A blues in B♭ first recorded on October 21, 1959, for Thelonious Alone in San Francisco. A 32-bar tune in AABA-form notorious for its many 16th notes. [7] Jon Hendricks wrote lyrics to the tune and called it ”How I Wish”; it was first recorded by Carmen McRae on Carmen Sings Monk. [47], A 4-bar tune built on an embellished Andalusian cadence in G. The tune was written and recorded in the studio on November 13, 1953. [25] The tune was first recorded March 9, 1964, and first appeared on the album Monk.[91]. Thank you for visiting Jazzwise.co.uk To get full, unrestricted access to all our news, features, artist profiles and much more besides simply click … The recording session was in Los Angeles during a West Coast tour by the quartet,[30] suggesting that the title probably to Sunset Boulevard. [29] Ethan Iverson speculates that this tune was Monk's response to the modal jazz movement, as the tune is mostly lies on one chord.[4]. [25], A 32-bar tune in AABA-form originally composed by Sadik Hakim, co-written with Idrees Sulieman. However, the word "epistrophe" is defined by Merriam-Webster as "the repetition of a word or expression at the end of successive phrases, clauses, sentences, or verses especially for rhetorical or poetic effect". [17] The melody and chord progression of the tune continued to evolve, finally gelling into a "definitive" form in later 1957, as heard on at Carnegie Hall and Thelonious in Action. Round Midnight is a famous ballad by Thelonious Monk. A 36-bar tune in AABA-form (8-8-8-12). [68], A 32-bar tune in AABA-form, with an unusual bass ostinato. [10] It appears on the live albums recorded at Newport with Miles Davis and Gerry Mulligan (1955), France, Tokyo, and at the Jazz Workshop. Producer Bob Weinstock wanted to call the tune "Go", but because of the Latin influence, Weinstock asked for a Spanish translation, thus "Go" became "Vaya", and "Vaya" became "Bye-Ya". Recognized as one of the most inventive pianists of any musical genre, Monk achieved a startlingly original sound that even his most devoted followers have been unable to successfully imitate. It was first recorded on June 4, 1959, for the album 5 by Monk by 5. [56] It was later recorded with Clark Terry for the album In Orbit,[69] and appears on Misterioso, and Monk's Blues. He had chart topping singles covering a span of 1 year. The plausible explanation is that the title is a reference to the radio personality and jazz broadcaster Oscar Treadwell (after whom Charlie Parker named a different jazz composition, "An Oscar for Treadwell"). [28] It later appears on the live albums from Carnegie Hall[18] and Town Hall. A 32-bar tune in AABA-form in B♭ that written in the studio and first recorded on September 22, 1954, for the album Thelonious Monk Trio. It was first recorded on November 13, 1953, and appears on the album Monk. [68], A 32-bar tune in AABA-form that was first recorded on May 30, 1952, for the Genius of Modern Music sessions. [11] The tune is also known as "Bimsha Swing", because the word Bemsha is a re-spelling of "Bimshire" – a colloquial nickname for Barbados, where Denzil Best was born. It was only recorded once, in the afternoon session on October 31, 1964, for the album Solo Monk. In … In their honor, here’s a heap of information about “‘Round Midnight,” a bedrock… For copyright reasons, the song was renamed "Dear Ruby". It is a relatively atonal 32-bar tune in ABCB-form, though the key center is C♯. The tune is structured like "Bemsha Swing" and "Good Bait", in that in their respective B-sections, that A-part is transposed to the subdominant to create B-section. 2,[75] Thelonious Alone in San Francisco,[14] and on Monk's Blues. A ballad in AABA-form that was written around 1943–1944, and went through many working titles, including "Feeling That Way Now", and "Be Merrier Sarah", until Monk settled for the title "Monk's Mood". It has been recorded numerous times by Monk and others and is one of Monk's most covered songs.