Monaco:My parents are from Italy. They come from a small village. The village they come from is a very musical town. There is a lot of musical talent in this small village of about 800 people. They have a history of a lot of great musicians that came out of that town, Introdacqua.
There was a lot of music around. My father came over from the Old Country after the war. He was just a kid during World War II. When he came to the United States, he started playing drums so he didn’t have to carry a field pack when he was in the Army. That’s how he got started. He really liked jazz. He recognized early on that I had the talent. He would take me out to hear different players. Because he knew I had the personality that when I heard someone who was good, I’d get inspired, and practice really hard to try to aspire to what I heard.
AAJ: You came up in an era when rock n roll was the popular music.
Monaco: Something happened to me when I was 12. My dad never really got a chance to develop his musical talents, because he came over here after the war with nothing, just to try to make enough money to survive. He spent his whole time trying to earn a living and then raise a family, which he did very well. But he had the talent. He saw I had the talent. He was playing in a little wedding band kind of thing, and they had an organ player and he gave me, when I was 12 years old, a Jimmy Smith record. He didn’t like it, but he said, “Here, listen to this.” It was Jimmy Smith’s Greatest Hits. I knew then what I was going to do. I spent from about 12 to 16, before I got sick, I spent that time learning how to emulate Jimmy Smith by playing it on the accordion.
AAJ: That’s very different, and also very difficult.
Monaco:It was difficult because I had to simulate bass lines by figuring out how to play the buttons, because the buttons aren’t ordered like notes. They’re in fifths or fourths, depending on which way you’re going, up or down. They had an instrument out, back then, it was called a chord-o-vox. It was the guts of a Lowery organ, inside of an accordion box. And I played it through a Leslie. And it had all the stops, very similar to a Hammond organ. I could make it sound almost like a Hammond B3 organ, playing bass with the buttons on my left hand and leading with my right hand. You didn’t even have to squeeze the bellows, because it was all electronic.
That’s how I met Jimmy Smith. I was so into Jimmy Smith. Once I started getting some of these things down, I would start sending Jimmy Smith cassette tapes of me trying to emulate him on the accordion. That’s how I got a call back from Jimmy Smith, because he was honored that an accordion player, a little kid, was trying to sound like him.
AAJ: Were you getting music education in school?
Monaco:No. I took a little bit of private instruction with the accordion. I don’t know if it’s an asset or not, but I have a really good ear. So when I hear something, I can play it. So, I took a little bit of instruction from a couple private teachers that showed me chord structures and how to build chords and kind of how to play tunes. So I had some instruction growing up. But mostly I learned from listening to Jimmy Smith and Groove Holmes and Jimmy McGriff records and trying to recreate what I heard.
AAJ: How did you switch to organ?
Monaco:I got sick. I had some polio-like disease when I was 15 and it destroyed a bunch of nerves and muscles in my shoulders. So I couldn’t lift my arms any more or put the accordion strap over. And my dad knew how much I loved Jimmy Smith. I went into the hospital to get a bunch of tests run, and when I came home the B3 was in my mom and dad’s living room. That was the switch.
It was very serious. I got it again when I was 35 and that time it did a lot more damage. I had to kind of learn to play all over again. Especially switching from accordion to organ. But the fact that I was having muscle difficulties and control difficulties, I had to learn how to play over again. Because as it effected those nerves in my shoulders and forearms, it also affected my ability to play. It took a lot of discipline and trying to really get it back down. I’ve been blessed by god to keep going, you know?
AAJ: Jazz not being that prominent when you were growing up, were there clubs around Columbus?
Monaco: Yeah. I’m really glad you asked that question. Because Columbus is a really great jazz town. We’ve had a lot of great organ players come right out of Columbus. Don Patterson was from Columbus. Hank Marr is from Columbus. I was under age. My dad would take me to these clubs so that could hear these guys live. And then, what ended up happening is, I started playing in the jam sessions around town where the organs were. And the next thing I know I’m getting calls at 16 years old to play the gig when these guys couldn’t show up. So that’s what kind of really got me going, because all of a sudden I’m filling in a date for Hank Marr or I’m filling in a date for somebody that’s well known, and it got in my blood. I love this! You know?
I was first exposed to jazz as a baby. When I was a child, my parents regularly played classic jazz, i.e., Fitzgerald, Hawkins, Holiday, Davis, Coltrane, Monk, Montgomery, Silver, etc. I vividly remember sitting in front of the stereo as a kid, rocking back and forth to jazz, so the music is embedded in me
I was first exposed to jazz as a baby. When I was a child, my parents regularly played classic jazz, i.e., Fitzgerald, Hawkins, Holiday, Davis, Coltrane, Monk, Montgomery, Silver, etc. I vividly remember sitting in front of the stereo as a kid, rocking back and forth to jazz, so the music is embedded in me. As a life-long jazz lover, I eventually became a jazz educator and producer/host of a very popular jazz radio program in Los Angeles, California.
I love jazz because it is so free. I can think, feel, and dream to jazz, and it allows my mind to flow and expand, musically and otherwise. I also love jazz because it, much like other forms of music, allows opportunities to bring people from all walks of life together. What makes jazz more significant to me, though, is its historical significance; that is, how jazz served, in part, as a method of bringing communities together, a cultural/social/spiritual conduit.