The Honourable Dr. Montgomery ‘Monty’ Alexander OJ, CD 
(b. June 6, 1944)

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Montgomery Bernard ‘Monty’ Alexander: A Caribbean Jazz Maestro

Montgomery Bernard ‘Monty’ Alexander, born on June 6, 1944, in Kingston, Jamaica, known by many as Jamaican born Jazz pianist extraordinaire, “Monty Alexander”, is celebrated as one of the most influential jazz pianists of his generation. His bright, swinging style, deeply rooted in the rhythms of the Caribbean, has made him a unique musician in the world of jazz. Over a career spanning more than six decades, Monty has enchanted audiences worldwide with his innovative blend of jazz and the vibrant sounds of his Jamaican and Caribbean heritage, particularly the rich traditions of Jamaican folk and popular music.

Early Life and Musical Beginnings


Monty Alexander’s musical journey began at an early age, nurtured by a deeply musical family. Growing up in a home filled with the sound of the piano, young Monty was captivated by music and began picking out tunes by ear from as early as four years old. By the age of six, his mother enrolled him in classical piano lessons. One of his earliest teachers was an old-fashioned Englishwoman named Miss Trench, who had introduced the piano to generations of Jamaican children. Although he appreciated the discipline of classical training, Monty soon realized that its rigid structure did not fully resonate with him. His true passion was drawn instead to the vibrant rhythms and energy of Kingston’s local music scene.
As a child, Monty was immersed in a rich blend of musical influences. The sounds of calypso, mento, jazz, rhythm and blues, and Jamaican folk music filled the air throughout Kingston, shaping his musical imagination from an early age. His father, an avid music lover, introduced him to legendary artists such as Nat King Cole and Louis Armstrong, whose performances in Jamaica left a lasting impression on the young pianist. Yet it was the traditional folk songs of Jamaica, deeply rooted in the island’s history and culture, that most profoundly influenced Monty’s musical identity and helped shape the distinctive sound for which he would later become renowned for.

The Birth of a Unique Style, Caribbean Jazz: A New Voice in Jazz

Monty’s early experiences in Kingston’s vibrant music scene were instrumental in shaping his distinctive style. By his early teens, he was playing in local clubs and recording with some of Jamaica’s most renowned producers, including Clement “Coxsone” Dodd and Duke Reid. These early recordings often blended mento, with rhythm and blues, laying the groundwork for what would later become Monty’s signature fusion of Caribbean rhythms and jazz.
At just 17, Monty and his family moved to Miami, Florida, in 1961. The move to the United States marked a new chapter in his musical career, where he began to play in various nightclubs, infusing his Jamaican roots towards establishing a unique jazz identity. Some of the early venues where he performed include the Airliner Motel, the Bonfire Restaurant, Bunch Park Bowling Alley in Opa-locka, the Windsor Hotel with bandleader Art Mooney, and with bandleader Cliston Major, better known as C Major.

In early 1962, Monty Alexander was performing at Le Bi’, a nightclub in Miami Beach, when Frank Sinatra and his close friend Ermenigildo “Jilly” Rizzo stopped by. Rizzo, the owner of the famous Jilly’s at 256 West 52nd Street in New York City, was immediately impressed by Monty’s talent. Although there was initial discussion about Monty performing at Jilly’s, nothing came of that first meeting. Six months later, while Monty was performing at the Thunderbird Hotel in Reno, Nevada, fate intervened once again when Sinatra and Rizzo happened to hear him play. This time, Rizzo wasted no time, he purchased an airline ticket for Monty, who soon became a regular pianist at Jilly’s, performing before a distinguished crowd of entertainers, celebrities, and musicians. During this period, Monty met jazz legends such as Miles Davis and Count Basie, quickly establishing himself as a rising presence in the New York jazz scene. He also became a frequent performer at the newly opened Playboy Club, further cementing his reputation as one of the era’s exciting young pianists.

In Los Angeles, in 1964, Alexander recorded his first album, Alexander the Great, for Pacific Jazz at the age of 20. The album was energetic and upbeat, with the climax tune being "Blues for Jilly." His interactions with jazz legends like Miles Davis taught him the importance of confidence and authenticity in his music. Davis's encouragement and mentorship were pivotal in Monty's development as a jazz artist.

On many of his recordings for MPS, Monty shared both solo and ensemble duties with renowned Jamaican guitarist Ernest Ranglin. Among these collaborations were the groove-driven albums Rass and Cobilimbo, recordings that remain widely sampled today and through which Alexander more deliberately explored his Jamaican folk roots. He continued this musical exploration on his 1978 album Jamento, released on Pablo Records, the label founded by Norman Granz. It was on this project that Alexander introduced his “ivory and steel” concept, blending jazz piano with Caribbean instrumentation through the inclusion of steel pan player Vince Charles and percussionist Larry McDonald. This innovative fusion of Caribbean rhythms and jazz repeated on his 1980 album Ivory and Steel, featuring steel pan virtuoso Othello Molineaux and conga player Bobby Thomas, and was revisited again in 1988 on Jamboree.