[94]. It was only recorded once, on December 21, 1967, for the album Underground. Thelonious Sphere Monk was born two years after his sister Marion on October 10, 1917, in Rocky Mount, North Carolina, and was the son of Thelonious and Barbara Monk. CDs Vinyl. An 8-bar tune in A♭ that only appears on the album Big Band and Quartet in Concert. Sales. The tune appears on almost every single live album by Monk, as it was the closing tune of each set from Monk's days at Minton's Playhouse onwards. Thelonious Monk, one of the most important figures in jazz history, wrote most of his most popular songs between 1947-1952. A 32-bar tune in AABA-form with a notoriously difficult melody. It was first recorded on December 18, 1952, for the album Thelonious Monk Trio,[11] and later appears on the album Thelonious Monk with John Coltrane and on Monk's Blues. [48], A 32-bar tune in AABA-form that is notorious for its difficult melody. The A-section doesn't land on a stable chord until bar 6 where it lands on DΔ7, but the B-section establishes D♭Δ7 as a new key center. It is commonly agreed that the "Skippy"'s changes are based on Monk's reharmonization of "Tea for Two" (which he would later record on The Unique Thelonious Monk,[93] and on Criss-Cross,[38]) but Ethan Iverson argues that Monk composed "Skippy", then applied the changes to "Tea for Two". [83][84] "Rhythm-A-Ning" was first recorded on May 15, 1957, for the album Art Blakey's Jazz Messengers with Thelonious Monk,[17] and later appears on Mulligan Meets Monk,[59] Les Liaisons dangereuses 1960,[9] and on Criss-Cross. One of Monk’s most popular compositions, this ballad has been … "Misterioso" was the very first 12-bar blues that Monk wrote, and it was first recorded on July 2, 1948, for the Wizard of the Vibes sessions, featuring Milt Jackson. DVDs Blu-ray VHS. The title "Epistrophy" is not a word in any dictionary[citation needed]. [14] Monk wrote the tune after a visit from Guy Warren in 1958, the melody is borrowed from Warren's "The Talking Drum Looks Ahead" from the album Themes for African Drums. A tonally ambiguous ballad in D♭[4] first recorded on July 23, 1951, for the Genius of Modern Music sessions. [90][77] It was first recorded on October 24, 1947, for the Genius of Modern Music sessions. A 32-bar tune in ABAC-form, and is based entirely on cycling dominant chords (or their tritone substitutions). [29], A 32-bar tune in AABA-form in A♭, that was written around 1943–1944, and was originally called "The Pump". The title references Pannonica de Koenigswarter's troubles with her stay at the Bolivar Hotel, where her parties would disturb the management of the hotel. It may include writing credits and featured credits in the near future. [36], A 12-bar blues in B♭, described as Monk's "homage to the bent note", it first appeared on Solo Monk, then a second (and final) time on Monk's Blues with the Oliver Nelson Orchestra.[76]. [48] It later appears on the live album recorded at the Blackhawk. It was first recorded July 23, 1951, for the Genius of Modern Music sessions,[5] and later appears on Mulligan Meets Monk,[59] 5 by Monk by 5,[6] Straight, No Chaser,[53] and on Monk's Blues. [32] It was first recorded on February 25, 1958, with Clark Terry, Johnny Griffin and Pepper Adams with Monk's rhythm section. Thelonious Monk’s Best Songs As picked by the jam community, 2011–2015 Blue Monk Thelonious Monk. [6] The B-section rhythmically displaces the concluding phrase from the preceding A-section. [29], A 16-bar (AA-form) composition in E♭, derived from the traditional children's counting song "This Old Man". [27] Live versions appear on the albums recorded in Italy, Tokyo, It Club and at the Jazz Workshop. Margo Guryan also wrote lyrics for the tune.[68]. Thelonious Monk With John Coltrane (rec. Thelonious Monk was around 29 years old when his first singled charted. It that was first recorded on October 24, 1947, for the Genius of Modern Music sessions. [68], An 8-bar tune that was composed in 1957,[71] and first appears on the live album Thelonious in Action. A blues in B♭ written in the studio and first recorded on September 22, 1954, for the album Thelonious Monk Trio, and is by far the tune Monk recorded the most. [10] Live versions also appear from the albums recorded at the It Club and the Jazz Workshop. [16] Versions of the tune appear on Art Blakey's Jazz Messengers with Thelonious Monk,[17] and Monk's Blues. [22] The song has since been covered by numerous artists.[65]. [8] It also appears on Les Liaisons dangereuses 1960,[9] and on Monk's Dream; on the latter release, it was retitled "Bolivar Blues" or "Blue Bolivar Blues". The second take was released on Thelonious Himself, while the first take was later used in compiling the album Thelonious Monk with John Coltrane. Monk’s composition “Brilliant Corners” was so difficult to play that the final recorded version took over 25 takes to achieve, and then only by splicing together two versions was it completed. Probably one of the last official known compositions by Monk recorded on November 15, 1971, for The London Collection: Volume One, released by the Black Lion label. The tune was only recorded only once, on October 15, 1947, for the Genius of Modern Music sessions.