TM: You asked me for my opinion, I gave you my opinion.ģ. To keep up with the song, you have to swing. TM: Well, I mean, the piece swings by itself. TM: It sounded like some slow solos speeded up, to me. LF: How about the solos? Which of them did you like? LF: Did I hear you say the tempo was wrong? (With Conte Candoli, Wynton Kelly, Paul Chambers and Jimmy Cobb.) Rhythm-a-ning from 'Gettin' Together' on Contemporary. LF: I'll find a few things you'll want to say something about.Ģ. LF: Is that all you have to say about that record? TM: The view here is great, and you have a crazy stereo system. When it becomes clear he is not listening, the record is taken off.) (After two minutes, Monk rises from his seat, starts wandering around the room and looking out of the window. Flight 19 from 'Point of Departure' on Blue Note. 7 may have a more than coincidental relationship to the opinions expressed openly by Oscar Peterson concerning Monk's own value as a pianist.ġ. He was given no information about any of the records played. At this point, he seemed interested enough to listen to a couple of non-Monk works. Accordingly, Records 2 - 6 were all Monk tunes. When moments of silence engulfed him, Nellie succeeded in prodding him.Īfter the first minute of the first record, it became obvious that the only way to complete an interview and retain Monk's interest would be by concentrating mainly on other artists' versions of his own compositions. Accompanied by his wife Nellie, he sat, stood or paced his way through eight records. One day in 1966 Monk broke his long silence. The reason was clear: Monk is not the most voluble of personalities, and it seemed improbable that an interview could be obtained. Not until the Blindfold Test had been appearing for almost 20 years did Thelonious Monk participate as a subject. Secondarily the musician blindfolded usually attempts to identify the artists on each record, though it is always made clear before the interview that the evaluations are far more important than the guesswork." (From my dissertation."It is the aim of the Blindfold Test to elicit the honest subjective reaction of the listener. The saxophone choruses, including the trading. Sonny Stitt/Sonny Rollins The Eternal Triangle (concert pitch) The Eternal Triangle (for Bb instruments)įrom Sonny Side Up (1958). Monk's solo, from Thelonious in Action (1958). One of my favorite solo Monk recordings, from Solo Monk (1965).
Thelonious monk rhythm a ning full#
A full transcription of Monk's solo introduction and the ensemble head only. Evidence (intro/head only)įrom the 1958 recording Thelonious in Action, with Johnny Griffin (ts), Ahmed Abdul-Malik (bs), and Roy Haynes (ds). All parts included (tenor sax notated in concert pitch, but in treble clef). released Columbia CL 2038), with Charlie Rouse (ts), John Ore (bs), and Frankie Dunlop (ds). Crepuscule with Nellie (full ensemble)įrom the 1962 recording Criss-Cross (orig. Wilbur Ware (bs), Art Blakey (ds) also on the recording are Ray Copeland (tpt), Gigi Gryce (as), Coleman Hawkins and John Coltrane (ts). This transcription is just the first chorus with the rhythm section. Monk's first recording of this tune, from the 1957 album Monk’s Music. They should be pretty accurate, but you really have to listen to the album to get Brad's phrasing/rhythm, especially on “Goodbye Storyteller.” Thelonious Monk Crepuscule with Nellie (first chorus only) Three tunes, all from Brad's first solo album, Elegiac Cycle (1999). Brad Mehldau Bard Goodbye Storyteller (for Fred Myrow) The Bard Returns McNeely goes through about 20 different keys in this 5-minute track. Jim McNeely There Will Never Be Another Youįrom McNeely at Maybeck, a solo recital from 1992.
Thelonious monk rhythm a ning free#
Rahsaan Roland Kirk Blues for Alice (concert pitch) Blues for Alice (for Bb instruments)įrom We Free Kings (1961) contains Kirk's solos on both tenor and soprano saxes (and both at the same time!). Joe Henderson Isotope (concert pitch) Isotope (for Bb instruments)įrom Inner Urge (1965). (See below for Monk's solo from the same take.) Johnny Griffin Rhythm-a-ning (concert pitch) Rhythm-a-ning (for Bb instruments)įrom Thelonious in Action (1958). Bill Evans All the Things You Areįrom the 1963 recording Solo Sessions, Vol. The transcription contains only the piano and bass parts. Prelude to a Kiss (piano trio)įrom the 1953 piano trio album Piano Reflections with Wendell Marshall (bs) and Dave Black (ds). This is not a part-for-part transcription, but every note on the recording is there, and gives a good idea of Duke’s orchestration and voicing. Duke Ellington Prelude to a Kiss (ensemble)įrom the 1938 big band album Braggin’ in Brass. The head, and includes George Coleman on tenor, Hilton Ruiz on piano, and George Coleman Lo Joe (head only, ensemble)įrom Amsterdam After Dark (1979). Gene Ammons/Sonny Stitt Autumn Leaves (concert pitch) Autumn Leaves (for Bb instruments)įrom Boss Tenors (1961) contains both Ammons's and Stitt's solos.