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FRIDAY the 13TH: the MICROS PLAY MONK (Cuneiform Rune 310)
Bio information: THE MICROSCOPIC SEPTET Title: FRIDAY THE 13TH: THE MICROS PLAY MONK (Cuneiform Rune 310) Cuneiform promotion dept: (301) 589-8894 / fax (301) 589-1819 email: joyce [-at-] cuneiformrecords.com (Press & world radio); radio [-at-] cuneiformrecords.com (North American radio) http://www.cuneiformrecords.com FILE UNDER: JAZZ / THELONIOUS MONK / THE MICROSCOPIC SEPTET “If the Micros have a spiritual beacon, it’s Thelonious Monk. Like the maverick bebop pianist, they persevere... Their expanding core audience thrives on the group’s impeccable arrangements, terse, angular solos, and devil-may-care attitude. But Monk and the Micros have something else in common as well. Johnston tells a story: “Someone once walked up to Monk and said, “You know, Monk, people are laughing at your music.’ Monk replied, ‘Let ‘em laugh. People need to laugh a little more.” – Richard Gehr, Newsday, New York 1989 “There is immense power and careful logic in the music of Thelonious Sphere Monk. But you might have such a good time listening to it that you might not even notice. …His tunes… warmed the heart with their odd angles and bright colors. …he knew exactly how to make you feel good… The groove was paramount: When you’re swinging, swing some more,” he’d say...” – Vijay Iyer, “Ode to a Sphere,” JazzTimes, 2010 “When I replace Letterman… The band I'm considering…is the Microscopic Septet, a New York saxophone-quartet-plus-rhythm whose riffs do what riffs are supposed to do: set your pulse racing and lodge in your skull for days on end. … their humor is difficult to resist. -
Thelonious Monk: Life and Influences Thelonious Monk: Life and Influences
William Hanson Falk Seminar Spring 2008 Thelonious Monk: Life and Influences Thelonious Monk: Life and Influences Thelonious Monk was a prolific and monumental figure in modem jazz. He directly contributed to the evolution of bebop, as well as influenced the development of free jazz, and the contributed additions to the standard jazz repertoire. Monk branched out fiom his influences, including swing, gospel, blues, and classical to create a unique style of composition and performance. Monk more than any other major figure in bebop, was, and remains, an original1 Monk's life can be categorized into three periods: the early, the middle, and late period. Each period lasts roughly twenty years: from 1917- 1940,1940-1960, and from 1960-1982. In Monk's early period he toured the US playing gospel music, and found early influences in swing music like Duke Ellington. It wasn't until his middle period that Monk began to record and write his compositions, and in his late period he toured the world with other renowned musicians playing bebop. Thelonious Junior ~onl?was born October 10,191 7 in Rocky Mountain, North Carolina to Barbara Batts Monk and Thelonious Monk, Senior. Thelonious was the middle child, with an older sister, Marion born in 1915, and younger brother, Thomas born in 1919. Monk's birth certificate lists his father as an ice puller, and his mother as a household worker. Although both of his parents could read and write, they struggled to make enough to live on. In 1922 Thelonious' mother insisted that she take the family to New York to make a better living. -
Jazz Greats: Thelonious Monk
Name Date Jazz Greats: Thelonious Monk Thelonious Monk was one of the creators of the music known as modern jazz. Monk was born in 1917 in Rocky Mount, North Carolina. Around the age of ve, he began to imitate tunes he heard on the family’s player piano. When the family moved to New York, young Thelonious’ mother scraped together the money for a baby grand piano. Now a single mother, she had little extra money, but she managed to pay for the piano lessons Monk began taking at age 11. A serious student, Monk spent much of his time playing or observing other pianists as they played. By the age of 13, Monk was playing with a jazz trio at a local bar and grill. At 16, he left school to pursue music full-time. His rst important gig came in the early 1940s, when he became the house piano player at a club called Minton’s Playhouse. Jazz was undergoing a great period of innovation and change, and Monk was one of the musicians at the center of it all. Beginning in the late 1940s, however, his career declined. A period of poverty, depression, and occasional trouble with the law made life very dicult for Monk and his wife, Nellie. In 1954, Monk recorded his rst solo album, “Pure Monk.” Though his temperament was challenging to many of the other musicians he played with, Monk gained and kept the notoriety he had long deserved. In 1964, he appeared on the cover of Time Magazine, a rare honor, especially for a jazz musician at the time. -
