The role of sound recording in the ontology of jazz

Rykunin Vladislav Vyacheslavovich Postgraduate at the Department of Theory and History of Music of Moscow State Institute of Culture 141406, Russia, Moskovskaya oblast', g. Khimki, ul. Bibliotechnaya, 7 rkn.vlad@yandex.ru Other publications by this author

"Sound recordings didn't just spread jazz,

but they also shaped it – in a sense,

they created what we now call jazz."

(Evan Eisenberg) ^{[8, p. 144]}

In jazz music, the term "ontology" acquires special connotations associated with the improvisational nature of this type of musical creation and its historical evolution, which takes place in the context of live performances and the recording process.

The methodology of this research is based on an ontological approach, in which jazz is considered as a complex system of entities, the interaction of which determines its uniqueness as a musical genre. The main focus is on improvisation, performance and sound recording as key entities, which allows a deeper understanding of the processes of their interrelation and transformation.

As part of this approach, a dictionary of terms is being created that covers the basic concepts related to jazz sound recording: improvisation, studio recordings, concert recordings, as well as recording functions such as documentation, preservation of cultural heritage, educational function, function of innovation and collectibles, economic value. Based on this conceptual framework, the study analyzes how sound recording, being the most important technical means of fixation, simultaneously affects the preservation and transformation of improvisational creativity in jazz.

Improvisation, considered as the central essence of jazz, is subjected to an ontological analysis with an emphasis on its dual nature: as a process taking place in real time on stage, and as a fixed sound recording product. Ontological analysis also includes the study of relationships between entities, such as types of sound recordings and their functions.

Thus, the proposed methodology is based on a structural analysis of entities and their transformation within the framework of jazz creativity, which makes it possible to systematize the influence of sound recording on the development of jazz as a special type of musical creativity and identify its key role in preserving its improvisational nature. This approach to the study of jazz allows us to understand more deeply what exactly distinguishes it from other musical phenomena, emphasizing its unique features and contribution to the development of musical art

The study of the role of sound recording in jazz is an urgent scientific problem that requires an integrated and interdisciplinary approach. Sound recording is a central element in the formation, perception and dissemination of jazz, but its influence remains insufficiently studied. There are opposing opinions in the scientific community regarding jazz recordings: some researchers consider them to be standards of the jazz canon, while others evaluate them as imperfect reproductions of live performances ^[5]. Diametrically opposed views on the role of sound recording in jazz reflect the concern of the scientific community about its importance in the context of jazz studies. This polarization of opinions underscores the need for careful analysis and clarification of the recording functions in jazz. Clarifying these functions is important to better define the role of sound recording in the development of the genre and identify key aspects of its effectiveness in preserving and transmitting musical heritage.

In the ontological study of jazz, special attention is paid to the analysis of the improvisational nature of this genre and the importance of the individual creativity of the performer in the process of forming a musical work. The ontological approach emphasizes the importance of improvisation as a fundamental element that determines the structure and content of jazz compositions. In jazz, improvisation acts as a leading principle, turning each performance into a unique act of creativity with "opportunities for a wide choice of expressive means and identification of individual artistic inclinations" ^{[1, p. 90]}.

The jazz space and the expressive means of this music, viewed through the prism of musical intonation and musical image, form a complex ontological network in which each aspect interacts and intertwines with others. An ontological analysis in this context allows for a deeper understanding of how jazz as a genre forms its expressive and aesthetic structures.

Musical expressiveness in jazz improvisation effectively uses "specifically musical and non-specifically musical" ^{[3, p. 39]} means to create unique emotional and spatial textures in each performance. Specific elements, such as fret and harmony, provide the necessary musical structure, while non-specific ones, including tempo, rhythm and timbre, use associations arising from common human experience, which enriches the expressiveness of the performance. This blend of elements allows jazz musicians to instantly respond to the context of performance, adapting and transforming musical ideas in real time.

