The compositions of Thelonious Monk represent a unique body of work in the jazz canon, pieces that have been explored repeatedly by musicians from mainstream to avant-garde, many finding something new in Monk’s quirky puzzles of rhythm and harmony. Among the most dedicated advocates is the Quebec trio Évidence, consisting of electric bassist Pierre Cartier, saxophonist Jean Derome and drummer Pierre Tanguay who together have been exploring Monk’s music since 1985, and who in 2014 interpreted his complete works in a three-day Montreal marathon. Évidence brings its own voice to this selection, mixing and matching the familiar and obscure in Monk’s repertoire. Stylistically Évidence invokes another master, Ornette Coleman, with Derome developing a similar lyricism while the rhythm section work masterfully through the kind of flexible, sprung rhythms that distinguished Coleman’s early work. Derome plays baritone on Coming on the Hudson with a wry wit akin to Monk’s own, while Cartier maintains fluid rhythm and Tanguay sustains the mood with light, crisp, animating brushwork. Derome’s vocalic alto comes to the fore in the fine three-way dialogue of Skippy.

Évidence present their third release of Monk interpretations. This group has a long history. Derome and Cartier played already Monk-compositions when they were operating as a duo in the 70s. For many years they played Monk for their own sake as a hobby. In 1993 they decided however to make a studio recording, Musique de Thelonious Monk. It was followed in 1999 by a live recording Live à la Casa. Now, some 14 years later they do another try. They choose 11 compositions, including Dreamland and Two Timer that are seldom performed. But also well-known pieces like Brilliant Corners. Their interpretations didn’t make me forget other interpretations, although they do it with joy and verve.

Listening to Monk’s music is like meeting an old friend. Once deemed strange, his pieces now sound so familiar to our ears. And when three pals like Jean Derome (alto and baritone saxes), Pierre Cartier (el. bass) and Pierre Tanguay (drs) tackle them, it can only be a happy reunion. Named after a Monk piece, the group finally brings out its long awaited follow up album, some 14 years after its second one. Among the 10 nuggets culled on this hour-long side, the trio has dug deep into the book and unearthed two obscure items, Two Timer (never committed to wax by its composer) and the twice recorded Dreamland (attributed to him, as per the pianist’s authoritative biography by Robin Kelly). Conjectures aside, no one here can question the authenticity of these interpretations, because the musicians play it according to the maestro’s own prescription: “Don’t play on the changes, but on the melodies!”

This is only the third disc from Evidence who formed in 1985, one per decade. This disc was recorded the same week that Evidence played the entire Thelonious Monk catalogue at a three-day festival in Montreal in the Spring of 2014, no easy feat. This trio has a joyous, jubilant quality that I dig. They sound as if they are having fun, swaggering slyly all the way. It is rare to hear Monk’s music played by an electric bassist but Mr. Cartier’s playing is central to the way this trio sounds. There are a number of highlights here like hearing “Jackie-ing” played on bari sax with such exuberance or the occasional solos from the bass or drums which have that effervescent quality and are an extension of the melody/theme. If you have ever seen a film of Thelonious Monk playing in concert, you know that liked to dance around the bandstand at times, his movements reflecting the structure and energy of the song being played. Hearing this music played by Evidence made me want to dance around as well. It just feels right or righteous.