JAZZOETRY: A MÉLANGE OF LOVE, BREAD AND FANTASY
Hardly anybody knows that Monty Waters is a multimediatalent. His idiom is bebop, and this not only comes out in his saxophone playing and in his poems, but also his painting is affected by the same dialect. He understands bebop to be that which its originators also mean it to be - Bird, Dizzy and Monk, that is, as a spring board for their own individual expression and he’s gone on working on this all his life. He’s the old spirit, that tells of the roots of jazz; not an academic performance, but rather a mélange that comes out of the Blues, jazz basements and Harlem; since he’s been through it all personally, all the way from Manhattan to L.A., his expression guarantees for authenticity.
With the populistic imitations of modern traditionalists, Monty Waters has no truck. An inventive critic describes Monty’s stage presentation as “jazzoetry”, a melting together of jazz and poesy, in rhymed punch lines about love, life and dreams, which, put in bebop lingo could be taken as “Ric, Pig & Panic”. This is expressly clear in the duo recordings with his congenial partner on “talkin’ drums” - alias Tom Nicholas; his percussive spots mesh wonderfully with Monty’s vocalising, in the to and fro of dialogue, in his - so to speak - answers…
In addition to these, there are a couple of takes from the legendary Paris sessions (Monty Waters’ Hot House, ‘live’ in Paris). Spurred on by that volcano on drums, Ronnie Burrage, the old veteran for instance in Montville # Two, makes the so called wild young ‘uns seem passée, because this “let’s go wild” thing comes straight from Monty’s heart making a lot of the next generation seem old and ailing.