudia Kuster (they must surely, otherwise "one note at a possible test something," the debtors give them in their tax returns also) ,
there was still much more to write lines about it would also still available!
excerpt EST (electronic tax return is filled via the Internet and the scrambled transmitted be. . The Internet is "safe" and "discrete", especially leaves one "no trace")



(image archive zsz)
is perhaps here, just the file:
Lowe AG
or OPTIMA
or Claudia Kuster GmbH (private)
or ....
or any other company construct studied by Claudia Kuster?

Probably not, otherwise this would be nice not to smile at Mr's.

If have not (or a hint "from the top")
yet to be added, on behalf of those affected say:

We wish the bankruptcy officials the necessary power and assertiveness,
this case (with all rhizomes) to do clean.
I might be up to the end of the 26.Dienstjahres (01/11/1980)

Scheuble Mr. Schade, you could not be done until 01.11.2006.
If that was not a huge stand?
What has hindered you? (? Effort again to work up moratorium)
If the work is too much and you do not support the downside,
- may or may we help?

I might be up to Christmas 2006?
Would make a great satisfaction to construct such a full and Lug Contributed to smash.
would be worth an official deserved recognition to show that our law enforcement agencies are able to detect such fraud and meet the full dupe.
Had an opportunity to some doubts about "our" case law remedy.

If all dupe (employees, communities, social institutions, suppliers, etc.) a joy to their sometimes substantial, to obtain in any case, lack of credit.
might be a "relief" for Claudia Kuster, with this kind of "management" (forced) to make final.


(Bildquelle: Beamtenkalender Kt.St.Gallen)

Leider wäre nach einer solchen Arbeit die Wahrscheinlichkeit sehr gross, dass alle [in den letzten zwei Fällen] geprellten Konkursgläubiger (Angestellte, Gemeinden, Kanton, Lieferanten, Staat, Sozialversicherungen, etc.) voll befriedigt werden könnten.
Leider wäre nach einer solchen Arbeit die Wahrscheinlichkeit sehr gross, dass der "armen Treuhänderin" nicht mehr viel vom ertrogenen Geld übrig bliebe.
Wollen wir dies?
Natürlich darf sie das "ehrlich erarbeitete Geld" behalten, daran ist niemand interessiert. Sollte sich trotzdem jemand an dieses (sofern denn überhaupt Vorhandene) wagen, würden wir uns Gegebenenfalls dafür einsetzen. ;-)
(Sie wissen, was wir erreichen,einige "Müsterchen" wurden verabreicht. Unser Wort Frau Kuster, wenn jemand an's "ehrlich erarbeitete" will, wir bieten Ihnen unsere Hilfe zum behalten desselben an.)


Bitte keine neuen Fälle, unsere Ãmter und Behörden sind schon überlastet!

Schauen Sie doch einmal in diesen "Amtsstuben - Handlungen" vorbei,
da finden Sie (vielleicht) eine Antwort

Was nützt es den Betroffenen, wenn sie vom Gericht ihr Recht erhalten,
the enforcement of this right, but not within the remit of this instance falls?
Each petty thief passed after the conviction "to the following instance to sit out the punishment.
"small fish" are easy to catch and are now "processed",
large and smelly fish can go back into the pond from which they come.







we leave this chapter, we pay for it or pay:

Let us instead, play a bit, even as time passes

Erstaunt oder Verblüfft?
Wir können zwar keine Gedanken lesen, aber wir können analysieren und recherchieren!
(Vor Abfallkübeln und Containern haben wir keine Scheu, wir können auch als "Geometer", "Kanalarbeiter", "Vertreter", usw. unsere "Arbeit" verrichten. "Zurückgelassene" Computer sowie "gelöschte" Dateien können auch was hergeben, und die globale Vernetzung [www.kuster-treuhand.ch) konnte mit passenden Werkzeugen "verbinden". [Kann mal vorkommen, dass ein Mitglied wegen einem "Hundeli" den gefassten Auftrag nicht fertig erledigt. ;-) ])






FREUDE HERRSCHT
Im Moment läuft ein VERFAHREN gegen Claudia Kuster (privat).


Was wird passieren ?
Wenn Ihr das wissen wollt, sendet uns (als Kommentar oder als Mail Eure Meinung, wir werden bei wirklichem Bedarf unsere "Prognose" veröffentlichen.

Wenn Sie eine Prognose nach der "H.E.- Methode" bevorzugen,
zünden Sie ein Räucherstäbchen mit passender Duftnote an und schauen mal hier in die Zukunft.
(Wir können uns mit . The "HE" method does not make friends, like our system better for us safer hit rate)


Hot "insider" tip [we are against insider trading, but in this case ;-)]
Now Claudia Kuster where the "fat" is, it is quite possible that they will maintain at least a small part of their "honor" and keep them.
It is not necessarily business-facilitating, "trustee" to have a bad credit rating (which might put off potential "victims" [with illusory promises of profit] when they know that private operators for almost 000 .-- Fr.200 are covered. Perhaps
bietet C.K. (um ein "bisschen Liquidität zu haben) einige ihrer Wertpapiere (100% sichere Titel auf Liegenschaften [u.a. auch Gasterweg], deklarierte und "andere" wer "problemlos" investieren will, fragt nach FL-Papieren (Wertpapiere in eben diesem Land hinterlegt) oder UBS-Wertschriften (Achtung,lasst Euch keine [teilweise sehr gut gemachte / gefälschte] Photokopien andrehen) , sollte die "Verkäuferin" kein "Musikgehör" haben, meldet Euch (nur per E-Mail, wir wollen uns keinen Ruf als "Steuerberater" im Blog einhandeln) , damit Ihr wisst, nach welchen Papieren Ihr fragen sollt. günstig zum Verkauf an.
Kontaktiert sie mal, (055 282 13 53 / 055 282 61 30) lasst Euch von der "Vorzimmerdame" (H.E. Ihr müsst ausdrücklich betonen, dass Ihr von C.K. nicht wie viele Anrufer Geld zurückfordert, sondern ihr welches geben wollt dann wird H.E. "ihre Chefin" nicht verleugnen ) nicht abwimmeln.
Wenn's nicht klappt, könnt Ihr's auch privat versuchen (055 290 13 25).
Wirklich, "die Chance".

Wenn die Betroffene nicht "spuren will",könnte es für diverse "Liegenschaftsbesitzer" (so sagt man doch zu den Personen, welche im Grundbuch [als "Eigentümer"] eingetragen sind) eng werden.



