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Rhythm-A-Ning - Thelonious Monk - Evidence


1983
Label: Milestone Records - M-915 • Format: Vinyl LP, Album, Compilation • Country: France • Genre: Jazz • Style: Bop, Hard Bop
Download Rhythm-A-Ning - Thelonious Monk - Evidence

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 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. Leonard Feather claims he gave the latter title.

The title references Pannonica de Koenigswarter 's troubles with Got To Be There - Michael Jackson - MP3 Collection stay at the Bolivar Hotel, where her parties would disturb the management of the hotel.

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. A live version can be found on their Out In L. Their bassist, Fleais reportedly a huge fan of Thelonious Monk.

The melody is partly borrowed from Charlie Shavers' "Pastel Blue". It's also known as "Five Spot Blues". A bar tune in AAB-form. It was only recorded once, on December 21,for the album Underground.

A tune that was recorded only twice, and the form is different on both versions. It was first recorded by Gigi Gryce with Monk as a sideman on October 15, Rhythm-A-Ning - Thelonious Monk - Evidence Gryce's album Nica's Tempo[24] and the second version was recorded February 10, for the album It's Monk's Time.

The version from has 10 bars in the last A-section, while the version from has 12 bars, accordingly. A contrafact of " Sweet Georgia Brown " that Monk developed during the European tour in[26] where the melody consists of staccato notes Rhythm-A-Ning - Thelonious Monk - Evidence outline the harmony.

It was first recorded November 1, for Monk's Dream. A notoriously difficult bar tune in ABA-form bars respectivelywhere the head is first played slowly and then in double-time. The choruses in the solos also follow this form. It was Rhythm-A-Ning - Thelonious Monk - Evidence supposed to be arranged by Gil Fullerwhen Monk was the pianist in Dizzy Gillespie 's big band, [28] but wasn't recorded until October 15, for Rhythm-A-Ning - Thelonious Monk - Evidence album Thelonious Monk Trio under the name "Bye-Ya".

A live version appears on the album Thelonious in Action: Recorded at the Five Spot Cafeand it was later recorded in studio for Fred & Renee Make Love - Various - Lost Highway album Criss-Cross. A through-composed tune that is played without solos. Monk composed the tune throughout May The tune was originally titled "Twilight with Nellie", but Pannonica de Koenigswarter suggested instead to use the French word for twilight, which is crepuscule.

Rhythm-A-Ning - Thelonious Monk - Evidence 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. The tune inspired Gunther Schuller to compose variations on Criss-Crosswhich premiered May 17,and was later released on Jazz Abstractionsfeaturing Ornette Coleman and Eric Dolphy as soloists. The main melodic theme was composed by Clarke, after experimenting with fingerings on the ukulele, and the chords where written by Lou Watson - It Doesnt Matter. The title "Epistrophy" is not a word in any dictionary.

However, the Allegro Ma Non Troppo, Un Pocco Maestoso - Beethoven* - Papian* • Donose* • Fink* • Otelli* • Nicola " 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".

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. It was recorded July 23, for the Genius of Modern Music sessions.

However, Monk repeatedly changed notes and the chords to the tune and added the B-section, eventually making it "his" tune. Hakim originally wrote the tune in dedication to an old flame of Hakim, Lenore Gordon Eronel is Lenore backwards. When the recording was released, it was only credited to Monk - Hakim and Sulieman didn't receive the composer's credit until Monk's death. A contrafact of " Just You, Just Me ".

A bar tune in AABA-form notorious for its many 16th notes. A 4-bar tune built on an embellished Andalusian cadence in G. The tune was written and recorded in the studio on November 13, The tune was partly inspired by trumpeter Ray Copeland having the flu on the recording date, and horn player Julius Watkins stepped in instead.

Rhythm-A-Ning - Thelonious Monk - Evidence bar blues recorded solo on April 16, [50] for the album Thelonious Himself. The second take was released on Thelonious Himselfwhile the first take was later used in compiling the album Thelonious Monk with John Coltrane.

A bar tune in AABA-form with a notoriously difficult melody. A bar tune in ABA-form that Monk wrote between December January in dedication to his children who went to school at that point. The tune was only recorded only once, on October 15, for the Genius of Modern Music sessions. Khan's lyrics first appears on the album Echoes of an Era. A bar tune in AABA-form It that was first recorded October 24, for the Genius of Modern Music sessions.

The tune is notable for its radical chord progressions and form, as it is borderline atonal. In most jazz standards, the A-section is used to Tit Slapped By T Girls - Virulent Gestation, Mutated Extremity, E.F.R.O. - 3-Way Split the key, while the B-section has tonal excursions, but in "Introspection", the roles of the sections are reversed.

It was first recorded June 4, for the album 5 by Monk by 5. The tune's march-like feeling made it the opening theme for many of Monk's concerts. It was first recorded November 13, and appears on Rhythm-A-Ning - Thelonious Monk - Evidence album Monk.

An 8-bar tune that was composed in[70] and first Rhythm-A-Ning - Thelonious Monk - Evidence on the live album Thelonious in Action. A Christmas tune that Monk composed in the holiday of with lyrics, that was never recorded. A bar tune in AABA-form, and was first recorded October 15, and written around the same time. It first appeared on the album Thelonious Monk Trio. The recording session was in Los Angeles during a West Coast tour by the quartet, [30] suggesting that the title probably to Sunset Boulevard.