[57]. [28] It was first recorded on October 24, 1947, for the Genius of Modern Music sessions. [30], A popular ballad in AABA-form that was first recorded on December 18, 1952, for the album Thelonious Monk Trio. "'Round Midnight" is a 1944 jazz standard by pianist Thelonious Monk. Two unrelated explanations have been reported regarding the origin of the title. The tune was first recorded with Monk's septet for Monk's Music; on that album (and on many of its reissues), "Crepuscule" was spelled "Crepescule" (3 e's, 1 u). It was originally supposed to be arranged by Gil Fuller, when Monk was the pianist in Dizzy Gillespie's big band,[28] but wasn't recorded until October 15, 1952, for the album Thelonious Monk Trio under the name "Bye-Ya". Margo Guryan also wrote lyrics for the tune. "[95], A 32-bar tune in D♭ major that was only recorded once, on February 10, 1964, for the album It's Monk's Time. A tune Monk wrote with Denzil Best and was first recorded on December 18, 1952, for the album Thelonious Monk Trio. [40] The first recording was by Cootie Williams on April 1, 1942,[41] and it was later recorded by Clarke's band on September 5, 1946. Thelonious Monk top songs include Round About Midnight. The list of top singles for Dave Brubeck come from the Playback.fm charts. The tune was also called "Bip Bop" by Monk, and he claims that the tune's latter title was the origin of the genre-defining name bebop. It is also known as "Five Spot Blues". Thelonious Monk first charted in 1946. The tune was earlier known as "You Need 'Na". The tune was initially called "Weetee", which was the nickname for Monk's cousin, Evelyn. [43] It was later recorded for Monk's Music[34] and was an outtake from the It's Monk's Time sessions. From 20 people Epistrophy Thelonious Monk. This is the only recording of this composition. When he was just four, his parents, Barbara and Thelonious, Sr., moved to … It is believed that since Monk kept most of his sheet music in Pannonica's house, Clark stole the lead sheet and claimed as his own, in hopes of the tune being a hit. [5] It later appeared on Piano Solo,[44] and on Criss-Cross.[38]. The tune was partly inspired by trumpeter Ray Copeland having the flu on the recording date, and horn player Julius Watkins stepped in instead. Thelonious Monk’s career resulted in some of the most thought-of tracks in modern Jazz music, such as ‘Round Midnight’, ‘Straight, No Chaser’ and ‘Blue Monk’. [61] It was also later recorded for the album Solo Monk. Abbey Lincoln wrote lyrics to the tune around 1961,[20] and was recorded by Carmen McRae as "Monkery's the Blues" on the album Carmen Sings Monk. The title is a corruption of "shuffle ball", which is a move commonly used in tap dance. During the head, the first four bars of the A-section are replaced with cycling dominants, that start on F♯7, before landing on the tonic B♭ in bar 5. An improvised blues in B♭ recorded in October 1959 for Thelonious Alone in San Francisco. [92] Its only recording was done on May 30, 1952, for the Genius of Modern Music sessions,[56] but it has since the 2000s became a popular tune, with many cover versions. Menu. The 4-bar A-section is essentially in C major but borrows tones from the parallel C minor scale, and is transposed up a fourth to create the B section of the form. The two-CD set, Genius of Modern Music… Margo Guryan also wrote lyrics for the tune.[68]. In 1922, the family moved to the Phipps Houses, 243 West 63rd Street, in Manhattan, New York City; the neighborhood was … [61], A 32-bar tune in AABA-form, and is also notable for its difficult melody, chromatic changes, and obbligato bass line. [1], A contrafact based loosely on rhythm changes in C, and was copyrighted by Monk under the title "Nameless" in April 1944. [33] This performance currently appears on Monk's Complete Riverside Recordings, though it first appeared on the 1984 rarities compilation Blues Five Spot. A completely unique pianist and composer, Thelonious Monk was born 102 years ago, in October 1917. It was only recorded once, at the marathon Black Lion Records session of November 15, 1971.[30]. It was only recorded once, on February 14, 1968, for the album Underground. There are three widely played versions of the tune; Mike Ferro later wrote lyrics to the tune, and the song was recorded in 1988 by Carmen McRae as part of her studio album Carmen Sings Monk. [55] It later appears on the album Straight, No Chaser.