"Kartenhäuser" können wie "Luftschlösser" (Luftfirmen) zusammenfallen, wir blasen (die "Konstrukte" auf den Tisch),
wir veröffentlichen die "Geschäfte", wir zeigen den "Geldfluss" auf.
z.B. GB Unterwasser, Parz. 384 Ass.Nr.1718 (Ferdinand & Regula Frehner)
z.B GB Uznach, Parz. 10306 / 8187
z.B. GB Uznach, Parz. 10294 / 8211 / 8212
(siehe auch in TELSEARCH.CH unter Eingabe der Telefon - Nummer diese Liegenschaften von "Freunden und Kollegen":)
[055 280 61 63 / 055 280 64 10 / 055 282 16 43 / 055 280 53 75]
Mich nimmt's wunder, ich will sofort Look
note number / write and write it in the appropriate box.


NEW SUBSTANCE arrived

Claudia Kuster- Frehner have the sole say in the Deku AG. Michael De
nzler- Frehner is excreted.
From the "occupation" DE nzler - KU art remains the only KU art.
to Attack, is to get as long as what you
obtained the property (shares).

Hello Bankruptcy Office: CONSTRUCTS REVEAL!
access, before it is too late.
the HR - entry:
"Mitglied mit Einzelunterschrift" kennen wir, er war in allen diesen Kuster - Konstrukten noch immer der Anfang vom Ende .
DeKu "verwaltet" u.A. die Liegenschaften Parz. 243 / 244 in Kaltbrunn.
Diese wurden von GEON AG am 21.09.04 von der Besitzerin (Stump) erworben und bis dato an Dritte vermietet.
Liquidiert, versteigert, (wir bieten mit) macht die Guthaben der DeKu AG zu Geld.
Eventuell können sogar "in C.Kusters Schuld stehende" Gläubiger auf diesem Weg ihr Geld erhalten.
[C.K. gibt Schuldbriefe, welche auf Liegenschaften lasten, gegen Forderungen der Liegenschaftsbesitzer(innen)]


was re-cobbled together.
Claudia Kuster rises "officially" out, look at the new premises at that!
"Random" is the address identical to that of GEON AG.
"Random" is the Retired "Geschäftsührerin" this GEON AG.

H & K GmbH, formerly in Uznach, CH-320.4.057.195-6, Ver-
administration of real estate, construction of architectural works, etc.
limited liability company (SHAB No 84, 02
05th 2005 , p. 11, Publ 2,818,336). Statutes updated: 13th
09. 2006th Seat new sport: it. New domicile: Allmeind
-Strasse 11, 8716 Schmerikon. Retired persons and revenue
electronic signature: Kuster, Claudia, von Eschenbach SG, after in Uz-
, shareholder and director with sole-
written with a capital contribution vonCHF 19000th - Registered
people new or mutating: Cadosch, Stefan, of Vaz / Obervaz,
in Zurich, shareholder and director, writing with a sole-
, with an initial contribution of CHF 19000th -
diary No. 6786 dated 18.09.2006
(03,560,360 / CH-320.4.057.195-6 )


who believe it's your own fault!
Where is this good home if not on the office desk of Claudia Kuster?


[more publications (eg old-and tax-fraud) are in preparation, review progress]

Just look such a story in more detail. write or say what you think about it.

- time, this information - page already called.

# posted by @ 16:42 c4j 18 comments

About Me

Name: c4j

Location: Oberer ZÃŒrichsee / SG, Switzerland

View my complete profile

Personal Statement About Dental Hygienist

Moanin' (Art Blakey)

Only three weeks after Art Blakey's 39th Birthday than the drummer and leader of his group "The Jazz Messengers" with an entirely new lineup of young and talented musicians for the label Blue Note Records in the recording studio of Rudy Van pulled money to one of the most beloved and admired works in the creating Jazz Music: Moanin '. The biggest success story Blakey and an earwig of jazz music.

"Moanin '" is still a classic in the world of jazz music. It is not only the ultimate inclusion in the career of Drummer Art Blakey , leader of the legendary group that created this work, it also such as the album "Kind Of Blue" by trumpeter Miles Davis, a transition into a new era of jazz music - the hard bop - It dar. So is a plate for jazz history and its consequences is of enormous importance was ist.Doch what exactly on that 30th October 1958 in Hackensack, New Jersey in neighboring New York in the small recording studio sound engineer Rudy Van Gelder and what makes this record so special and highlights them by others. It is the story of a masterpiece of jazz music, which sometimes did not receive the deserved accolade, but for jazz fans clearly one of the key jazz records.


In 1958, the jazz music at the height of its history. Although great musicians as the saxophonist Charlie Parker and trumpeter Clifford Brown already by both tragically lost their lives and the bebop of the late forties and early fifties, was already dead, so was the late fifties, just a major change of direction instead of in jazz. Masterpieces such as John Coltrane album "Blue Train" were already written, others such as Miles Davis' "Kind Of Blue" , Coltrane "Giant Steps" and "A Love Supreme" or Lee Morgan album "The Sidewinder" arrived yet. During the bebop took leave of him, followed by Hard Bop, brilliantly represented by the drummer Art Blakey and the Jazz split gradually into different directions, eg in modern jazz, the avant-garde or free jazz. "Moanin '" played a crucial role in all this, because it was one of the first albums, which ended this critical path of change and not stuck in time but was promoted the development. Instrumental in: drummer Art Blakey .

Art Blakey Born on 11 October 1919 in Pittsburgh, was one of the most important and most important drummers in jazz history. Starting as a pianist, but then by the legendary pianist Erroll Garner from his own band displaced, he screwed up later behind the drums, he went soon to America's greatest drummers, and with his in 1955, founded the band "The Jazz Messengers" was the way to the ultimate success and the emergence of this record cleared.

The recording was like almost all the panels of the label Blue Note Records in Hackensack, New Jersey place where the sound engineer Rudy Van Gelder , a very good friend of Alfred Lion and Francis Wolff, the two founders and owners of the label, recording studio in his small living room of his parents had. Even today, the left during the recording of photographer Francis Wolff shot pictures, the impressions, as in Van Gelder's first - in very small studio - appeared before in the same year a major recording studio in nearby Englewood Cliffs moved. In the background, various shutters, closets, or floor lamps can be seen. If you Heuet this little room still enters it seems almost inconceivable, as could occur in such a tight space so many jazz classics such as John Coltrane and album "Blue Train".

Not only Schlagzeuger Art Blakey alleine, Tontechniker Rudy Van Gelder oder auch die Präsenz von Alfred Lion und Francis Wolff beim Aufnahmetermin, die die Entstehung und Umsetzung der Platte vorantrieben, waren für den Erfolg bzw. das Entstehen der Platte verantwortlich, sondern vor allem die Mitmusiker Blakeys, eine völlig neu zusammen gewürfelte Band, die für den größten Teil des Materials und der Musik verantwortlich war. Es waren die neuen „Jazzmessengers“, die Blakeys Message in die Jazzwelt trugen.