The musical image in jazz improvisation conveys musical ideas and materializes in forms that enhance the impression of music by adding layers of meanings and emotional shades. These images, unfolding in real time, reflect and embody the emotions and cultural aspects of the performer, thereby enriching the emotional and intellectual experience of the listeners.

From the point of view of musical intonation, jazz improvisation is a complex multifaceted process in which musical sounds and their articulation create "musical, extra–musical and metamusical content" ^{[4, pp. 90-91]}. Intonation in jazz actively uses various means of musical expression to form spatial representations, such as interval structure and timbre, enhanced by fret structures. These elements combine to enrich a piece of music, making it colorful and rich. In jazz, intonation also serves as a means of conveying the personality of the performer, his unique style and creative method. Each piece of music, note or pause carries information about the personal characteristics of the musician, his emotions and temperament, which gives each performance a unique character. This multifunctional intonation allows jazz performers to convey a wide range of human experiences, including biological, social and cultural aspects. Thus, intonation in jazz becomes a means of musical expression and a powerful tool for conveying the spiritually ideal contents and individuality of the performer's creative method.

Improvisation in jazz goes beyond the simple technique of performance and represents a fundamental aspect of the ontological essence of this musical phenomenon. This element transforms each performance into a unique piece of music that reflects both the skill and personality of the performer, as well as his creative will at a particular moment. Improvisation in jazz acts as a method of musical expression and at the same time a philosophical basis, emphasizing the creative freedom of the performer and the possibility of continuous rethinking of musical ideas.

In jazz, improvisation is considered as an integral component of the compositional structure, which causes a rethinking of traditional ideas about a piece of music as something static and unchangeable. This characteristic of jazz emphasizes its dynamic nature, in which a piece of music does not exist in its final form until the moment of its performance. In the context of classical music, the distinction between composition and performance is clearly defined: the composition is fixed in the musical text, and the performance is its interpretation. However, in jazz, composition often serves only as the basis on which musicians build their unique improvisations. "The share of improvisational and compositional principles in a jazz work, of course, defies any mathematical calculation" ^{[2, p. 24]}. This interaction gives each performance the status of a unique and self-sufficient musical event.

The ontological study of jazz reveals how the interaction of a performer with musical material affects the formation of a musical text, turning each performance into a unique phenomenon in the cultural space. In jazz, where there is a deep connection between composer and performer, the traditional boundaries between these roles become blurred. As a result, in jazz practice, the traditional division into composition and performance is erased, and each performance can be considered as an independent and full-fledged musical work. In this context, jazz can be considered as a type of musical creativity based on the principles of creativity and innovation, which constantly expands the boundaries of traditional music perception. This characteristic of jazz makes it an important object for academic study, allowing deeper investigation of the relationship between a musical text and its performance, as well as considering the role of the performer as a co-author of a musical work. This process is important for understanding jazz as a constantly evolving phenomenon in which changes in form and content occur due to the creativity of composers and the unique style of each performer.

Philosopher Andrew Kania, comparing various musical traditions with jazz, suggests four possible approaches to the ontology of jazz: "I. Jazz music, like classical music, ontologically represents works intended for performance, which can be performed in various ways. II. In jazz, the performance itself is a work. III. Jazz music is ontologically similar to rock music; the main works are sound recordings - works intended for playback, not for live performance. IV. There are no separate works in jazz, there are only performances" ^{[9, p. 168]}.

The ontological analysis highlights the unique features of jazz and offers a methodology for understanding the processes of its transformation and adaptation in various cultural and historical contexts. He opens up new horizons for the interpretation of jazz, considering it not as a static set of works, but as a living, developing art in which each performance contributes to the change and development of the genre as a whole. This allows us to more deeply assess the contribution of jazz to world musical culture and its importance in the formation of social and cultural identities.

Based on the fact that improvisation is a key element of jazz, reflecting the personality of the performer, sound recording in this case acquires special importance. It acts as a technical means for recording a musical work and as a method of documenting unique, inimitable acts of creativity that cannot be accurately reproduced at another point in time.

