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So, when I went to them, there was no resistance at all. You know what was amazing? They all bought my father’s rap. Would you help me out?” I don’t think if Thelonious didn’t have me on his knee, hanging around all the time, I would have been able to do it, or it wouldn’t have been as easy, because I wouldn’t have those personal relationships. I knew them personally, so I was able to go to them personally and say, “Hey, I’m going to start this organization called the Monk Institute of Jazz. ONE OF THE REASONS that I believe I was able to garner support during the first years for the Monk Institute was that I had an actual personal relationship with those guys-with Clark Terry, with Jimmy Heath, with Max Roach, with Billy Taylor. But he was very, very regular in a lot of ways. So, he never had to deal with the telephone himself. Of course he had me and my sister and my mother to answer the phone for him. Thelonious insisted on our address and telephone number being in the phone book his entire life. And John Coltrane, dig him.”ĭESPITE WHAT YOU MIGHT HAVE READ about his aloofness, Thelonious was probably the most accessible of all the giants in jazz that we have ever had. And you are automatically hip because you are my son. I didn’t know it at the time because it seemed so off-the-wall. WHAT I REALIZED years later was the major self-esteem building that he was doing on me. First of all, how am I automatically hip? You know he’s automatically hip.” Now, myself, I was embarrassed. And I remember Thelonious saying, “Hey, Coltrane.” And Coltrane said, “What, Monk?” And Thelonious said, “You see? That’s my son there. And I’m running around the room doing my little thing. I think they might have come down to hear Thelonious. I remember one night, I don’t even know where we were, but Art was there and Max was there and Sonny and a whole lot of cats. I WAS ALLOWED to run around like a little maniac and be a kid. And I’ve been into photography ever since. He looks at me and says, “Monk, the kid like cameras?” He just took it off his neck and put it around my neck-a $1,000 camera. And Dizzy had this Nikon camera-this was a $1,000 camera in 1962–’63. So, I go to the airport and here comes Thelonious and Dizzy and these cats. And they’d hang a Nikon camera around your neck.
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They’d put a Sony miniature TV in your hand. What they would do is when you had all these jazz musicians come in, when you got off the plane in Tokyo, they’d put a Seiko watch on your wrist. So what happened was the Japanese came up with a very, very good marketing philosophy.