Hier die Musiker, die „Moanin’“ entstehen ließen:


Lee Morgan - Trumpet
Benny Golson - tenor saxophone Bobby Timmons
- Piano
Jymie Merritt - Bass
Art Blakey - Drums


"Staying with the youngsters," has always been the credo of Art Blakey been. Just five years before recording this album was Blakey with a band of only younger people, for the record label Blue Note Records released the recording date, time for the Arrangement at Birdland, which resulted in two albums, "A Night at Birdland, Vol 1 & 2 ". And just as the trumpeter Miles Davis and later with his album "ESP" pretended to a completely new Band aus jungen Musikern vorstellte, so führte auch die neue, junge Band Blakeys dazu, dass nicht nur die „Jazzmessengers“ wieder auf einen erfolgreichen Kurs kamen, sondern auch neues und frisches Blut in eine neue Ära des Jazz gebracht wurde: den Hard Bop.


Bis auch Blakey selbst, der aus Pittsburgh stammt, bestand die ganze Band für die Aufnahme zu „Moanin’“ - und auch für wenige Aufnahmen danach noch - nur aus Musikern aus Philadelphia.

Angeführt vom Tenor Saxophonisten Benny Golson. Der 30-jährige Saxophonist aus Philadelphia und außerdem auch ein guter Freund vom anderen begabten Saxophonisten aus Philly, John Coltrane, zeigte sich als musikalischer Leiter the band and the main responsibility for most compositions in addition to Blakey as the most important part of the still very new group. Just the four compositions, "Are You Real?", "Along Came Betty," "Blues March" and a feature track for Art Blakey, "The Drum Thunder Suite" are all from Golson hands and it helps not only Art Blakey and his group "The Jazz Messengers" to success, but they also create his time with Blakey and even the breakthrough as a hip saxophone in the jazz scene of New York City.

"It was Golson who recruited his fellow Philadelphians for service with Blakey overthe course of 1958; and while the sanctified Timmons composition “Moanin’” became the album’s runaway hit, it was Golson who was responsible for the majority of the material.”

Die andere wichtige Hauptperson ist der - mit 22 Jahren fast halb so alte wie Art Blakey – Pianist Bobby Timmons. Seine Komposition „Moanin’“ ist das Titelstück des Albums und außerdem der Ohrwurm in der Jazzmusik schlechthin. Mittlerweile schon wie Blakey ein Teil der Blue Note Familie, seit seinem Café Bohemia Auftritt mit Trompeter Kenny Dorham, setzt der Jungspund am Klavier seine ganz persönlichen Akzente für die Platte.

Trompeter Lee Morgan , mittlerweile schon längst nicht mehr nur als junger Teenager abgestempelt, sondern schon ein recht erfolgreicher Musiker beim Label, spielt sich auf dieser Platte nun endlich aus dem Schatten von Dizzy Gillespie, in dessen Big Band er anfing, als er aus Philadelphia nach New York kam. Sein energievolles Spiel an der Trompete und Jymie Merritts fassettenreiches Spiel am Bass beeinflussen die Kompositionen und die Stimmung während der Aufnahme sehr.

Zusammen ergibt diese Formation der „Jazzmessengers“, die genauso geschichtsreich wie ihre Musik ist, den Grundstock für die Aufnahme zu „Moanin’“. Der Weg ins Neue, eine neue Ära des Jazz und einem großen Erfolg für Blakey und seine Mitmusiker.

Hier die Zusammenfassung der Titel:



„Moanin’“

Mit dem gleichnamigen Titelstück beginnt „Moanin’“. Mit dem funkigen Thema, begonnen durch Bobby Timmons am Klavier - der auch der Komponist des Stückes ist - und danach erweitert durch den Bläsersatz, bestehend aus Benny Golson am Tenor Saxophon und Lee Morgan an der Trompete. Das Thema ist sehr eigentlich sehr einfach aufgebaut und basiert auf einem klassischen call-and-response Pattern, auf dem Timmons simple Phrasen spielt und Golson Morgan and respond to it with two chords, Bb and F.

The solos are built on a simple chord progression, Bbm7, Ab7, G7b9 and C7 # 5 (# 9). If, however, such as times viewed as simply Morgan's solo begins on trumpet, and yet quite certain tension is created, you realize what's behind all of this first gospel-like composition. After Morgan followed for two choruses of solos of Golson on saxophone, Timmons on piano, and finally Merritt on bass.

"Moanin '" is up to Blakey's death is always the showpiece of the "Jazz Messengers" in the changing line until the early nineties, his band, always filled with new, talented musicians remains. Even later Blakey does always come back to this one composition, which paved the way to the 1958 success of the band.


"Are You Real?"

"Are You Real?", The first of four compositions by saxophonist Benny Golson, is a 32-stroke long theme, played by the horns, the same by a long Chorus Solo Benny Golson follows itself. According to Lee Morgan and Bobby Timmons then, finally for once to Art Blakey solo, after which he at first piece "Moanin '" still played much in the background. According to his breaks (Fours), played alternately by him and a soloist follows at the end of a solo Jymie Merritt on bass.

What is striking in this piece in particular is how careful each soloist organized in only a chorus so intent and play well and so in a rather small space many notes and ideas fast. Above all, Morgan's solo shows how much he has learned since his time at Gillespie when he was just a young, inexperienced or trumpeter. Although the piece only lasts less than 4 minutes, which is rather unusual for a jazz piece, especially from the era of hard bop in the late fifties and early sixties.


"Along Came Betty"

The second composition of this Golson Album, "Along Came Betty," is a beautiful ballad, but very beginning moves into mid-tempo. Not any particular personality Golson close circle of awareness, but simply the life style of a young lady named Betty Golson inspired to write this number, which is the topic again converted by the two horns.

The order of the soloists is almost the same as "Are You Real?" Already. Lee Morgan starts, followed by Benny Golson, Art Blakey and Bobby Timmons. As with the first number Golson, each only a chorus of charge but gets the most, sometimes with very simple means and little sounds, like Morgan in the past acht Takten seines Solos, heraus.


“The Drum Thunder Suite”

Diese Nummer ist eine der interessantesten und auch abwechselungsreichsten Stücke der Platte. Ebenfalls von Benny Golson komponiert ist es jedoch kein herkömmliches Stück, sondern eine eindeutige Feature-Nummer für den Schlagzeuger der Messengers, Art Blakey.

Die „Suite“ besteht aus drei Teilen, dem ersten Teil „Drum Thunder“, dem zweiten Teil „Cry A Blue Tear“ und dem dritten Teil „Harlem Disciples“. Ganz klar und ohne Frage steht in allen drei Teilen das Schlagzeug im Mittelpunkt. Die Teile bestehen hauptsächlich aus Schlagzeugsoli, wobei However, from time to time by inserting between sections of the brass section and follow even a few small sections of solos by other musicians such as Timmons and Golson.