Each jazz recording captures a unique event in which the melodic line, harmonic combinations and rhythmic structures combine with the individual style of the musician, creating a piece of music unique to the moment. This uniqueness of each record gives it significance, like a historical document storing key moments in the history of jazz.

Jazz recordings play an important role in the preservation and transmission of cultural heritage, influencing the formation of the historical memory of the genre. They help to preserve and pass on to future generations the peculiarities of performing skills, as well as contribute to a deep understanding of the stylistic diversity of the genre, providing material for analyzing its evolution and influence on world musical culture. The sound recording of jazz compositions is not limited only to fixing one of the possible performances to preserve the musical moment; it transforms this performance into a unique work of art that acquires an independent artistic value. Each sound recording is a separate act of creativity that reflects a unique moment of performance and technical, production decisions made by sound engineers and producers. This makes it not just a document of musical performance, but a kind of artifact reflecting the technical and creative individuality of the creation process. Thus, each recording becomes the object of critical analysis and evaluation, playing an important role in the study and understanding of jazz music in the context of its auditory culture.

In the ontology of jazz, sound recording performs several fundamental functions, each of which significantly affects its perception, development and interpretation. Sound recording in jazz captures the auditory aspects of performance and acts as a mediator between the performer and the listener, ensuring the transmission of emotional and cultural contexts inherent in the music. Let's consider the key functions of sound recording in the context of jazz: The function of documentation and preservation. Sound recording serves as a critically important archival resource, capturing the unique moments of performances and improvisations that are an integral part of jazz. These recordings preserve historical artifacts, thereby ensuring the continuity of the musical heritage.

Educational function. Audio recordings of jazz performances function as a multimodal pedagogical tool, providing musicians and students with access to a detailed analysis of the technical and expressive aspects of works unattainable for fixation by traditional musical notation. Thus, sound recordings serve as a means of preserving the performing arts, as well as a basis for the development of critical thinking and performing skills in jazz, contributing to the study of "already existing improvisational handwriting" ^{[6, p. 295]} in the future.

The function of innovation and creative development. Sound recordings serve as a catalyst for the creative process and innovation, providing artists with a unique platform to experiment and master new musical forms and styles. This allows musicians to preserve and reproduce traditional approaches, while actively participating in the evolution of the genre and integrating modern trends and technologies into jazz music. Thus, sound recordings contribute to the renewal of the musical vocabulary and the expansion of the boundaries of jazz as an art.

The function of globalization and cultural integration. Sound recordings effectively overcome geographical and temporal barriers, making jazz accessible to a global audience. This process expands the cultural and social impact of jazz, as well as contributes to the global dissemination and adaptation of musical ideas in a variety of cultural contexts. Sound recordings play a key role in transcultural exchange and interaction, strengthening international understanding and recognition of jazz as a universal language of musical art.

The economic function. Sound recording plays an important role in the commercialization of jazz, ensuring its mass distribution and contributing to the economic sustainability of the music industry. Through the production and sale of recordings, jazz becomes available to a wide audience, which leads to increased profits and encourages further investment in musical projects. This, in turn, contributes to the creation of new works, the attraction of talent and the development of infrastructure within the genre, thereby maintaining the integrity and development of the entire music industry.

The function of the collectible object. Jazz recordings are highly valued as collectible objects due to their significant cultural and historical significance. This attracts collectors and enthusiasts seeking to preserve rare and significant publications. Such collecting contributes to the maintenance of musical history and cultural identity, as well as maintains a continuous interest in jazz. The preservation of these recordings enriches music archives and museums, providing future generations with the opportunity to explore and appreciate this genre.

These recording functions emphasize the multifunctionality of jazz as a musical genre, illustrating its complexity and multidimensional nature in cultural and scientific contexts. Sound recording provides documentation and dissemination of jazz, actively shaping its ontological essence and emphasizing its dynamic and multidisciplinary nature.

