Recording information: New Jersey (-) New York, NY (-). Personnel: Sonny Rollins (tenor saxophone) Thelonious Monk (piano) Julius Watkins (French horn) Art Blakey, Art Taylor, Willie Jones (drums). Includes original liner notes by Ira Gitler. Recorded at WOR Studios, New York, New York on Novemand the Van Gelder Studio, Hackensack, New Jersey on September 22 & October 25, 1954. This is a fine addition to any Monk and/or Rollins collection. "Friday the 13th" is the highlight of the set, featuring plenty of stretching out from Rollins, Monk, and French horn player Julius Watkins. The interplay between Monk's skeletal, idiosyncratic, yet strangely logical playing and Rollins's full, rich tone and adventurous harmonic explorations complement each other beautifully on both standards ("The Way You Look Tonight") and Monk originals ("Friday the 13th"). These five tracks, recorded in the 1950s and reissued in 2006, feature Thelonious Monk and Sonny Rollins-two of the era's most progressive musicians-on the stand together. Often eclipsed by Brilliant Corners, Thelonious Himself was Monks second album for Riverside Records.Another New York-based bastion of connoisseurship, the label was headed by Orrin Keepnews, a self-described 'catalyst' who wrote the first profile of Monk in 1948 and blissfully shied away from the technical rigors of the recording process. (From my dissertation.This is part of the Prestige Records 50th Anniversary Special Commemorative Edition series. 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).
A full transcription of Monk's solo introduction and the ensemble head only. 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. Evidence (intro/head only)įrom the 1958 recording Thelonious in Action, with Johnny Griffin (ts), Ahmed Abdul-Malik (bs), and Roy Haynes (ds). Thelonious Monk With the arrival Thelonious Sphere Monk, modern musiclet alone modern culture-simply hasn’t been the same. 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). Thelonious Monk created some of his most innovative music during the period in the early '50s when he recorded for Prestige, and Sonny Rollins was in the forefront of the few musicians who could respond to Monk's challenging compositions and sharp-angled, dissonant comping. 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.
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.