The first part, "Drum Thunder", which mainly includes the melody lines, which can be defined not just as the topic on which the band but returned at the end of the suite again, and then introduce the end.

The second part, "Cry A Blue Tear" is a number, written in Latin feel, which is based mainly been on the melody lines of the entire band.

follows Finally, then the third part, "Harlem Disciples," the final of the number consisting of a blue scheme. The band returns back to top melody accompanied by Blakey's solos.


"Blues March"

The fourth and final composition Golson on this album is "Blues March", a play that both from the title, as well as by the rhythm and the melody is reminiscent of a marching band from New Orleans.

The focus of the piece is quite clear on the drums and also played on Blakey himself both the theme and the solos by Morgan, Golson and Timmons accompany the drummer and driving force of the group with a heavy, earthy 4/4-Rhythmus that pushes the band forward.

"Blue March" should like "Moanin '" auch schon, ein unvergessener Ohrwurm und Paradestück der „Jazzmessengers“ werden und auch auf dieses Stück greift Blakey auch später immer wieder zurück und spielt es in den verschiedensten Formationen neu ein.


“Come Rain Or Come Shine”

“Come Rain Or Come Shine” ist die einzige Komposition auf dem Album, die nicht von einem der Bandmitglieder selbst stammt, sondern ein Jazzstandard von den Songwritern Harold Arlen und Johnny Mercer ist.

In einem typisch dem Hard Bop verfallenen Spielstil fängt nach dem Thema gleich Bobby Timmons am Klavier an ein Solo von der Länge eines Chorus zu spielen, worauf ihm Golson am Saxophon, Morgan follow on trumpet and Merritt on bass. It's the end of the disc once again a finale with jazz material that the overall appearance of this plate a little rounds.

Shortly after the recording of "Moanin '" was followed for Art Blakey and his Jazz Messengers, "an extended tour to Europe, as the main objective Paris in France, that at this time had the most vibrant jazz scenes outside the U.S.. The performances were a great success and up to Timmons, was replaced by Walter Davis Jr. and Benny Golson, Wayne Shorter took the band were also all members to the already participated in this recording. The trip was a great success and made Blakey and his band also known in distant Europe.

The album "Moanin '" was thus the beginning of a success that should last for decades, and though Art Blakey in the following years until his death from time to time had ups and downs, but almost always with first-rate new formations of his band at the start was (as in the eighties, for example, with Wynton and Branford Marsalis), that was formed in October of 1958 album by the pioneer of this ongoing success. Blakey "groaned" and the jazz world listened - until today at a not too often achieved success.



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Thelonious Monk - "Blue Monk"

Thelonious Monk - Piano , Charlie Rouse - tenor sax, Larry Gales - bass; Ben Riley - Drums

Thelonious Monk is one of the most important pianists in jazz and music in general. His playing, his style influenced by bebop and all that he created himself and now a basic treasure every good jazz pianist heard all that jazz music had a crucial impact.

Monk bereicherte die Welt jedoch nicht nur mit seinem unvergleichbarem Spielen und seinen Aufnahmen, auch die vielen Kompositionen von ihm, wie zum Beispiel "Round Midnight", "Ruby, My Dear" oder "Well, You Needn’t", hinterließen Spuren in der Jazzmusik. Zu diesen Stücken, die heute allesamt oft gespielte Jazzstandards sind, gehört auch die Kompositionen "Blue Monk", die in diesem Video zu hören ist.

Die Band, bestehend aus Monk selbst am Klavier, Charlie Rouse am Tenorsaxophon, Larry Gales am Bass und Ben Riley am Schlagzeug, die diese Komposition am 15. April, 1966 in Oslo auf einer Europatournee spielte, gehörte zu einer von Monks wichtigsten und besten Bands in seiner Karriere und die entstandene Aufnahme ist ein wahrer Mastertake.

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The Heath Brothers - Story Of A Jazz Family

Es gab selten eine Familie in der Jazzmusik, die einen so großen Einfluss auf die Musik und auf den Jazz nahm wie die Heath Brothers – Bassist Percy Heath , Tenorsaxophonist Jimmy Heath und Schlagzeuger Albert “Tootie” Heath . In den drei Heathbrüdern steckt nicht nur die Jazzgeschichte drin, sie sind Jazzgeschichte. Zusammen mit den drei Jones Brothers, bestehend aus Pianist Hank Jones, Trompeter Thad Jones und Schlagzeuger Elvin Jones, haben es Percy, Jimmy und Albert als einzige Familie geschafft über ein Half a century by the most successful family of jazz music to be, and often appeared to be another. It is the story of a family full of jazz and music history.


But if the Heath Brothers were actually, as were their respective paths through the history of jazz, why they were so important in music and why they were individually and collectively so successful?

The following three articles deal with this question in three different profiles of musicians will be shown who they were, the three brothers, of which there are sadly only two remain, because the bassist Percy Heath died in 2005 of complications from cancer.

Click here for the three articles:

• Percy Heath (bass)
• Jimmy Heath (tenor and soprano saxophone)
• Albert "Tootie" Heath (drums)

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Percy Heath - "Big P"

Percy Heath, the oldest of the three Heath Brothers, 30 April 1923 in Wilmington, North Carolina born, but spent his childhood in Philadelphia, Pennsylvania, where later his two younger brothers, Jimmy Heath and Albert "Tootie" Heath zur Welt kommen würden. Schon früh kommt der älteste Sohn der Familie mit der Musik in Berührung, sein Vater spielt Klarinette und seine Mutter singt im Kirchenchor und so liegt es nicht fern, dass auch Percy bald musikalisch einbezogen wird. Im Alter von 8 Jahren fängt er an Geige zu spielen, wobei er wie seine Mutter auch noch singt.

Im Jahre 1944, also zur Zeit des grausamen Zweiten Weltkriegs in Europa und Asien, wird Percy dann im Alter von 21 Jahren in die U.S. Army befördert. In der Air Force ist er in der Tuskegee Airmen stationiert. Doch als der Krieg ein Jahr darauf endlich vorbei ist, verlässt Percy die Army schon wieder und fängt nun an, das Instrument zu erlerne, was ihn später berühmt machen sollte - The double bass. Fascinated by jazz players like Jimmy Blanton (the famous bass player in Duke Ellington's band), Oscar Pettiford and Ray Brown, he throws himself from the 1946 into the Philadelphia Granoff School of Music fully into the new instrument and is soon a hot tip on the bass in throughout the jazz scene in and around Philadelphia.

His first arrangement he plays it with the pianist Red Garland, later, by his involvement with the first legendary Miles Davis quintet of the fifties famous. A little later he will be the house bassist of the legendary Downbeat Club in Philadelphia.