Within the framework of jazz music, a number of types of sound recordings can be identified, each of which has certain unique characteristics and performs specific functions in the context of this genre. These types can be systematized by analyzing the technical parameters of the recording process and the performance characteristics. This approach makes it possible to distinguish between various recording methods and techniques, while simultaneously assessing their impact on the perception and interpretation of jazz music, which is a key aspect in the study of its phenomenology and ontology. We can refer to the first type of recordings made in a recording studio. Studio recordings are characterized by high control of sound space and sound quality, allowing musicians and producers to repeatedly hone every aspect of performance. This creates conditions for careful improvements with the help of technical means of sound engineering, ensuring high sound purity and technical perfection. Such possibilities make studio recordings the most complete reflection of the artistic intent of performers and producers, which affects the aesthetic assessment of jazz works, providing a more controlled version of musical works.

The second category includes recordings made in the conditions of a live, concert performance. Live (concert) recordings capture the performance in real time, capturing the spontaneous energy and improvisations of musicians, which is crucial for understanding jazz as an ephemeral art. These recordings provide unique evidence of each performance, serving as important documentation of unique performances, where the main emphasis is on improvisation and interaction of performers, both among themselves and with the audience.

The study of live jazz performances is an important aspect of jazzology, which allows a deeper understanding of the dynamic nature of jazz as a special musical type. Live performance in jazz is not just an act of playing music, but a moment of creation and interaction. Jazz is characterized by the unpredictability and uniqueness of each performance, which is a consequence of the ephemerality and uniqueness of the moment. This interaction and the uniqueness of each performance make sound recordings of live performances especially valuable for understanding the essence of jazz. The joint presence of performers and the audience creates a special atmosphere of interaction and exchange, which is a key aspect of jazz culture. This interaction enhances the musical experience, promotes the creation of social connections and collective memory, emphasizing the socio-cultural significance of live jazz performances.

The philosopher and jazz critic Lee B. Brown suggested that "in recorded form [jazz] may have a completely different phenomenology than live performance. Moreover, it may have another ontology" ^{[7, p. 235]}. Here we can assume that live performance recordings are as similar as possible in phenomenology and ontology to a live event, but they are an independent cultural object.

Recordings of live performances play an important role in how music is perceived by listeners. They provide an opportunity to experience the atmosphere of a live performance, which can be significantly different from studio recordings. Listening to sound recordings of live performances, the audience feels the dynamics and emotional fullness of the moment, which can enhance the emotional impact of music and allows for a deeper understanding and appreciation of the performers' skills.

Each of the types of sound recordings in jazz contributes to the formation and development of an ontological understanding of this genre, emphasizing its multidisciplinary and multifunctional nature.

Let's trace the influence, manifestation and interrelation of these functions using the example of Thelonious Monk's work, having considered several examples from his legacy. In 1958, Thelonious Monk was invited for a series of performances at the Five Spot Cafe in Greenwich Village. At the height of recognition in the music community and attracting national media attention, Monk became one of the key artists signed to the Riverside Records label. As part of these performances, producer and studio owner Orrin Keepnews organized the sound recording of one of the evenings. On July 9, about a month after the start of the concert series, Kipnews recorded a full night performance and soon began advertising the upcoming edition in professional magazines. However, Monk was unhappy with the result of the recording, and his opinion was shared by his musicians — Johnny Griffin, tenor saxophone; Ahmed Abdul-Malik, double bass; and Roy Haynes, drums. Due to their objections, Kipnews postponed the release of the recordings and held a repeat recording session about a month later. This time Monk was satisfied with the result, and the materials of the second session were released on records under the names Thelonious in Action (RLP 12-262) and Misterioso (RLP 12-279), both on the Riverside label. The story could have ended there, however, Kipnews kept the materials of the first recording session made on magnetic tape — this was standard procedure — and after Monk's death released several compositions from the first date as "bonus tracks" in the reissues of two records on CD. Kipnews explained his decision, somewhat defensively, in the comments to the publication Thelonious Monk: The Complete Riverside Recordings (RCD-022-2), stating that while listening to the tape, he came to the conclusion that he did not agree with some of Monk's original decisions. He further explains in the comments to the publication: "Now two previously unreleased tracks have been added to the album, each of which deserves the attention of the listener. The Evidence composition opened Monk's evening performance; despite the imperfect balance of the recording, the pianist's skill is beyond doubt. The Bye-Ya song is notable for the participation of guest drummer Art Blakey. Overall, the performance leaves the impression of some carelessness, and Johnny Griffin's solo seems unnecessarily long. However, it is followed by a laconic solo by Monk himself... First of all, these recordings represent a unique piece of jazz reality: friends gathered together in a club late at night and probably almost did not pay attention to the operation of the recording device" ^[10].

