{"id":9766,"date":"2018-07-12T16:16:48","date_gmt":"2018-07-12T23:16:48","guid":{"rendered":"https:\/\/www.artsjournal.com\/rifftides\/?p=9766"},"modified":"2018-07-12T16:16:48","modified_gmt":"2018-07-12T23:16:48","slug":"duck-baker-on-thelonious-monk","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/rifftides\/2018\/07\/duck-baker-on-thelonious-monk\/","title":{"rendered":"Duck Baker On Thelonious Monk"},"content":{"rendered":"<p><a href=\"https:\/\/amzn.to\/2NN7LHM\" target=\"_blank\" rel=\"noopener\"><strong>Duck Baker<\/strong> Plays Monk<\/a> (Triple Point Records)<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-9767\" src=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2018\/07\/91H7y47o4-L._SX522_-e1531436852726.jpg\" alt=\"\" width=\"332\" height=\"333\" \/>Duck Baker (Richard Royal Baker IV) may not be a household name among jazz devotees at large, but in his career of more than four decades he has become a hero to other guitarists. He has led or been involved in dozens of recordings of folk music from all over the world, and several varieties of ragtime, gospel, bluegrass and blues. Baker is an exemplary performer and teacher of what is often called fingerstyle or fingerpicking guitar. To oversimplify the approach, let\u00e2\u20ac\u2122s just say that he plays using his fingertips and nails rather than a pick held in the right hand. That creates not only technical challenges, but also harmonic opportunities that Baker masterfully exploits. In concentrating on music by Thelonious Monk, Baker melds his own imagination and daring with the deep harmonic and rhythmic implications of Monk\u00e2\u20ac\u2122s compositions. In his notes accompanying this Vinyl LP, he recalls that in his teens he graduated instantly from rock and roll to jazz when he heard Monk\u00e2\u20ac\u2122s album <a href=\"https:\/\/amzn.to\/2uhZe7m\" target=\"_blank\" rel=\"noopener\"><em>Misterioso<\/em><\/a>. He writes, \u00e2\u20ac\u0153Within a minute two I was completely hooked.\u00e2\u20ac\u009d<\/p>\n<p>In this perfectly recorded album he includes \u00e2\u20ac\u0153Misterioso with eight other Monk pieces. His work is impressive throughout, particularly so in the irresistible forward motion of \u00e2\u20ac\u0153Bemsha Swing\u00e2\u20ac\u009d and the intricacies of \u00e2\u20ac\u0153Jackie-ing.\u00e2\u20ac\u009d Not from the album, but from a 2016 <em>YouTube<\/em> video, here is Baker introducing \u00e2\u20ac\u0153Blue Monk\u00e2\u20ac\u009d and referring to his long history with the tune.<\/p>\n<div align=\"center\">\n<p><iframe loading=\"lazy\" src=\"https:\/\/www.youtube.com\/embed\/fPJt4djHzIA\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<div>\n<p style=\"text-align: left;\">In addition to Baker\u00e2\u20ac\u2122s own liner notes, the LP\u00e2\u20ac\u2122s generous insert page has an essay by the late trombonist Roswell Rudd. Rudd\u00e2\u20ac\u2122s piece is full of insights into Monk\u00e2\u20ac\u2122s tunes and Baker\u00e2\u20ac\u2122s playing. Of Baker\u00e2\u20ac\u2122s solo on \u00e2\u20ac\u0153In Walked Bud,\u00e2\u20ac\u009d Rudd writes, \u00e2\u20ac\u0153Third and fourth improvised choruses it\u00e2\u20ac\u2122s suddenly a blazing horn solo culminating in a quote: \u00e2\u20ac\u02dcOl Man River.\u00e2\u20ac\u2122 I\u00e2\u20ac\u2122m still laughing.\u00e2\u20ac\u009d<\/p>\n<p style=\"text-align: left;\">You may laugh, too, if you can laugh with your jaw dropping at Baker\u00e2\u20ac\u2122s wit and virtuosity.<\/p>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"<p>Duck Baker Plays Monk (Triple Point Records) Duck Baker (Richard Royal Baker IV) may not be a household name among jazz devotees at large, but in his career of more than four decades he has become a hero to other guitarists. He has led or been involved in dozens of recordings of folk music from [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[4],"tags":[],"class_list":{"0":"post-9766","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-main","7":"entry","8":"has-post-thumbnail"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/9766","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/comments?post=9766"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/9766\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media?parent=9766"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/categories?post=9766"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/tags?post=9766"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}