His final breakthrough creates Percy then end of the Forties, as it him and his younger brother Jimmy in New York City - the world capital of jazz - attracts. The move of the trumpeter Howard McGhee, who offers both a place in his band, which does not reject them. The tour brings him together with McGhee in the following year also the first time to Europe, where they play at the Festival International de Jazz.

Back in New York in 1949, Percy has gone permanently to the greats of jazz. He plays with musicians such as Clifford Brown, Miles Davis, Thelonious Monk , Charlie Parker, Sonny Rollins and Horace Silver. The bebop trumpeter Dizzy Gillespie caught up with him in 1952 - this time with his younger brother Jimmy - in his Big Band, where he spent two years remains.

characterizes his career but especially the year 1951, when he becomes part of the Milt Jackson Quartet, with pianist John Lewis and drummer Kenny Clarke. The roots of this formation are already in Gillespie's band, Jackson, Lewis and Clarke were members. Percy Heath replaced first only the bassist Ray Brown, who left the band shortly before, then also an integral part of the group. A year later, the group names in the Modern Jazz Quartet (MJQ too short) to and is one of the most famous bands in the small combo jazz. In 1955, then forms the final formation of the Quartet, which is then also exist for many years: drummer Kenny Clarke is the drummer Connie Kay.

But it is not that Percy had arrived where he was one of the greatest bassists in jazz, he found himself on the way there. When Titan Bass Charles Mingus in the fifties, he learns a lot about the intonation on the bass, which is definitely also a breakthrough in helping the Modern Jazz Quartet. It followed 43 years, in which the Modern Jazz Quartet is active and presented to the American jazz on many international tours in the world.

In 1974, financial problems, however, ask the band to break up temporarily and take a rest. The pause vom MJQ nutzt Percy Heath jedoch, um endlich einmal eine Gruppe zusammen mit seinen beiden Brüdern Jimmy und Albert zu formatieren. Aus dieser Idee entsteht die Gruppe „The Heath Brothers“, die während des Zeitraums von 1975 bis 1982 regelmäßig zusammen auf der Bühne steht und Platten produziert. Für Percy Heath öffnet diese Zeit auch völlig andere Welten. Zur Gruppe steuert er sehr viele eigene Komposition wie zum Beispiel „The Watergate Blues“, „Rejoice“, „Move To The Groove“, „Islandized“ oder „Dave’s Haze“ bei und greift auch immer häufiger zum Cello.

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When the Heath Brothers then starts the Modern Jazz Quartet - in the old formation, and new freshness - in 1983 again fully through and Percy Heath celebrates with Milt Jackson, John Lewis and Connie Kay on a Japan tour one of the largest success in all that time in the history of the band.

In 1994, then the drummer Connie Kay breaks off the first part of the legendary MJQ, on drums to replace him temporarily then Percy's brother Albert "Tootie", but as of 1999, the vibraphonist Milt Jackson dies, the magic of the legendary group's final of the past disappeared. Two years later, in 2001, then dies and the pianist John Lewis.

Even Percy Heath, now 78 years old already attracts more and more from the big music business and now spends much time in his native Long Iceland in New York. There are, though every now and then appeared in the New York jazz scene, especially with his younger brothers.

In 2004, then again following a unique highlight in his career. At the small jazz label, Jazz Daddy takes Percy Heath his very first album as a leader on - "A Love Song". Even if it is the only disk should remain as leader, to more than 300 different plates Heath is still with the Modern Jazz Quartet or simply to find just as a sideman and it here mostly in top form and an exuberant presence on the bass on.

On 28 April 2005 Percy Heath died in his home city of New York City of complications from bone cancer. With the death of the eldest member of the Heath family breaks away even the last part of the Modern Jazz Quartet and one of the most talented and versatile bass players in jazz history leaves the Jazz. But his spirit still lives in his recordings, the music of his two surviving brothers and in the thoughts of many who loved his music and were kind of playing.


More about the Heath Brothers: Here

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Jimmy Heath - The Saxophon Professor

Jimmy Heath , younger brother of Percy Heath and older brother of Albert "Tootie" Heath comes on 25 October 1926 in Philadelphia, Pennsylvania to the world and is therefore 3 years younger than his brother Percy. Growing up, he does like his older brother Percy already in Philadelphia and get not only something of the vibrant jazz scene in Philly something, but also the first musical steps of his brother, who begins in this time to play the violin.

About Jimmy's childhood, however, is not so much known about how his big brother, of the career of both looking at a higher level of fame enjoyed by most of his involvement in the Modern Jazz Quartet. What is clear however is clear is that Jimmy Heath at the beginning was not a tenor sax player really, but he, like his role model Charlie Parker played the alto saxophone. Thus he was often "Little Bird" because his style of play already really very close to the Parkers arrived and was marked by the same approach to virtuosity.

to play in the first big band in Philadelphia, where he starts from 1947, are even a few jazz musicians who later are among the largest in the history of this music. They include names such as the tenor saxophonist John Coltrane (at that time, however, also a saxophonist), Benny Golson and Nelson Boyd. Even Charlie Parker himself, and drummer Max Roach often appear in the local scene in Philadelphia.

Together with his brother Percy, who has since been changed to bass, he was drawn in 1947, then dazzling in the jazz city of New York City, where they were the trumpeter Howard McGhee, a place in his band anbietet.Die working with the talented trumpeter Percy does not only open but also Jimmy Heath, the doors to the jazz world and to many exciting deals with many jazz greats. Said Jimmy has been playing two years later with Dizzy Gillespie's big band and played in 1948 at the age of 21 years in Europe in the first International Festival in Paris (again with his brother Percy Heath).

the early fifties, is then an important change for Jimmy Heath. Like other alto saxophonist, (eg John Coltrane ) Jimmy moves to the tenor saxophone, the instrument that has become by the presence of Coleman Hawkins to the instrument in jazz. The switch to other saxophone, however, may also have had many other reasons. call for all-clear would be Charlie Parker - the Master of the alto saxophone. As good as he never was surpassed on his instrument, and even in the largest Drug and alcohol intoxication was "Bird" can not be beat and so did many alto saxophonist in the fight against the living legend already ascended to a simple musical personality. Often the change had also something to do with the fact that one job in the big bands and groups got the alto saxophone at the time was still far more common than the tenor saxophone and it was in most bands have often an alto saxophonist.

But for Jimmy Heath followed in the fifties some personal problems. To his drug addiction that drew him like many other musicians in the pit, Heath lost much ground, lived only from the needle and from shot to shot. So he missed in that time, partly important arrangements with Miles Davis, who wanted to have in his quintet, but Jimmy could not accept because he was not allowed to leave Philadelphia because it was known to the police that he was a junkie and he therefore could not leave this room.