[53]. [27], A 32-bar Latin-tune in AABA-form that was originally titled "Playhouse" (as a dedication to Minton's, where Monk was the house pianist in the early 1940s with Kenny Clarke). In most jazz standards, the A-section is used to establish the key, while the B-section has tonal excursions, but in "Introspection", the roles of the sections are reversed. [17] Live versions of the tune appear on the live albums Discovery!,[66] Misterioso and on The Thelonious Monk Orchestra at Town Hall. All. [4] The tune was first recorded on October 15, 1956, for the album Brilliant Corners, and the song had notoriously 25 incomplete takes of the tune, and the final version was completed by producer Orrin Keepnews by cutting together the incomplete takes. A contrafact of "Just You, Just Me". "In Walked Bud" was based loosely on the chord progression of "Blue Skies", an early pop standard composed in 1927 by Irving Berlin. The tune was initially called "Weetee", which was the nickname for Monk's cousin, Evelyn. [61][65] It was later also recorded for the album Art Blakey's Jazz Messengers with Thelonious Monk. A contrafact of "Five Foot Two", It was first recorded on July 23, 1951, for the Genius of Modern Music sessions. Monk composed the tune throughout May 1957. His musical vision was both ahead of its time and deeply [9] Live versions appear on most of Monk's live albums. It is thought that Monk originally composed the song sometime in 1940 or 1941. It was however not for nostalgic reasons, but because the first phrase of the tune fit with the new title. In fact, Thelonious Monk is the 2nd most recorded jazz composer after Duke Ellington – and Duke wrote about a thousand songs to Monk’s 70-or-so. [30], The original stereo LP referred to the song as “That Old Man” on both the jacket and the label, but the mono LP listed the song as “That Old Man” on the jacket and “Children’s Song” on the label, as have later reissues of the stereo LP. [54] It was not recorded by Monk until May 11, 1954, and appears on the album Monk. The album's liner notes claim the title is "in honor of" the "ancient, ornate chandeliers" in Fugazi Hall, where the album was recorded. [61] The tune later appears on Thelonious Himself, featuring John Coltrane and Wilbur Ware. It was first recorded on November 1, 1962, for Monk's Dream. A 1984 European LP listed it as simply "Children’s Song", but it has generally been known as “Children’s Song (That Old Man)” since the 2002 CD issue.[31]. Hendricks re-titled the tune ”You Know Who”, and was first recorded by Carmen McRae for the album Carmen Sings Monk. [80] Jon Hendricks wrote lyrics to tune and called it ”Little Butterfly”, and was first recorded by Carmen McRae on Carmen Sings Monk. It later appears on the albums Les Liaisons dangereuses 1960 and on Big Band and Quartet in Concert. A 16-bar tune in AABA-form that was first recorded on June 1, 1959, for the album 5 by Monk by 5. {{sfn|Kelley|2009|page=338 The other explanation is that title is a corruption of the British English pronunciation of "ask for tea". [4][45] The tune was first recorded on July 2, 1948, for the Wizard of the Vibes sessions, featuring Milt Jackson,[43] later on Piano Solo,[44] and on Art Blakey's Jazz Messengers with Thelonious Monk. From 15 people Just a Gigolo Thelonious Monk. [8] The tune later appears on the albums Les Liaisons dangereuses 1960,[9] Thelonious Alone in San Francisco,[14] Criss-Cross,[35] Monk in Tokyo, Monk. [10] Jon Hendricks later wrote lyrics to the tune, and retitled it "Man, That Was a Dream", and was first recorded by Carmen McRae for the album Carmen Sings Monk. 2,[75] Misterioso, Big Band and Quartet in Concert, Live at the It Club and Live at the Jazz Workshop. It was only recorded once, on November 21, 1947, for the Genius of Modern Music sessions. 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[ 65 ] it was only recorded,... Of Monk 's most recorded tune, and the Five Spot on both versions one thelonious monk most famous song the revered... Lyrics to tune. [ 94 ] Thelonious in Action the same year on October,... Riff contains only the pitches B♭ and a, insisting on the album Solo.... Coltrane at Carnegie Hall [ 18 ] and part of the A-section is based on changes! Called `` Weetee '', and appears on the live albums from Carnegie ''. `` Rifftide '' and recorded it February thelonious monk most famous song, 1945 Straight '' his Music on its own te read.