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1 May 2020 02:26:43 UTC
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Monk's Dream - Thelonious Monk (Full Album)
Monk's Dream
Track list:
1- Monk's Dream 00:00
2- Body and Soul 6:28
3- Bright Mississippi 10:58
4- Five Spot Blues 19:36
5- Bolivar Blues 22:51
6-Just a Gigolo 30:24
7- Bye-Ya 32:54
8- Sweet and Lovely 38:57
Monk's Dream is an album by jazz pianist Thelonious Monk that was released by Columbia Records in March 1963. It was Monk's first album for Columbia following his five-year recording period with Riverside Records.
"Bye-Ya" and "Bolivar Blues" were recorded on October 31, 1962; "Body and Soul" and "Bright Mississippi" on November 1; "Sweet and Lovely", "Just a Gigolo" and "Monk's Dream" on November 2; and "Five Spot Blues" on November 6.
"Bright Mississippi" is the only composition on the album that Monk had not previously recorded. "Bolivar Blues" was originally titled "Ba-lue Bolivar Ba-lues-are" and had been on Monk's 1957 Riverside album, Brilliant Corners. "Five Spot Blues" was called "Blues Five Spot" and first appeared on the album Misterioso, which was recorded in concert at the Five Spot Cafe in New York in 1958 and released by Riverside. "Monk's Dream", "Bye-Ya", and "Sweet and Lovely" were recorded for Prestige at a session ten years earlier.
In Down Beat magazine jazz critic Pete Welding gave the album five stars and called it "a stunning reaffirmation of his powers as a performer and composer."
In 1958, Thelonious Monk's appearance at the Newport Festival finally alerted a world beyond the demi-monde of beatniks and jazz cognoscenti to his unique abilities. By 1962 his glory days were over.
Still, Monk remained an inimitable pianist. His 50's albums for Prestige were great by ordinary standards, displaying flashes of his compositional genius. But the iconoclastic fire that forged his legacy of innovation had infrequently risen above a steadily glowing ember since the 40s, when works like "Mysterioso", "Round Midnight" and "In Walked Bud" had struck like weird electric cattle prods at the spine of a bewildered musical establishment.
By 1962 Monk had spent twenty years not so much ahead of the curve of jazz as at angles to it.More at https://www.bbc.co.uk/music/reviews/n93n/
Track list:
1- Monk's Dream 00:00
2- Body and Soul 6:28
3- Bright Mississippi 10:58
4- Five Spot Blues 19:36
5- Bolivar Blues 22:51
6-Just a Gigolo 30:24
7- Bye-Ya 32:54
8- Sweet and Lovely 38:57
Monk's Dream is an album by jazz pianist Thelonious Monk that was released by Columbia Records in March 1963. It was Monk's first album for Columbia following his five-year recording period with Riverside Records.
"Bye-Ya" and "Bolivar Blues" were recorded on October 31, 1962; "Body and Soul" and "Bright Mississippi" on November 1; "Sweet and Lovely", "Just a Gigolo" and "Monk's Dream" on November 2; and "Five Spot Blues" on November 6.
"Bright Mississippi" is the only composition on the album that Monk had not previously recorded. "Bolivar Blues" was originally titled "Ba-lue Bolivar Ba-lues-are" and had been on Monk's 1957 Riverside album, Brilliant Corners. "Five Spot Blues" was called "Blues Five Spot" and first appeared on the album Misterioso, which was recorded in concert at the Five Spot Cafe in New York in 1958 and released by Riverside. "Monk's Dream", "Bye-Ya", and "Sweet and Lovely" were recorded for Prestige at a session ten years earlier.
In Down Beat magazine jazz critic Pete Welding gave the album five stars and called it "a stunning reaffirmation of his powers as a performer and composer."
In 1958, Thelonious Monk's appearance at the Newport Festival finally alerted a world beyond the demi-monde of beatniks and jazz cognoscenti to his unique abilities. By 1962 his glory days were over.
Still, Monk remained an inimitable pianist. His 50's albums for Prestige were great by ordinary standards, displaying flashes of his compositional genius. But the iconoclastic fire that forged his legacy of innovation had infrequently risen above a steadily glowing ember since the 40s, when works like "Mysterioso", "Round Midnight" and "In Walked Bud" had struck like weird electric cattle prods at the spine of a bewildered musical establishment.
By 1962 Monk had spent twenty years not so much ahead of the curve of jazz as at angles to it.More at https://www.bbc.co.uk/music/reviews/n93n/
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PANNO
Pannonica
"A 33-bar tune in AABA-form (8-8-8-9) that is one of Monk's most popular ballads. The tune was written around the summer of 1956, and was dedicated to Pannonica de Koenigswarter (The Jazz Baroness). The tune was first recorded on October 9, 1956, for Brilliant Corners. The tune later appears on the albums Les Liaisons dangereuses 1960, Thelonious Alone in San Francisco, Criss-Cross, Monk in Tokyo, Monk. Jon Hendricks wrote lyrics to tune and called it ”Little Butterfly”, and was first recorded by Carmen McRae on Carmen Sings Monk."