Critics, historians and fans were encouraged by these reissued and expanded recordings, as they enrich the archive of performances by these musicians and provide an opportunity to look into the creative process in jazz through a comparison of accepted and rejected versions of compositions. These recordings turn out to be interesting not only in the context of jazz improvisation issues, but also as a source of valuable coverage of a number of other topical issues related to the social and cultural aspects of jazz perception and interpretation. They help to better understand a number of metaphysical issues related to the nature of sound recording. Monk's desire to release only a fraction of these recordings and the desire of both fans and musicians to hear them all emphasize the aesthetic ontology of the recordings and the associated discourses of the author's voice and musical works in jazz communities.

These recordings allow us to trace how the recording functions can interact and influence the perception of musical heritage. The importance of the documentation and preservation function is shown through the recording of unique takes of Monk's performances. The preservation of these duplicates, even those that were initially considered unsatisfactory, demonstrated the long-term value of archival materials. The first session was not published immediately, but its preservation allowed us to return to rethinking these materials later. This underlines the importance of sound recording as a means not only of fixation, but also of retrospective reflection on the creative process, which goes beyond a one-time performance. This function is closely related to the educational role of sound recording, which allows researchers and listeners to compare different versions of the same works. In the context of Monk's work, comparing accepted and rejected recording sessions provides a rare opportunity to study the evolution of musical ideas, performance variability, and improvisation approaches. Such comparisons reveal not only the technical or aesthetic preferences of musicians, but also deeper cultural and social aspects that influence musical performance. It has become an important tool for jazz researchers, allowing them to study how musicians' perceptions of their own performances have changed. Comparing accepted and rejected versions deepens the understanding of creative solutions and processes, which is of significant educational importance, especially in the context of studying jazz improvisation in the framework of live performance and its evolution.

The innovative recording function manifested itself through the use of magnetic tape, which allowed us to preserve all the nuances of live performances. The technology of sound recording on magnetic tape not only provided the possibility of complete temporary fixation of the performance and high recording quality, but also allowed the technical process not to interfere with the creative process, being a kind of impartial event fixator. It is also worth noting the work of the sound engineer as an important element of the creative function. For the second session, the approach to the formation of the sound image of the phonogram was revised, which corresponded to the desires of the performers.

The economic function of sound recording was clearly manifested in Kipnews' decision to include previously unreleased tracks from the first session in album reissues. This not only enriched the content of the albums, but also increased their market appeal, attracting the attention of new and existing Monk fans. The reissue of materials supplemented by archival recordings has created additional commercial opportunities, reflecting the economic benefits of using archival recordings in the music industry.

Thus, using the example of Thelonious Monk's work and his recordings at the Five Spot Cafe, one can trace how the recording functions intertwine and complement each other, creating a multi-layered understanding of musical heritage. The documentary function ensures the preservation of unique duplicates of performances, the educational function allows you to explore the evolution of musical ideas and improvisations, the innovative function is revealed through the use of magnetic recording technologies, and the economic function demonstrates the commercial benefits of including archival materials in reissues. Together, these functions form an integrated approach to sound recording, which not only preserves cultural values, but also actively influences their perception, interpretation and dissemination in society, contributing to both the preservation and reinterpretation of creative heritage.

The transition from the analysis of Thelonious Monk's concert recording to the consideration of his studio works opens up new aspects of the musician's interaction with the recording process.

