Jazz Guitar Life thanks Andy Gertler for his devotion to keeping Joe Monk’s memory alive and for sharing this wonderful story with us all. Visit the dedication site for Joe at www.joemonkmusic.com – Lyle Robinson – Jazz Guitar Life
Born: January 18, 1932
Died: December 7, 2000
I was just 14 when I began taking lessons from Joe Monk in his studio perched above a bar straddling the border between Great Neck and Little Neck in New York. Joe was an extraordinary jazz musician with the ability to play any song in any key with seamless fluidity, akin to the likes of Johnny Smith, Herb Ellis, and Tal Farlow. Despite opportunities to gain national fame, including an offer to join the house band on the Sullivan show, Joe chose a path focused on teaching and playing local gigs. His contentment with his local life didn’t dim his brilliance as a musician.
Joe was the epitome of cool, effortlessly so. Despite remembering everyone’s name, he often greeted people with a casual “Hey, man,” just because it suited his laid-back style. His speech was peppered with jazz lingo, and even his choice of cigarette—Kools—underscored his cool demeanor. Perhaps it was his penchant for a nip now and then that led him to teach above bars for most of his career. His teaching style was both engaging and whimsical, known to say “Play that demolished chord” or “A little higher, Myer” when you missed a fret. Joe’s handwritten arrangements were instantly recognizable and treasured by all who learned under his tutelage.
During the 50 years Joe taught on Long Island, he influenced some of the top players in the country. I was fortunate enough to have Joe teach out of a music shop I managed in the ’80s, Barrow’s Music, which allowed for many one-on-one sessions. He was genuinely affable and never spoke ill of anyone. Astoundingly, Joe never recorded anything professionally. He would often say, “I’d have to prepare something really special,” which was ironic given his exceptional talent.
At Joe’s funeral, I, alongside fellow student Joe Berger, met Ray Gogerty, another of Joe’s contemporaries. Ray shared a story of a gig where he hired Joe, recognizing his exceptional talent. Anticipating a memorable performance, Ray borrowed an Apex tape recorder that ran at 15 IPS and a Neumann microphone to capture Joe’s performance with the best audio fidelity possible. This cherished recording was expertly remastered by Jon Sholle using ProTools and subsequently released by Joe Berger and myself under the title “Joe Monk Live At Club 40 1962.” This CD, for which I designed the liner notes and selected the photographs, encapsulates more than just music—it captures the essence of a bygone jazz era. Listening to this album, you’re instantly transported to a 1960s jazz club, complete with the ambient sounds of telephones ringing and the distinctive chime of a cash register as drinks are tallied up. It’s an auditory journey back in time, bringing the vibrant atmosphere of that night vividly to life.
After Joe’s passing, I dedicated myself to preserving his legacy by creating a tribute website filled with his handwritten arrangements and photographs. Although the original Flash website eventually became unsupported, the valuable content was preserved. Joe Bonsignore, another of Joe’s former students, took over management and transitioned the materials to a new website, www.joemonkmusic.com. Building on this legacy, Joe Bonsignore established the Joe Monk Scholarship Fund, which recently honored its first recipient with a beautiful archtop guitar, commemorating Joe’s enduring influence on the world of jazz.
Twenty-five years after Joe’s death, his son Bill Monk reached out to me with an incredible gesture. He offered me Joe’s 1949 Gibson ES–175, stating that no one in his family played and he knew I would cherish it. I was utterly gobsmacked by this offer—owning the very guitar that Joe had played every day for over 50 years absolutely blew me away! It felt like receiving a significant piece of music history, a direct link to the legacy of a man who had shaped my musical journey profoundly.
Unfortunately, after Joe’s passing, the guitar suffered damage when Bill’s ex-wife, in a moment of anger, smashed it against a chair. I know, hard to believe. Although the back of the guitar was expertly replaced, the repairman did not match the original stain, and the internal label along with the serial number was lost, a testament to the instrument’s tumultuous history. Despite these challenges, the guitar still plays soundly. It’s no longer a collectors instrument, it’s a player’s instrument.
When I received Joe Monk’s guitar, it was missing the truss rod cover. Rather than replacing it with a plain one, I chose to engrave his name on the new one. This guitar has always been Joe’s, and always will be; I’m just its steward for this moment in time. Knowing Joe, with his unassuming nature, he’d probably be rolling his eyes or shaking his head that I put his name on the guitar. Something he would never do—he was a humble guy. Joe Carbone, another of his students, once asked him, “Hey Joe, how come you never clean your guitar?” To which Joe, whose guitar was always covered in dust and even had a matchbook cover propping up the pickguard, humorously replied, “I spend my time practicing, not cleaning. That’s why I’m better than you.” Classic Joe Monk humor!
Owning Joe Monk’s guitar is a profound honor. It’s not merely an instrument; it’s a repository of stories, a link to my musical roots, and a symbol of Joe’s enduring influence. It inspires me daily, urging me to improve, to play, and to pass on the love of jazz that Joe so generously shared with me. It feels like magic in my hands.
If anyone would like to purchase a Joe Monk Live at Club 40 CD please write to me at: allnaturalarts@aol.com
Andy Gertler
www.joemonkmusic.com
Check out Joe and the fellas doing the now classic “Four” from the Joe Monk Live at Club 40 CD and as always, comments are greatly appreciated 🙂
Leave a Reply