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Solis’ acknowledgements are heartfelt and heart-warming. He was given grants to survive while completing the book and this displays a nod to all struggling artists, be them musicians or writers. And these are the members of the book’s audience who may benefit most from reading it; or at least they are largely who it is about. ‘In a sense,’ he writes, ‘it is a book of reception history, but of a particular sort.’ He means the movements of the people who took lots from Monk’s work, what they did with it, and what it meant to them and others both in root form and in the revision they attempted. If ever there was a subject with as much variety as possible within the world of jazz studies, Gabriel Solis must have picked it here. ‘Authentication’, ‘Classicism’ and Performance are all given thought, and one of the closing chapters examines the position of the Avant-Garde, in relation to Monk. For those complex Monk lovers out there, this book offers a heightened view of what the post-Monk era has to offer, and has been offered.