Back in 1959 - clean this time, for he had made the withdrawal of the drug - he takes the contact to the jazz world again (in between he once played not for a while and wrote for other musicians as the trumpeter Chet Baker or drummer Art Blakey ). The following is first a einjahrlange work with trumpeter Miles Davis, saxophonist John Coltrane where Heath heir, who had left the band shortly before. Das erste mal in seiner Karriere bekommt er viel mit Modern Jazz zu tun bekommt. Davis’ Aufnahme „Kind Of Blue“ ist noch frisch in den Köpfen der Leuten und der Wegweiser in eine neue Epoche des Jazz und auch wenn sich Jimmy am Anfang etwas schwer tut, so lernt er mit der Zeit auf die spärlich wenigen Akkorde zu improvisieren und lernt bei Davis viel dazu.

Auch mit Trompeter Kenny Dorham und dem Pianisten Bill Evans spielt Heath nun erfolgreich zusammen und in dieser Zeit fängt auch seine Zeit beim Plattenlabel Riverside an, für das er viele erfolgreiche Jazzplatten produziert und einspielt. In den Sechzigern steht er auch viel with vibraphonist Milt Jackson, best known from the Modern Jazz Quartet, his brother Percy, and trumpeter Art Farmer on stage.

Even then, turns out that Jimmy Heath has a great talent for composing and arranging. More than 125 compositions he has written to date, including many important jazz standards such as "CTA", "Without You - No Me," a reference to his close ties to Dizzy Gillespie, "Trane Connections", in homage to John Coltrane or "Ginger Bread Boy", a piece that Heath has dedicated his son Mtume. Even his older brother Percy Heath immortalized Jimmy Heath in einer seiner Kompositionen, sie trägt den Namen „Big P“.

Mit seinen beiden Brüdern Percy und Albert „Tootie“ formatiert Jimmy dann im Jahre 1975 die Jazzgruppe „The Heath Brothers“ , in der er der führende Kopf der Gruppe ist, da er durch sein großes Talent des Arrangierens und Komponierens zusammen mit seinem älteren Bruder Percy ein perfektes Team bildet, dass durch den Drummer Albert „Tootie“, der bei vielen anderen Jazzgrößen einiges gelernt hatte und schon längst zum Olymp der Jazzmusiker aufgestiegen war, perfekt vervollständigt wurde. So folgten 7 Jahre, in denen Jimmy vor allem mit seinen beiden Brüdern auf der Bühne and in the recording studio was.

In 2003 Heath was then with the American Jazz Masters Fellowship award for lifetime achievement, an honor he shares with others, Ella Fitzgerald, Count Basie and Dave Brubeck.

Even today, the now 80-year-old Jimmy Heath lives in New York City and remains active as an arranger and composer, as well as a musician. Many young musicians Jimmy Heath has passed his knowledge to date and he is not afraid today to face new challenges. After the death of his brother Percy Heath in 2005, now the most important musical representative of the family and the Heath Brothers. Heath is also the representative of bebop saxophone and since it is increasingly rare today, biologically, to be playing with a musician from the founding generation of bebop Jimmy Heath is still a very popular jazz musician.


More about the Heath Brothers: Here

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Albert "Tootie" Heath - The Third Heath

Albert "Tootie" Heath , the youngest of the three Heath Brothers is 31 March 1935 in Philadelphia, Pennsylvania born and thus plays the youngest member of the family, often in the shadow of his older brother by 12 years Percy Heath be 9 years and older brother Jimmy Heath .

growth does Albert Heath as his two older brothers already in Philadelphia and while Percy and Jimmy left home soon to move to New York City and play the trumpeter Howard McGhee, is Albert until his 12. Age of almost daily with his two brothers together, and sees the two with their instrument, Percy at first the violin, and later on bass and Jimmy Heath, first on alto saxophone. The music fascinated him and he can hardly escape the very musical direction of the family. Even the parents of three sons, it used to make music, Funny People clarinet Albert's father, while his mother sang in the church choir. Alberts instrument over the years, then the drums, a development similar to another large family of jazz - the Jones Brother, consisting of the pianist Hank Jones, trumpeter Thad Jones, and drummer Elvin Jones.

The first important recordings makes Albert in 1957 when he and the tenor saxophonist John Coltrane is on stage with him and make shots.

Although Albert Heath is a great drummer and his career as a musician at a very often with many great jazz musicians such as Kenny Drew, Art Farmer, Benny Golson, Dexter Gordon, Herbie Hancock, JJ Johnson, Wes Montgomery, Bobby Timmons and Cedar has played together for Walton, he was never really out of the shadows of his two older brothers. The main reason is that Percy Heath with the Modern Jazz Quartet in part celebrated the greatest success that can only celebrate a jazz musician Jimmy Heath and proved to be a one-time exceptional talent as a composer and arranger. It's hard to face with such brothers into the spotlight, yet managed to "Tootie" often, as a friendly musician, who by his fellow musicians often as gifted and talented, but also as a purposeful Drummer was recognized.

Not to conceal is of course that Albert owes his two brothers a lot, because she paved the way for music, and served as a guide for him and partly as a model.

The fact that the three brothers are all but an irresistible trio seen in 1975, when Albert, along with Percy and Jimmy founded the group "The Heath Brothers" . As a drummer, he provides here for the critical pulse and drives the game with his masterful ideas ahead of his two brothers. In 1982 this group then separates and each of the musicians go their own ways, triggered mainly by the Percy Heath returns to the Modern Jazz Quartet, that the following year reformatted, go diving Albert his own path as a musician.

Even today, the now 71-year-old Albert "Tootie" Heath active as a musician in the New York jazz scene and is the leader and producer of "The Whole Drum Truth," a jazz percussion ensemble consisting of the great masters of percussion such as Ed Thigpen, Billy Hart, Louis Hayes or Ben Riley.


More about the Heath Brothers: Here

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Ben Webster & Jo Jones - Various Tunes

Ben Webster - tenor saxophone; Jo Jones - drums, (and Various Artists)

Ben Webster and Jo Jones are both musicians, the music on their instrument, and generally changed, Webster his saxophone, which was also through him to the instrument in jazz, and Jones on drums, starting with pianist and bandleader Count Basie, and even later recognized as one of the best drummers in jazz history.

This video both play together and both play much in the forefront of the whole band, which is especially for a drummer something special. The beginning of the solo by Webster is played first-class, perfectly underlined by the band and the subsequent Breaks (4 / 4) of Jones shows his skills as a world-class soloist - not necessarily only as a companion and driver of the group.

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Thelonious Monk - The Mythos Of Jazz

Thelonious Monk was one of the finest pianists in jazz history and one of the rare musicians who made it with their musical works to advance and enrich the music with their compositions. It is the myth of a man whose name has mysteriously been to one, but behind the humane and musically much more concealed than in the beginning is to be assumed.

Thelonious Sphere Monk was born on the 10th October 1917 in Rocky Mount, North Carolina in the United States of America the light of the world. Even his name is on the birth of an absolutely unique, and so it is already on the registry office to a confusion of his name in Thelius (sic) Monk, where it is clearly a hearing defect.

