Monk Montgomery

Born in Indianapolis, Indiana, into a musical family, Monk had three brothers and a sister. His older brother Thomas played drums, and died at 16. Monk gave his younger brother Wes (born 1923) a tenor guitar when Wes was 11 or 12. Wes took up the electric guitar at age 19 and eventually had a significant career. The youngest brother, Buddy (born 1930) played piano and later took up the vibraphone. Their younger sister, Ervena (Lena), also played piano. Monk himself did not take up the double bass until he was 30, after hearing one of Wes' groups perform.

The three brothers released a number of albums together as the Montgomery Brothers,[1] also playing together on some albums credited to Wes. Also Buddy and Monk recorded many albums together in their group The Mastersounds.

He is perhaps the first electric bassist of significance to jazz, taking up the Fender Precision Bass in 1952 or '53 after replacing Roy Johnson in the Lionel Hampton Orchestra. He said his biggest influences as a bassist were Jimmy Blanton, Ray Brown, and Charles Mingus.[2] Monk played electric bass with his thumb (brother Wes, played electric guitar with his thumb, also) and adapted his jazz playing from double bass to electric. In the 1960s, he took up Fender Jazz Bass, playing with a felt pick.

His professional career did not start until he was 30, and after his younger brother Wes. Monk worked in a foundry and played gigs on upright bass at night in Indianapolis. Wes worked for vibraphonist Lionel Hampton from 1948–1950, Monk then worked for Hampton around 1952–1953, with Hampton insisting he play the Fender bass, and not an upright. Monk's recordings with The Art Farmer Septet on 2 July 1953, arranged by Quincy Jones, are possibly the earliest studio recordings of the electric bass, and display his facility with walking bass lines, bebop melodies, and Latin-style ostinato. Chuck Rainey said that Monk was the first electric bassist to record, in any genre.[3] A live recording of Montgomery with the Hampton orchestra from April 1953 may exist.[4]

Guys in other kinds of music may have beat me to the studio, though I'm not aware of any ... As far as I know, I was the first in jazz to record electric bass.

— Monk Montgomery, Guitar Player, September 1977, reprinted in The Guitar Player Book, 1979, and in Bass Heroes, 1993

Monk toured and recorded in Europe with Hampton in late 1953. After that he worked briefly with the Anthony Ortega Quartet in Los Angeles,[5] and then with his brothers in the Montgomery-Johnson Quintet in Indianapolis (with Alonzo "Pookie" Johnson, sax, and Robert "Sonny" Johnson, drums). In 1955 he moved to Seattle to form The Mastersounds from 1957 to 1960.

In 1964 and 1965, Montgomery performed on two albums by The Jazz Crusaders, and members of that band would go on to produce and play on his first two solo albums. Later, from 1966 to 1970, he freelanced with vibraphonist Cal Tjader and continued to play where he settled in Las Vegas, Nevada, with The Red Norvo Trio until 1972.[6] Between 1969 and 1974 he released four solo albums.

In 1970, he recorded in Los Angeles with South African trumpeter Hugh Masekela. In 1974, Monk toured South Africa with a group including singer Lovelace Watkins,[2] and Monk recorded his final solo album Monk Montgomery in Africa...Live! in Soweto. In 1976, he served on the Jazz Advisory Panel for the National Endowment for the Arts with Benny Carter, George Russell, Muhal Richard Abrams, and others.[7] In 1977, he helped organise the inaugural Maseru Music Festival in Lesotho which featured Dizzy Gillespie, plus students and staff from Rutgers University and local musicians.[8][9] In his final years he was active in the Las Vegas Jazz Society, which he founded,[10] he also presented a local radio show. He had also been planning a world jazz festival. In 1981, he became the founding president of the Western Federation for Jazz.

Montgomery died of cancer in Las Vegas on May 20, 1982.[11] He had a wife, Amelia, three sons, and four stepchildren.

In 2003, on his self-titled album, Detroit musician Andrés sampled Montgomery's track "Reality".[12]

• It's Never Too Late (Chisa, 1969)
• Bass Odyssey (Chisa, 1971)
• Reality (Philadelphia International, 1974)
• Monk Montgomery in Africa...Live! (Philadelphia International, 1975)

With The Montgomery Brothers

• 1955: Almost Forgotten (Columbia)
• 1957: The Montgomery Brothers and Five Others (Pacific Jazz)
• 1961: Groove Yard (Riverside)
• 1961: The Montgomery Brothers (Fantasy)
• 1961: The Montgomery Brothers in Canada (Fantasy)
• 1961: Love Walked In (Jazzland)
• 1961: Wes, Buddy and Monk Montgomery (Pacific Jazz)[13]
• 1961: George Shearing and the Montgomery Brothers (Jazzland)

With The Mastersounds

• Jazz Showcase (World Pacific, 1957)
• The King and I (World Pacific, 1957)
• Kismet (World Pacific, 1958)
• Flower Drum Song (World Pacific, 1958)
• Ballads & Blues (World Pacific, 1959)
• The Mastersounds in Concert (World Pacific, 1959)
• Happy Holidays from Many Lands (World Pacific, 1959)
• The Mastersounds Play Horace Silver (World Pacific, 1960)
• Swinging with the Mastersounds (Fantasy, 1961)
• The Mastersounds on Tour (Fantasy, 1961)
• A Date with The Mastersounds (Fantasy, 1961)

With Buddy Montgomery

• The Two-Sided Album (Milestone, 1968)[14]
• This Rather Than That (Impulse!, 1969)

With Wes Montgomery

• Far Wes (Pacific Jazz, 1958)
• Complete Live at Jorgies (Definitive, 2002), recorded 1961, six tracks with Buddy and Monk
• Echoes of Indiana Avenue (Resonance, 2012), recorded 1958–59, one track with Buddy and Monk

• Monk Montgomery – The Monk Montgomery Electric Bass Method (Studio 224, 1978)

• Bass Heroes: Styles, Stories & Secrets of 30 Great Bass Players, Ed. Tom Mulhern, Backbeat Books, 1993, ISBN 0-87930-274-7

• List of jazz bassists