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List of compositions by Thelonious Monk
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List of compositions by Thelonious Monk
This is a list of compositions by jazz musician Thelonious Monk.
A contrafact based loosely on rhythm changes in C, and was copyrighted by Monk under the title "Nameless" in April 1944. 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 quickly became popular as an opening and closing tune on the clubs on 52nd Street on Manhattan where Dizzy Gillespie and Charlie Parker played. It was first recorded by Dizzy Gillespie's sextet on February 22, 1946, under the title "52nd Street Theme". Leonard Feather claims he gave the latter title.
A tonally ambiguous ballad in D♭ first recorded on July 23, 1951, for the Genius of Modern Music sessions. It also appears on 5 by Monk by 5, and Solo Monk. Jon Hendricks wrote lyrics to the tune and called it ”How I Wish”; it was first recorded by Carmen McRae on Carmen Sings Monk. Mark Murphy sings a version (the lyric is credited to Ben Sidran) on his album Kerouac, Then and Now.
A riff-based blues in B♭ first recorded on October 9, 1956, for Brilliant Corners. 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 also appears on the posthumous Monk album, Les Liaisons dangereuses 1960, and on Monk's Dream; on the latter release, it was retitled "Bolivar Blues" or "Blue Bolivar Blues". Live versions also appear from the albums recorded in 1964 at the It Club and the Jazz Workshop.
A tune Monk wrote with Denzil Best and was first recorded on December 18, 1952, for the album Thelonious Monk Trio. 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's parents were born. It is a 16-bar tune with an AABA-form. 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 tune also appears on Miles Davis and the Modern Jazz Giants and Brilliant Corners, featuring Max Roach with a timpani drum added to his set. This inspired Monk's son "Toot" Monk to play the drums. Live versions appear on the albums recorded in Italy, Tokyo, It Club, Jazz Workshop, and the album Misterioso (Recorded on Tour).
A blues in B♭ first recorded on October 21, 1959, for Thelonious Alone in San Francisco. 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. The title is a tribute to Monk's friend Coleman Hawkins, and the Black Hawk club in San Francisco.
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. The melody is partly borrowed from Charlie Shavers' "Pastel Blue". Versions of the tune appear on Art Blakey's Jazz Messengers with Thelonious Monk, and Monk's Blues. The tune appears on almost every single live album by Monk, including the albums from Carnegie Hall, Five Spot, Town Hall, Tokyo, Newport (1958, 1959, 1963), It Club, and at the Jazz Workshop. Abbey Lincoln wrote lyrics to the tune around 1961, and it was recorded by Jeanne Lee and Ran Blake on their album The Newest Sound Around, and by Carmen McRae as "Monkery's the Blues" on the album Carmen Sings Monk.
The tune was the opening track on the 1959 album Thelonious Alone in San Francisco, his third solo album, recorded in 1959.
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List of compositions by Thelonious Monk
This is a list of compositions by jazz musician Thelonious Monk.
A contrafact based loosely on rhythm changes in C, and was copyrighted by Monk under the title "Nameless" in April 1944. 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 quickly became popular as an opening and closing tune on the clubs on 52nd Street on Manhattan where Dizzy Gillespie and Charlie Parker played. It was first recorded by Dizzy Gillespie's sextet on February 22, 1946, under the title "52nd Street Theme". Leonard Feather claims he gave the latter title.
A tonally ambiguous ballad in D♭ first recorded on July 23, 1951, for the Genius of Modern Music sessions. It also appears on 5 by Monk by 5, and Solo Monk. Jon Hendricks wrote lyrics to the tune and called it ”How I Wish”; it was first recorded by Carmen McRae on Carmen Sings Monk. Mark Murphy sings a version (the lyric is credited to Ben Sidran) on his album Kerouac, Then and Now.
A riff-based blues in B♭ first recorded on October 9, 1956, for Brilliant Corners. 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 also appears on the posthumous Monk album, Les Liaisons dangereuses 1960, and on Monk's Dream; on the latter release, it was retitled "Bolivar Blues" or "Blue Bolivar Blues". Live versions also appear from the albums recorded in 1964 at the It Club and the Jazz Workshop.
A tune Monk wrote with Denzil Best and was first recorded on December 18, 1952, for the album Thelonious Monk Trio. 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's parents were born. It is a 16-bar tune with an AABA-form. 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 tune also appears on Miles Davis and the Modern Jazz Giants and Brilliant Corners, featuring Max Roach with a timpani drum added to his set. This inspired Monk's son "Toot" Monk to play the drums. Live versions appear on the albums recorded in Italy, Tokyo, It Club, Jazz Workshop, and the album Misterioso (Recorded on Tour).
A blues in B♭ first recorded on October 21, 1959, for Thelonious Alone in San Francisco. 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. The title is a tribute to Monk's friend Coleman Hawkins, and the Black Hawk club in San Francisco.
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. The melody is partly borrowed from Charlie Shavers' "Pastel Blue". Versions of the tune appear on Art Blakey's Jazz Messengers with Thelonious Monk, and Monk's Blues. The tune appears on almost every single live album by Monk, including the albums from Carnegie Hall, Five Spot, Town Hall, Tokyo, Newport (1958, 1959, 1963), It Club, and at the Jazz Workshop. Abbey Lincoln wrote lyrics to the tune around 1961, and it was recorded by Jeanne Lee and Ran Blake on their album The Newest Sound Around, and by Carmen McRae as "Monkery's the Blues" on the album Carmen Sings Monk.
The tune was the opening track on the 1959 album Thelonious Alone in San Francisco, his third solo album, recorded in 1959.
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