When little Monk six years old, the family pulls together with the father, mother and two sons and an older daughter to New York City to the impoverished black neighborhood of San Juan Hill, south-west of Harlem. Here lives the family from now on the West 63rd Street between 11th Avenue and West Side Drive, directly behind the present-day Lincoln Center. It is a region with a vibrant music scene and it is the place to live in the Thelonious also most of his life is. Monks mother will also find work quickly, so that the financial position of the family is secured, because the Father is leaving New York again soon and pulls back seeking recovery in the southern United States and never appeared again. The family is still in New York and lives are getting better and better everyday life in a major American cities a

grows here he early twenties and already gets early much of the music, especially jazz, which gradually according to America's most important music genre developed with. The key event Monks in youth is a friend of the family give a piano. His older sister, Marion shall from now on piano and Monk is so fascinated by this instrument that he always practicing her shoulders and looks after a certain time teaching himself to play the piano. Although he then briefly also at the school tried trumpet his love for music is always related to the piano and he will receive at the age of eleven years, the piano lessons from a piano teacher.

With fourteen years Thelonious then already so good that he on numerous occasions, for example in the neighborhood, playing piano and so a small financial contribution for the rent and provide the musical entertainment. Even in high school to Monk too busy with music, but also in other areas of particularly good, such as in math, physics or basketball. His interest in jazz is more pronounced and so too slow, an inkling of his future career significantly.

Every Wednesday visited Monk from now on an amateur competition at Harlem's Apollo Music Hall. But this contest as often as he wins in a row he will soon no longer allowed. He is already playing with a totally different league, which shows his latest early exit from the High School at the turn of 1933/34, to a singer and other musicians on an extensive tour to go, all at the age of 16. It is the first step to becoming a professional musician and Monk in this time when he is far away from home, and considerably more human and musical maturity. In the cities, in which makes the group containing, Thelonious still looking after the jazz scene, playing gigs at so often by his late-night jam sessions. Here he meets in cities like Kansas City for the first time on real jazz legends as the pianist Mary Lou Williams.

In 1936, he then returns to end the tour back to New York City to his mother with odd jobs, like playing in pubs and dance halls to support, financially. With other musicians such as drummer Kenny Clarke, Monk controls but a new way of interpretation of jazz, with new musical plans and new features that will express itself years later in the newly emerging bebop style of music.

With Bud Powell met Monk in 1937, then an equally young minded jazz pianist. The two build a friendship that will last long and up to Powell's premature death in the mid sixties and come through his drug addiction and the Monk one time or another in difficulties.

His biggest Erfolg verbucht Thelonious Monk dann im Jahre 1940, als er der Hauspianist im Jazzlokal Minton’s Playhouse, oben auf der West 118th Street in Harlem, wird. Der Club, gegründet vom älteren Musiker und einem der ersten Musikergewerkschaftsfunktionären Henry Minton, ist fortan der zentrale Anlaufspunkt für junge und experimentierfreudige Musiker in der New Yorker Jazzszene. Neben Monk spielt außerdem noch der Schlagzeuger Kenny Clarke und oft der Bassist Nick Fenton bei den nächtlichen Jam Sessions im Minton’s. Hier entstehen durch die unvergleichliche Zusammenarbeit von Musikern wie Charlie Parker, Dizzy Gillespie, sowie Thelonious Monk und Kenny Clarke selbst bald der Bebop, eine Musikrichtung, die sich durch einen hohen Anteil of improvisation and the emergence of the soloist characterized. Away from the big band swing in the new adventures of bebop Leave Monk and the other musicians here and breathe history of the jazz scene a new life.

But with the advent of bebop also splits the audience for jazz, not every jazz fan comes this new music in fascination and then split the opinions of Thelonious Monk, who is now enjoying increasing popularity. As one of the first jazz critic, however, recognizes Monks incomparable musical gift and size, and estimated, is Herbie Nichols, himself a pianist and now only dimly aware - are among his most important recordings of his recordings for The New Yorker Jazz label Blue Note Records. He appreciates his music and his musical thinking. But the mid-forties he is still one of the few that recognize this. In many encounters Monks music to confusion, it is now giving clear that he was already ahead of its time in 1945. Although

are especially Charlie Parker and Dizzy Gillespie in the spotlight of the Bebop is obviously cares little about Thelonious Monk. In 1946, he then gets a job in the big band by Gillespie, but this offer ends soon again, as Monk was again out of principle to one of the performances.



At the beginning of the year 1947 Monk's career starts to really get going. Musicians like Gillespie and Parker have been all the forties - with the exception of the period of the union strikes of the music industry - included plates and perpetuates their music. Monk himself, however, was only available as a sideman with other musicians - especially for Gillespie himself - moved into the eye of the jazz world. But now, to the end of his thirty years of the age, Monk seems to get his chance. The founder of the jazz label Blue Note Records, Alfred Lion investigated, Thelonious Monk for his exemplary character, founded in 1939 and Blue Note labels from Monks appear first two albums as a leader - "Genius Of Modern Music, Vol 1 + Vol 2 ". The two panels are for Blue Note but only a moderate success, but are the cornerstone of a foundation, the only Monk is still trying to build. The music of the plates is undeniably fabulous and then also add that Blue Note was on the old disk formats, while all the major record companies have used the new medium, and thus the income only slightly precipitated.

happened in that time, it also means that Thelonious asks for the hand of the woman from the neighborhood named Nellie, a girl, that even on his days in the sandbox back and with which he always shared a deep and mutual love. Self-sacrificing provides Nellie from now on ihren Ehemann, sorgt für die Ordnung in seinem Zimmer, wäscht sein Geschirr ab oder steckt im die Zigarren an. Obwohl Monk sich mehr an die Musik als an sie bindet, ist es wohl Nellies rücksichtslose Bereitschaft, für Monk zu sorgen und da zu sein, der ihre Ehe für so lange Jahre am Leben lässt.

Das Jahr 1949 bringt dann jedoch einen Tiefpunkt in Monks Karriere mit sich. Nachdem er im Jahre 1948 für seine Arbeit vom Downbeat-Magazin bei einer Leserumfrage in der Sparte für Klavier wenigstens 23 Stimmen bekommen hatte folgte im Jahr darauf keine einzige. Monk lässt sich seine Verbitterung zwar nicht anmerken, aber igelt sich von da an zu Hause ein, starrt Stunden lang auf eine Stelle, spielt den halben Tag durch Klavier and hears plates. Nellie tries to stay away from him any inconvenience.

In 1950, following again the preliminary rise, Monk's son, Thelonious Junior Monk (also known as TJ Monk) comes into the world and Norman Granz invited him for a guest appearance in an All-Star Band for "Jazz at the Philharmonic" - concert series one. This is also the bassist Curley Russell and drummer Buddy Rich is one of the party.