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NUTTY
Nutty-Take-2-
Nutty
"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. 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. The tune was recorded again July 1957 for the album Thelonious Monk with John Coltrane. Live versions of the tune appear on the albums from Carnegie Hall and the Five Spot. Margo Guryan also wrote lyrics for the tune."
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GéN
Générique
Générique
"Touring Europe had a profound effect on Davis. In France, he felt respected as an artist without question or caveat: this had never been the case in his racially segregated homeland. Certainly, he was sure he would never have been approached by a movie director during a US nightclub residency and asked to compose music for a film. When Louis Malle made just that offer to Davis in November 1957, Davis accepted the challenge. The soundtrack to Malle’s Ascenseur pour l’Échafaud (Lift to the Scaffold) was recorded in two days in December. The band – a local pick-up group, including expatriate American drummer and bebop pioneer Kenny Clarke – were given little more than some rough ideas Davis had jotted down in his hotel room the night before. On arrival at the studio they found the film’s star, Jeanne Moreau, holding court at a makeshift bar; loops of footage from the film were projected while they improvised, with Davis suggesting that whatever they played be in counterpoint to the images on the screen. It wasn’t the first jazz soundtrack to a film noir, but it’s an exemplar of the form: Davis’s careful, vulnerable, vibrato-less playing – sometimes using his mute, at others gently enhanced with echo – was tailor-made to snake through black-and-white shots of night-time city streets and imply turbulent moods swimming through shadowy rooms and behind inscrutable faces shot in stark closeup."
https://www.theguardian.com/music/musicblog/2017/apr/12/miles-davis-10-of-the-best
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BEMSH
Bemsha-swing
Bemsha Swing
"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 was 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)."
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RUBY,
Ruby-My-Dear
"A 32-bar ballad in AABA-form that Monk composed around 1945, and first titled "Manhattan Moods". The tune was later retitled "Ruby, My Dear" after Rubie Richardson, Monk's first love and his older sister Marion's best friend. It was however not for nostalgic reasons, but because the first phrase of the tune fit with the new title. It was first recorded on October 24, 1947, for the Genius of Modern Music sessions. The tune later appears on Monk's Music, Thelonious Monk with John Coltrane, Thelonious Alone in San Francisco, and on Solo Monk."
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STRAI
Straight,-No-Chaser
"A 12-bar blues in B♭ which, as in "Blue Monk", makes creative use of chromatics in the melody. It was first recorded July 23, 1951 for the Genius of Modern Music sessions, and later appears on Mulligan Meets Monk,[59] 5 by Monk by 5,Straight, No Chaser, and on Monk's Blues. Live versions appear on the albums recorded in Italy, Tokyo, It Club and at the Jazz Workshop.
Miles Davis recorded a version on his Milestones album, in which the tune is played in F rather than B♭. It has been recorded numerous times by Monk and others and is one of Monk's most covered songs.
Lyrics were written by Sally Swisher and the song was recorded in 1988 by Carmen McRae as part of her studio album Carmen Sings Monk. 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.""
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THE P
The-Pan-Piper
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IN A
Miles-Davis-The-Complete-In-A-Silent-Way
"The Complete In a Silent Way Sessions is a three-disc box set by trumpeter Miles Davis released by Legacy Records, featuring recordings from the sessions that would produce his 1969 album In a Silent Way as well as transitional pieces from the era. Besides two tracks previously released on the 1968 album Filles de Kilimanjaro, the set also includes material for Columbia outtake compilations Water Babies, Circle in the Round, and Directions. The box set features previously unreleased music, mostly from the In a Silent Way sessions proper. As well as the CDs, it includes essays by Michael Cuscuna and Bob Belden and details of the recording sessions. It is number five in the Legacy series of Miles Davis' Complete Sessions box sets.
It includes several previously unreleased tracks on CD, namely "Splashdown," "The Ghetto Walk" and "Early Minor," plus a longer, much different version of "Shhh/Peaceful" and two "In a Silent Way" alternate takes."
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TRINK
Trinkle-Tinkle
Trinkle, Tinkle
"A 32-bar tune in AABA-form that is notorious for its difficult melody. It was first recorded on December 18, 1952, for the album Thelonious Monk Trio, and later appears on the album Thelonious Monk with John Coltrane and on Monk's Blues.
There are two stories about the origin of the title, the first explains that producer Ira Gitler may have misheard when Monk said the title of the tune in studio - Gitler reports that Monk may have said "Trinkle, Tinkle, like a star" instead of "Twinkle, Twinkle, like a star". It is also believed that the title is a corruption of the term "tickler", which was what the old stride pianists used to call themselves."
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