In 1981, Rosina Moder, co-founder of the Music Unites Jamaica Foundation and a pioneer in the research and documentation of Jamaican composers, first met Monty Alexander in Austria. Rosina, herself an Austrian musician and cultural advocate, was deeply moved by Alexander’s quintet performance in Vienna, which featured renowned Jamaican jazz guitarist Ernest Ranglin. The performance revealed to her a distinctive musical language, one that seamlessly blended the improvisational freedom of jazz with the rhythmic vitality and melodic character of Jamaican music. This encounter sparked a lasting admiration for Alexander’s artistry and deepened her interest in Jamaican music and culture.

In 1984, Rosina went on to organise Monty’s debut solo piano tour across Austria, introducing audiences throughout the country to his unique and deeply expressive style of performance. The tour was met with enthusiastic acclaim and marked an important moment in expanding his European audience. It culminated in a special recorded live performance for ORF, Austria’s national broadcasting network. The recording captured the spontaneity, lyricism, and Jamaican-infused energy that had become hallmarks of Monty’s playing. It was later released as a double LP, preserving an important chapter in his international career.

While Monty Alexander made his mark in the jazz world with a style heavily influenced by bebop and blues, it was his deep connection to the music of his homeland, particularly Jamaican folk music, that truly set him apart. In the 1970s, Monty began to consciously integrate the sounds of Jamaica into his jazz performances. This fusion was not merely an attempt to incorporate Caribbean elements into jazz but a reflection of Monty’s dual musical identity. His work with steel drummer Othello Molineaux and his albums like Jamento showcased his innovative approach, blending the rhythmic pulse of reggae and the melodies of Jamaican folk songs with sophisticated jazz improvisation.

Jamaican Folk Influence: The Heartbeat of Monty’s Music

Jamaican folk music has always been at the heart of Monty’s musical expression. The melodies, rhythms, and stories embedded in Jamaican songs such as those found in mento, a precursor to reggae, resonate deeply in Monty’s work. This influence is evident in the way he approaches jazz, infusing his performances with the syncopated rhythms and lyrical phrasing characteristic of Jamaican folk and Caribbean calypso traditions.
In many of Monty’s compositions and arrangements, there is a clear nod to music of his childhood. Whether through the playful rhythms reminiscent of mento or the soulful, reflective qualities of traditional folk ballads, Monty’s music carries the spirit of Jamaica. This influence has not only enriched his jazz compositions but has also brought Jamaican rhythmic folk music styles to a broader, global audience.

A Legacy of Fusion and Innovation

Throughout his career, Monty Alexander has remained committed to exploring the intersection of jazz and Caribbean music. His 1999 album Stir It Up paid tribute to the music of Bob Marley, reinterpreting Marley’s iconic songs through the lens of jazz. The album was a testament to Monty’s ability to honour his roots while pushing the boundaries of jazz music.

Monty’s influence extends beyond his recordings. As a performer, he has brought the sounds of the Caribbean to some of the world’s most prestigious jazz festivals and clubs. His live performances, characterised by their energy, spontaneity, and emotional depth, continue to captivate audiences, reminding them of the rich cultural exchange that defines jazz.
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Monty Alexander’s journey from the streets of Kingston to the world’s jazz stages is a testament to the power of music as a universal language. His ability to blend the vibrant rhythms of the Caribbean, particularly the melodies and rhythms of Jamaican folk and popular music, with the intricate harmonies of jazz has not only expanded the possibilities of both genres but has also created a new, unique voice in the world of music. Through his innovative fusion of styles, Monty has become a true ambassador of Caribbean jazz, leaving an indelible mark on the global music landscape.
Alongside him in this journey is his wife and manager, Caterina Zapponi. Caterina, a talented jazz vocalist, brings her own rich musical heritage to their partnership. She is the daughter of the renowned Italian novelist and screenwriter Bernardino Zapponi, who famously collaborated with Federico Fellini and other Italian film directors. Born and raised in Rome, Caterina’s artistic upbringing has undoubtedly influenced her work and partnership with Monty, making them a dynamic duo in the world of Jazz.

Written by Janine Coombs
edited by Alvin Campbell

Discography
1960s

• Alexander the Great (1965) 
• Spunky (1965) 
• Zing! (1967) 
• This Is Monty Alexander (1969) 

1970s

• Taste of Freedom (1970) 
• Here Comes the Sun (1971) 
• We’ve Only Just Begun (1971) 
• Perception! (1973) 
• Rass! (1974) 
• Love and Sunshine (1974) 
• Unlimited Love / Monty Strikes Again (1974/76) 
• Montreux Alexander (1976) 
• The Way It Is (recorded 1976; released 1979) 
• Live in Holland (1977) 
• Cobilimbo (1977) 
• Estade (1977) 
• Live at Ronnie Scott’s (1978) 
• Jamento (1978) 
• In Tokyo (1979) 
• Just in Time: Live at EJ’s (recorded 1979; released 1996) 
• So What? (1979) 