The next year brings but then the preliminary site-off in the New York jazz scene, and thus its live career to a halt after Monk will stop with his drug-addicted friend Bud Powell by the police in her car and discovered drugs be. As Monk, however, refuses to testify against him is so that Powell's presence permits in New York clubs, where alcohol is served - the so-called "cabaret card" - withdrawn. He comes for sixty days in jail, but worse is the length of the imposed curfew. Monk six years, is now joined by the club scene in 1957 he gained through his painstaking help of many friends again Cabaret Card.

follow in this time of Monk's absence, therefore, only a few recordings for labels such as Prestige or Riverside. After leaving Blue Note in 1952, Monk returns now to other things. For two years he now working for prestige, it is only twice as a sideman for use. Although the owner of the label, Bob Weinstock, always trying to keep costs as low as possible and play Thelonious thus sometimes on a ziemlch detuned wing must, give him his records and stay afloat in the minds of people.

But Monk in this period, in which he lives somewhat reclusive, and finally the time to think about your own musical ideas, playing hours piano sleep, extensively, but also for his son TJ . take care

When in 1955 dann der Saxophonist und Leitfigur des Bebop Charlie Parker verstirbt endet damit eine ganze Ära. Mit dieser Wende in der Musik verändert sich damit auch das Publikum, sucht sich einen neuen Star, eine neue Galionsfigur. Miles Davis gibt der Jazzmusik Mitte der Fünfziger Jahre nach seiner überwundenen Drogenabhängigkeit durch den Modern Jazz ein neues Gesicht und Aufnahmen, wie die 1954 entstand Prestige Platte „Bag’s Groove“ des Vibraphonisten Milt Jackson zeigt, dass auch Monk zu dieser Entwicklung beiträgt, so z.B. als Sideman bei Davis.

Doch mit diesem Ereignis kommt auch wieder eine Wende für Monk. Er wechselt von Prestige zu Riverside, einem er erst gegründeten kleinen Jazzlabel. Es folgen as before at Riverside many of his own recordings for Monk.

who two years later the efforts, Thelonious in the New York jazz scene back at last bearing fruit. By medical opinion may finally be proved that he is not a junkie and he may then in years to accept his first club engagement. Here Monk meets the musician John Coltrane , at that time tenor saxophonist in the band of Miles Davis. Coltrane, at that time hard drug addicts will be fired only days later by Davis and Monk takes this opportunity to play with it immediately. Trane manages his drug addiction with a Cold Turkey overcome and buys into Monk.

In summer of 1957, then an eight-month long engagement follows the Five Spot club in New York, together with the John Coltrane on saxophone, Wilbur Ware on bass and Shadow Wilson drums. This website is for Thelonious a triumphant home game and a stunning success. The club is always full and the queue of admission seekers ranges always accessible to the next block. The club manager is so thrilled that he can search for Monk for his guest appearance at the club a new piano, which is then purchased for the club. Monks time with Coltrane brings him again more prestige.

addition to his Five Spot gig Monk developed during the year are other activities. So he goes for the Riverside label equal to five times the recording studio, always with changing musicians. But in the autumn already Monks altitude flight is stopped prematurely by an unpleasant incident. While driving to a gig with the saxophonist Charlie Rouse in Baltimore freeze for a Monk in Delaware, because he is thirsty. He ask the manager at the reception for a glass of water, reacts quite unfriendly, what Monk runs silently in the hall and down. The managing director, confused by the big black giant, calls the police then that he then dragged from the car and arrested him then. The New York police cut him off after that incident, the Cabaret Card again, this time for two years.

The incident has not only means that Thelonious back to 1959 show no license in New York clubs, gets the emotional distress of this fact make him racist, even long after that to create. Despite the loss Monk Cabaret card can no longer make the success of dispute. Each of his plates is praised and Monk recognized as one of the finest pianists in jazz.

Meanwhile, Monk is a real top star matured. His fees per week are moving normally around 1000 $ and for the first time not only America gets something the star of the jazz, but for the first time Europe. From 1961 to 1967 Monk goes with his quartet, consisting of Charlie Rouse on saxophone, John Ore on bass and Frank Dunlop on drums with almost annual regularity European tour.

The media conglomerate CBS, who has quite a few jazz stars such as trumpeter Miles Davis and the pianist Brubeck Davis at this time brought out great shows, to Monk then very interested. So it is that Monk Riverside soon leaves and takes the more lucrative offer from CBS. From the 31 October 1962 Monk is thus with continuous regularity to the recording studio and is growing in those six years to 1968 final at a world star. Monk ends up in Februar des Jahres 1964 auf dem Titelbild des renommierten Time-Magazins und gibt dem Pianisten aus New York einen erneuten Erfolgsschub und wird mit seinem Quartet gefeiert. Auch Monks Kleidung ändert sich, obwohl er schon seit seiner Jugendzeit sich sehr bewusst kleidet. Seit Ende der Fünfziger Jahre ist er jedoch nie ohne irgendeine Kopfbedeckung zu sehen. Anders als in Amerika, trifft bei den vielen Tourneen in der Welt die aus schwarzen Musikern bestehende Band nur selten auf rassistische Bemerkungen und wird so gut wie immer mit offenen Armen empfangen.

Im Herbst 1968 wird jedoch deutlich, dass nicht nur das Quartett selbst, sondern auch bei CBS nach sechs Jahren zusammener Arbeit die Luft langsam raus ist. Zwar will man Monk gerne weiterhin produzieren, but in the end, the two part ways after all. A year later, then gradually separate so the ways of the Quartet, which also switched between the occupation times and Monk has problems, his band to adequately occupied. So he comes in 1969/70 alone to Europe and Japan and played in that time, mostly just solo piano.

When he returned in April 1971 to New York, he then tries to solve its problems by occupation, that he gave his own son, TJ Monk - committed on the drums - now 21 years old. This new quartet gets his career but something upswing, but it can not beat Monks earlier successes by far. On 30 Then follows a June 1976 his last public appearances at Carnegie Hall.

runs in his last years, Monk back to New Jersey, where he spends most of his time in silence, is resting or just thinking. He plays almost over now no longer the piano, the music rushes to only him. On 17 February 1982 Thelonious Monk then suffers a stroke, which it 12 days later, ie on 17 February 1982 dies without having regained consciousness during this time.

Thelonious Monk was one of the pianists and musicians in the music, with their existence, not only the Jazz, but the music changed, with, what they managed on new music or changed from the old music. Here Monks remained timeless music today and his spirit lives on in music, in his records, in his guest appearances with other musicians and his numerous compositions - such as "Round Midnight", "Blue Monk" , "Ruby, My Dear "or" Well, You Need not - continue.




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