The studio recording of Thelonious Monk's Brilliant Corners from the 1957 album of the same name (Riverside, RLP 12-226) proved especially difficult for the musicians involved in the session, including tenor saxophonist Sonny Rollins, double bassist Oscar Pettiford and drummer Max Roach. Monk did not provide musical material to his musicians, preferring that they learn compositions by ear. This approach undoubtedly added authenticity and originality to their interpretations, but it also complicated the recording process. Of the 25 takes, none were deemed suitable for release, many of them were marred by errors in the initial and final themes. Producer Orrin Kipnews edited these takes into one performance using magnetic tape editing, creating what is "recognized as one of the best jazz recordings of all time" ^{[12, pp. 211-212]}.

The approach to creating this record goes against Monk's creative position, as he was a stickler for one take. This is indicated by an interview with saxophonist Charlie Rouse. He recalled that Monk preferred to make recordings with as few repetitions as possible. They could have recorded the song once, they could have recorded it again, but they never recorded it a third time, because after the first take, "which was full of feelings," everything went wrong. Rose explained that for Monk, the performer's mistake was preferable to rewriting. "If you've made mistakes, what of it, you know it's your problem. You will have to hear them for the rest of your life." ^{[13, 22 min. 40 sec.]}. Rose hints at two fundamental beliefs that musicians had before the advent of rock. Firstly, the first recording is always the best, and secondly, during the recording, the musician plays while in suspense, because he realizes that he simply has to do everything right, which is a professional challenge. Monk considered any unexpected delay in recording a hindrance, because it knocked him out of the mood, deprived him of spontaneity and freshness, that is, those qualities that he valued above the technical aspects of the recording process.

This reflects not only Monk's deeply philosophical position on the value of the present, the one and only moment. In this context, each performance is a reflection of a unique state of mind, at a specific moment in time. He believed that it was one unique performance that could convey the full depth and sincerity of feelings. However, using magnetic tape and combining multiple takes into a single composition contradicts this approach. On the one hand, it allows you to achieve technical perfection, avoiding mistakes and shortcomings. On the other hand, such "perfection" may lose the soul and sincerity of the original performance.

In the context of the ontological research method, conclusions can be drawn about the differences between the two types of Thelonious Monk sound recordings — studio and concert, as well as about the functions of sound recording, such as innovation and creativity.

Studio recording captures a piece of music in controlled conditions, allowing the use of multiple takes to achieve technical perfection. This opens up room for innovation in the recording process: the use of editing technologies, as in the case of the composition "Brilliant Corners", allowed combining several takes into a single recording. This innovative approach improves the technical aspects of the sound by correcting errors and correcting the performance. However, according to Monk, such a technique can reduce the spontaneity of performance, which he highly appreciated. It was important for him to preserve the emotional momentum of the moment, and an excessive number of takes weakened his natural creative energy.

The concert recording, on the contrary, preserves the improvisational nature of jazz. She captures the music in its lively, inimitable performance, where every moment is unique. Unlike studio recording, live recording minimally interferes with the process of creating music, leaving it in its original form, with possible errors and unexpected changes that are part of the live musical process. In this context, the concert recording reflects the creative possibilities of sound recording, capturing the energy and uniqueness of each performance, which is especially important for jazz. The functions of innovation and creativity of sound recording are manifested in its ability to control and modify the musical process. Thus, Monk's studio and concert recordings represent two different entities of sound recording: one emphasizes innovation through technological excellence and editing capabilities, the other — creativity, while maintaining the spontaneity and naturalness of the musical process. Both types of recordings play an important role in the transmission and preservation of musical heritage: studio recordings provide technical perfection, and concert recordings preserve the lively energy of jazz, reflecting its true improvisational nature.

The functions of globalization and cultural integration play a key role in the dissemination and perception of cultural phenomena such as jazz music. The publication of Thelonious Monk's portrait on the cover of the American Time magazine on February 28, 1964 was an event that not only confirmed his status as one of the outstanding jazz musicians, but also contributed to the expansion of his influence on the world jazz scene. Monk, being recognized in the USA, has become a symbol of jazz art internationally.