1980s

• Solo (1980) 
• Facets (1980) 
• Ivory & Steel (1980) 
• Monty Alexander – Ernest Ranglin (1980) 
• Trio (1981) 
• Fingering (1981) 
• Look Up (1982) 
• Triple Treat (1982) 
• A Ray Brown 3 (1983) 
• Full Steam Ahead (1985) 
• Threesome (1986) 
• To Nat with Love (1987) 
• Jamboree (1988) 
• Saturday Night / Fridaynight (1988) 

1990s

• The River (1990) 
• Live at the Cully Select Jazz Festival (1991) 
• Caribbean Circle (1992) 
• Monty Alexander at Maybeck (1994) 
• Steamin’ (1994) 
• Many Rivers to Cross (1995) 
• Yard Movement (1996) 
• To the Ends of the Earth (1996) 
• Echoes of Jilly’s (1996) 
• Stir It Up: The Music of Bob Marley (1999) 

2000s

• Monty Meets Sly and Robbie (2000) 
• Goin’ Yard (2000/01) 
• My America (2002) 
• Impressions in Blue (2003) 
• Rocksteady (2004) 
• Concrete Jungle: The Music of Bob Marley (2006) 
• Calypso Blues (2008) 

2010s

• Harlem-Kingston Express Live! (2011) 
• Uplift (2011) 
• Uplift 2: Higher (2013) 
• The River Rolls On (2015) 
• Wareika Hill: Rasta-Monk Vibrations (2019) 

2020s

• Love You Madly: Live at Bubba’s (2020) 
• D-Day (recent release) 
• Montreux Alexander: The Monty Alexander Trio Live at Montreux (2024 archival release) 

Important compilations

• The Concord Jazz Heritage Series (1998) 
• Ballad Essentials (2000) 
• Island Grooves (2000) 
• Triple Scoop (2002) 
• Straight Ahead (2003) 
• Steaming Hot (2004) 
• Alexander the Great: Monty Swings on MPS (2007)

MONTY ALEXANDER COMPOSITIONS (updated 2022) 
1 ACCOMPONG
2 ALYPSO
3 BLUE ALEXANDER
4 BLUES FOR A SWISS FRIEND
5 BLUES FOR JILLY
6 BLUES O SCHWER
7 CAPTAIN BILL (composed with Ray Brown and Herb Ellis) 
8 CARIBBEAN CIRCLE
9 CARNIVAL IN JAMAICA 
10 COBILIMBO
11 CONSIDER
12 DEAR DIZ
13 DO THE KOOL STEP 
14 ELEUTHRA 
15 ESCAPE TO VILLINGEN BLUES (comp. with Ernest Ranglin) 
16 FATS AND RICHARD
17 FUCHSIA (comp. with Michel Sardaby)
18 GOT TO GO 
19 GRABBER
20 GRUB
21 HAPPY HOUR (comp. with Ray Hitchins)
22 HAPPYLYPSO
23 HELLO
24 HIBISCUS (comp. with Michel Sardaby)
25 HOPE
26 HURRICANE
27 HURRICANE COME AND GONE
28 ISLAND RAY
29 JAMAICAN SHAKE
30 JAMENTO
31 JUST WAIT
32 LAY IT ON ME
33 LENNOX
34 LLOYD’S TUNE
35 LOOK UP
36 LOVE NOTES
37 MANGO RENGUE
38 MOMENTO
39 MONTICELLO
40 MONTY IS THAT YOU
41 MONTY S GROOVE
42 MOON LIGHT CITY (comp. with Glen Brownie and Desi Jones) 
43 NESTA HE TOUCHED THE SKY
44 OUT OF MANY PEOPLE ONE
45 RAGGAE LATER
46 RANGLYPSO 
47 RATTLESNAKE
48 RENEWAL
49 THE RIVER
50 RIVER ROLLS ON (lyrics by Brian Jobson) 
51 THE SERPANT/SERPENT 
52 SIGHT UP
53 SKAMENTO
54 SLEAKY
55 SLIPPERY
56 SNEAKY STEPPERS
57 SONG FOR SUSAN
58 SPIRIT OF FOO FOO
59 SPUNKY
60 STRAWBERRY HILL (with Glen Brownie and Desi Jones) 
61 SWEET LADY
62 TAKE CARE
63 TASTE OF FREEDOM
64 THAT’S THE WAY IT IS
65 THAT’S WHY
66 THESE LOVE NOTES (lyrics by Brian Jobson)
67 THINK TWICE
68 THIS DREAM OF MINE
69 TIVOLI GARDEN THEME (with Alton Ellis)
70 TRIPLE TREAT BLUES (with Ray Brown and Herb Ellis) 
71 TRUST
72 TUCKER AVENUE STOMP
73 UNLIMITED LOVE
74 UNTITLED
75 YO MAMA
76 YOU CAN SEE
77 ZING ​