The version from 1955 has 10 bars in the last A-section, while the version from 1964 has 12 bars, accordingly.Ī contrafact of " Sweet Georgia Brown" that Monk developed during the European tour in 1961, where the melody consists of staccato notes that outline the harmony. Both versions have the AABA form, where the last A-section has an extended coda. It was first recorded by Gigi Gryce with Monk as a sideman on October 15, 1955, for Gryce's album Nica's Tempo, and the second version was recorded on February 10, 1964, for the album It's Monk's Time. "Boo Boo" was the nickname of Monk's daughter, Barbara Evelyn Monk (Septem–January 10, 1984).Ī tune that was recorded only twice, and the form is different on both versions. It was only recorded once, on December 21, 1967, for the album Underground. It is also known as "Five Spot Blues".Ī 21-bar tune in AAB-form. Monk demonstrated his artistry in stride piano in this recording.Ī blues in B ♭ dedicated to the Five Spot Café, and appears on Misterioso, Monk's Dream, and Live at the It Club. The melody is based on blues riffs that are loosely crafted, and was largely improvised. This is the only recording of this composition. Probably one of the last official known compositions by Monk recorded on November 15, 1971, for The London Collection: Volume One, released by the Black Lion label. Abbey Lincoln wrote lyrics to the tune around 1961, and was recorded by Carmen McRae as "Monkery's the Blues" on the album Carmen Sings Monk. 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. Versions of the tune appear on Art Blakey's Jazz Messengers with Thelonious Monk, and Monk's Blues. The melody is partly borrowed from Charlie Shavers' "Pastel Blue". Blue Monk Ī 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 title is a tribute to Monk's friend Coleman Hawkins, and the Black Hawk club 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. Live versions appear on the albums recorded in Italy, Tokyo, It Club, Jazz Workshop, and the album Misterioso (Recorded on Tour).Ī blues in B ♭ first recorded on October 21, 1959, for Thelonious Alone in San Francisco.
This inspired Monk's son "Toot" Monk to play the drums. 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. 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 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. Live versions also appear from the albums recorded in 1964 at the It Club and the Jazz Workshop.Ī tune Monk wrote with Denzil Best and was first recorded on December 18, 1952, for the album Thelonious Monk Trio. It also appears on Les Liaisons dangereuses 1960, and on Monk's Dream on the latter release, it was retitled "Bolivar Blues" or "Blue Bolivar Blues". 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. Mark Murphy sings a version (the lyric is credited to Ben Sidran) on his album Kerouac, Then and Now.ī Ba-Lue Bolivar Ba-Lues-Are Ī riff-based blues in B ♭ first recorded on October 9, 1956, for Brilliant Corners. Jon Hendricks wrote lyrics to the tune and called it ”How I Wish” it was first recorded by Carmen McRae on Carmen Sings Monk. It also appears on 5 by Monk by 5, and Solo Monk. A Ask Me Now Ī tonally ambiguous ballad in D ♭ first recorded on July 23, 1951, for the Genius of Modern Music sessions. Leonard Feather claims he gave the latter title. It was first recorded by Dizzy Gillespie's sextet on February 22, 1946, under the title "52nd Street Theme". 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. 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. A contrafact based loosely on rhythm changes in C, and was copyrighted by Monk under the title "Nameless" in April 1944.
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