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.

Margo Guryan also wrote lyrics for the tune. A bar tune in AABA-form that is notoriously difficult to play. Monk later recorded the tune the same year on October 24, for the Genius of Modern Music sessions. Two unrelated explanations have been reported regarding the origin of the title.

The plausible explanation is that the title is a reference to the radio personality and Rhythm-A-Ning - Thelonious Monk - Evidence broadcaster Oscar Treadwell after whom Charlie Parker named a different jazz composition, "An Oscar for Treadwell".

The tune was written around the summer ofand was dedicated to Pannonica de Rhythm-A-Ning - Thelonious Monk - Evidence . The tune was first recorded October 9, for Brilliant Corners. It later appears on the album Big Band and Quartet in Concert.

It was only recorded once, on February 14,for the album Underground. The tile was given by Ira Gitlerwho was the producer for the session. According to Gary Giddins it is "classic, paradoxical Monk, beautiful and memorable yet a minefield of odd intervals, each essential to its bricks-and-mortar structure". Dianne Reeves sang the tune on her album A Little Moonlight.

The A section is found in multiple recordings of Monk's friends on recordings from the ss. Christian", recorded at Minton's Playhouse. The piece has since appeared on dozens of Monk's releases, as well as being covered by musicians such as Dexter GordonKenny Barronand Chick Corea. The album's liner notes claim the title is "in honor of" the "ancient, ornate chandeliers" in Fugazi Hallwhere the album was recorded.

It was however not for Rhythm-A-Ning - Thelonious Monk - Evidence Sistem - Industrial, but because the first phrase of the tune fit with the new title.

For copyright That Old Black Magic - Various - Meia Noite No Jardim Do Bem E Do Mal (Trilha Sonora Do Filme), the song was renamed "Dear Ruby".

The tune was initially titled it "Classified Information", [73] but he opted to retitle it to "Worry Later", when recording it for the first time April 29, for the album Thelonious Monk at the Blackhawk. A bar tune in AABA-form, with an unusual bass ostinato. The title is a corruption of "shuffle ball", which is a move commonly used in tap dance. A bar tune in AABA-form, and the title is from the tune's number of bars. Its only recording was done May 30,for the Genius of Modern Music sessions, but was not released officially until Mosaic Records released their compilation of Monk's Blue Note sessions.

A bar tune in ABAC-form, and is based entirely on cycling dominant chords or their tritone substitutions. The tune was named after Nellie Monk's sister, whose real name was Evelyn. It is commonly agreed that the "Skippy"'s changes are based on Monk's Rhythm-A-Ning - Thelonious Monk - Evidence of " Tea for Two " which he would later record on The Unique Thelonious Monk[92] and on Criss-Cross[38] but Ethan Iverson argues that Monk composed "Skippy", then applied the changes to "Tea for Two".

It was only recorded once, at the marathon Black Lion Records session of November 15, It has been recorded numerous times by Monk and others and is one of Monk's most covered songs. For copyright reasons, the song was renamed "Get It Straight".

Music educator Mark C. Gridley wrote about Monk's composition style: "Monk employed simple compositional devices with very original results. His "Straight, No Chaser" involves basically only one idea played again and again, each time in a different part of the measure and with a different ending. The A-section is based on rhythm changesand is borrowed from Coleman Hawkins 's tune "Stuffy".

The changes are based on the standard " Topsy ". The tune was first recorded October 15, for the Genius of Modern Music sessions. The A-section is based on a riff that Monk used very often, dating back to his days as the house pianist at Minton's Playhouse. A bar tune in AABA-form. The tune was first recorded November 13, and appears on the album Monkand later appears on the album Criss-Cross.

The tune is very similar in conception to "Thelonious", as the melody insists the tonic, with albeit more unexpected changes than in "Thelonious". A bar tune in AABA-form that is notorious for its difficult Z-Zone - Tyson Z - Tyson Z.


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7 thoughts on “ Rhythm-A-Ning - Thelonious Monk - Evidence

  1. Rhythm-a-ning-One of Monk’s most recorded and performed songs, he doesn’t actually put it on wax under this title until May 15, , at a recording session led by drummer Art Blakey (Atlantic ). Monk certainly made the melody his own, but the truth is that the “A” section of Rhythm-a-ning can be heard as early as , on Mary Lou Williams’s arrangement of .
  2. Rhythm-A-Ning. A tune that's based on rhythm changes in B ♭, and was one of Monk's staple tunes. "Rhythm-A-Ning" was first recorded May 15, for the album Art Blakey's Jazz Messengers with Thelonious Monk, and later appears on Mulligan Meets Monk, Les Liaisons dangereuses , and on Criss-Cross.
  3. Recorded at Town Hall, New York City, & at The Blackhawk, San Francisco, Material of these two live-sessions has been released on "Thelonious Monk Orchestra at Town Hall (Riverside )" and on "Thelonious Monk at the Blackhawk (Riverside )."5/5(2).
  4. This single LP complements the two-fer In Person by offering additional music from both of the sessions: the Town Hall concert of (all but a brief "Thelonious" were actually performances by his quartet) and a sextet gig from with trumpeter Joe Gordon and the tenors of Charlie Rouse and Harold Land. Although not essential (and this music has since been reissued on 8/

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