Gregory Lewis: Organ Monk Sings

There have been many tributes to Thelonious Monk, but few have truly captured his world as theatre. Organ Monk Sings does just that. Designed as a sonic play in four acts, complete with an overture, scenes, interludes, and a closing tableau, the album approaches Monk's Songbook not as a mere repertoire but as dramatic literature. Over eighteen compositions, organist Gregory Lewis and his cast, which includes tenor saxophonist Jerry Weldon, drummer Nasheet Waits, and vocalist Ms. Raina, shift effortlessly from soliloquy to ensemble declaration, shaping a narrative of infatuation, fracture, reflection, and renewal.

The curtain rises with Lewis alone on the Hammond B2 (an older, more limited instrument than the now industry-standard B3) for "North of the Sunset." His touch is measured, capturing the hymn-like gravity in Monk's harmonies. It serves as an overture in the truest sense, setting tonal stakes and emotional contours. If the opening act establishes the atmosphere, it does so with the early, essential presence of Ms. Raina. On "Panonica," she enters with luminous poise, shaping Monk's floating melody with an airy legato that suggests devotion without sentimentality. "Ugly Beauty," often treated as an instrumental reverie, gains added dimension through her vocals. Ms. Raina navigates the pulse with supple control, honouring the tune's asymmetrical grace, while clarifying its emotional core.

The first act's romantic bloom begins to flourish on "I Mean You," which Raina performs with bright confidence. Weldon steps in like a seasoned storyteller, his tone strong yet flexible, riding the wave of Lewis' music with conversational ease. The trio's reading of "Let's Call This" brims with wit, and the interaction feels natural and rooted in the hard-won language of the bandstand. The lively yet emotionally intense "Well You Needn't" is performed as a quartet, where the musicians create a magical shimmer. Raina's entrance is thoughtful and expressive, approaching Monk's lyrics and implied stories with clarity and restraint, honouring the composer's clever humour and underlying sadness.

If the album's opening act sets the mood and pace, the subsequent chapters deepen the drama with clear intent. Raina's original lyrics to "Let's Cool One" are revealing and tuned to Monk's off-kilter melody. Lewis responds with gently flowing lines, the B2's glow adding both intimacy and lift to the piece. "Ask Me Now" develops as a chamber meditation. Lewis simplifies his registration, creating space for Raina to deliver the lyric with emotional depth. Meanwhile, Weldon traces the melody with polished restraint. The introspective "Something in Blue" stands apart as a solitary rumination for organ. Lewis explores the tunes' inward turns, with a performance that feels almost devotional, underscoring the number's quiet gravity.

The emotional core of this release is evident in this triptych of masterworks by Monk, beginning with "'Round Midnight." Without melodrama, Ms.Raina enters confidently rather than as a torchbearer, and Lewis creates a nocturnal mood of quiet inevitability. "Ruby, My Dear" radiates with affectionate lyricism, with Weldon's tenor providing a tender obligato. "Blue Monk" re-establishes the pieces' earthiness. Waits locks into a flexible shuffle, Lewis allows the B2 to growl, and Raina leans into the blues with insightful authority.

The closing act shows resolve, starting with "Monk's Dream." The piece acts as a declaration of purpose, structurally solid but harmonically subtle. Ms.Raina approaches the melody with confident clarity, supported by Lewis with full-bodied yet clear registrations. "Straight, No Chaser" presents a different challenge. Characterised by rhythmic displacement, it requires punch and rhythmic confidence. Raina responds with directness, complemented by Lewis's chordal jabs, Taits's lively accents, and Weldon's strong tenor lines. "Rhythm-A-Ning" is a contrafact based on "I Got Rhythm" that ends the performance with shared energy. Ms.Raina delivers her vocal with rhythmic precision, avoiding theatrical overdoing. Lewis builds intensity through dynamic shading, and Weldon's tenor feels both celebratory and disciplined. As a story suite, the album achieves rare cohesion with compositions linked not just by the composer but by story, swing, and a common dedication to craft.

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