The publication of Monk's records in the USA and their further distribution around the world can be considered as a tangible manifestation of globalization. These records penetrated into various countries, including the Soviet Union, where, being rare specimens, they became valuable collectibles. In conditions of limited access to Western culture, the possession of a Monk record in the USSR not only symbolized high musical taste, but also reflected the desire to participate in international cultural trends. Thus, Monk's plates served not only as cultural artifacts, but also as a means of personal access to globalized cultural products, overcoming geopolitical barriers.

The educational function of jazz also played an important role in the process of cultural integration. In the Soviet Union, thematic meetings were held where music lovers gathered to listen to and discuss rare records, such as Thelonious Monk recordings. These events contributed not only to the dissemination of knowledge about jazz, but also became platforms for cultural dialogue, expanding the boundaries of national cultures and deepening understanding of the musical heritage of other countries.

Continuing to consider the functions of globalization and cultural integration, it can be noted that in 1990 in the USSR a unique collection "Monk and Coltrane. The Message" (C90 29747 009) under the auspices of the Moscow jazz club of philophonists Modus and the Melodiya company. The compiler of the collection was S. E. Lensky, and the editor was D. P. Ukhov. The recordings included in the record from 1957-1958 were taken from the collection of foreign records by the jazz scholar M. M. Neishuller. This publication has become an example of how the function of collecting can be transformed into educational and economic functions.

Thanks to this publication, members of the jazz enthusiast community had the opportunity not only to hear recordings previously inaccessible to the mass Soviet listener, but also to become owners of a unique artifact of significant cultural value. Thus, the record fulfilled several functions at once: it served as a tool for education and promoted economic exchange through collecting. This publication also increased interest in the musicological research of Monk's work, stimulating a deeper understanding of his contribution to jazz music.

Editor D. P. Ukhov, in the annotation to the record, noted the peculiarity of Thelonious Monk's style, quoting John Coltrane, who called Monk "a musical architect of the highest order." Ukhov wrote: "The pianist really left only one frame of melody and harmony, and in the interpretation of popular melodies he can perhaps even be compared with a cartoonist, who has only the most general, and even then not immediately recognizable contours from the silhouette..." ^[11]. This characteristic highlights the uniqueness of Monk's approach to musical form and content.

Thus, the publication "Monk and Coltrane. The message" not only contributed to the dissemination and accessibility of rare recordings, but also deepened the understanding of jazz art in conditions of cultural isolation. This publication has become a symbol of the intersection of the functions of collecting, education and cultural exchange, demonstrating how the various functions of sound recording allow you to create a new space for interpretation and research. In the conditions of the USSR, where access to Western culture was severely limited, such publications represented important cultural bridges that allowed overcoming barriers and contributed to integration into the global cultural space.

As a result of the conducted research, based on the ontological analysis of jazz recordings, it can be concluded that sound recording plays a significant role as a tool for preserving and transforming musical heritage. Using the example of Thelonious Monk's work, sound recordings illustrate the variety of ways of perceiving and interpreting music, while simultaneously serving as a means of transmitting cultural heritage. The ontological approach makes it possible to identify the deep relationships between the processes of creating, recording and perceiving music, as well as to analyze the interaction between the performer, the audience and recording technologies. In addition, it allows us to understand how changes in recording technologies affect the artistic aspects of performance and contribute to innovation and transformation in the evolution of musical culture. The ontological analysis of jazz reveals not only the processes of creating and performing music, but also its perception at a deeper level, which gives researchers the opportunity to better understand jazz as a cultural phenomenon that is constantly developing through dialogue between the performer and the audience, as well as through internal experiments within the genre itself. Thus, sound recording in jazz acts not only as a means of documentation, but also as an active participant in the cultural process, supporting a dialogue between tradition and innovation and ensuring the transfer of musical heritage to future generations.