Morgenstern, Dan. [Record Review: Thelonious Monk: Underground] Down Beat 35:16 (August 8, 1968)
Ugly Beauty, the ballad (a Monk title, oboe to tell it like it truly is (he is par isn't it?) is bittersweet, of the lineage of 10th Anniversary ticularly effective on this instrument). Ask Me Now, Ruby My Dear, Panonica He takes to the tenor sax on the perky and Crepescule with Nellie-the reflective, Kongsberg. Brooks keeps the kettles hot Summer .Jazz Clinics nostalgic aspects of love. As always, the Last Chance! and the leader charges forth with a very interpretation brings out the melody in gritty solo. Lawson, a man of talent, solos full contour, and Rouse is tuned in. Within days the first sessions of the with verve. Green Chimneys is my favorite, a riff 1968 Summer Jazz Clinics will begin. Lateef's flute is subtly beautiful on the piece; minor with a major bridge. It re Hundreds of musicians and educators longing Stay With Me. Through the minds of Dickie's Dream, the "old" Lester will meet with the best faculty ever technique of overdubbing, he is heard on assembled for a concentrated week of Young classic. Rouse gets off on this. flute and tenor simultaneously on See Line (He, too, so long with Monk, is taken learning jazz, playing jazz, living Woman. Again, the tambourine enhances jazz. There are still openings f~r _all for granted, while little heed is paid to the instruments at each of the five chmcs. this sanctified performance. fact that he has absorbed more about how If it's too late to write, just appear Brother strides in spirited fashion, Lateef Monk's music should be played than any on Sunday at 1 :00 pm at the location weaving urgent patterns. -
Bags' Groove (Composition)
Bags’ Groove (composition) "Bags’ Groove" is a jazz composition by Milt Jackson. It was first recorded by the Milt Jackson Quintet on Apr. 7, 1952 for Blue Note Records. Lou Donaldson, John Lewis, Percy Heath and Kenny Clarke were on that date. Next was the Mat Mathews quintet with Herbie Mann (July 6, 1953), Bud Powell (Sept. 1953), Mat Mathews again (Sept. 1, 1953), a bootleg version by the MJQ (Oct. 31, 1953), the Lighthouse All-Stars (Feb. 25, 1954), bassist Buddy Banks' quartet (with Bob Dorough and Roy Haynes in Oct. 1954) and then Jay Jay Johnson & Kai Winding (Dec. 3, 1954). Perhaps the most famous recording was the one by Miles Davis's quintet in 1954. The recording was released on the 1957 album Bags’ Groove. “Bags’ Groove”, along with "Oleo", "Doxy" and "Airegin" from the same album, has become a jazz standard.[1] The song was named for vibraphonist Milt Jackson's nick- name “Bags”.[2] 1 Personnel • Miles Davis – trumpet • Milt Jackson – vibraphone • Thelonious Monk – piano • Percy Heath – bass • Kenny Clarke – drums • Sonny Rollins – tenor saxophone 2 Notes [1] Bag’s Groove at jazzstandards.com - retrieved on 2 May 2009 [2] Scott Yanow: Milt Jackson biography at Allmusic - re- trieved on 2 May 2009 1 2 3 TEXT AND IMAGE SOURCES, CONTRIBUTORS, AND LICENSES 3 Text and image sources, contributors, and licenses 3.1 Text • Bags’ Groove (composition) Source: https://en.wikipedia.org/wiki/Bags’{}_Groove_(composition)?oldid=670458771 Contributors: Tad Richards, Magioladitis, Niceguyedc, BassHistory, Addbot, Jafeluv, DrilBot, CactusBot, Ramaksoud2000 and Anonymous: 4 3.2 Images • File:Jazz_music_icon.svg Source: https://upload.wikimedia.org/wikipedia/commons/4/46/Jazz_music_icon.svg License: LGPL Contrib- utors: File:Gnome-fs-regular.svg, File:Música_jazz.png Original artist: David Vignoni, Ch1902 3.3 Content license • Creative Commons Attribution-Share Alike 3.0. -
1959 Jazz: a Historical Study and Analysis of Jazz and Its Artists and Recordings in 1959
GELB, GREGG, DMA. 1959 Jazz: A Historical Study and Analysis of Jazz and Its Artists and Recordings in 1959. (2008) Directed by Dr. John Salmon. 69 pp. Towards the end of the 1950s, about halfway through its nearly 100-year history, jazz evolution and innovation increased at a faster pace than ever before. By 1959, it was evident that two major innovative styles and many sub-styles of the major previous styles had recently emerged. Additionally, all earlier practices were in use, making a total of at least ten actively played styles in 1959. It would no longer be possible to denote a jazz era by saying one style dominated, such as it had during the 1930s’ Swing Era. This convergence of styles is fascinating, but, considering that many of the recordings of that year represent some of the best work of many of the most famous jazz artists of all time, it makes 1959 even more significant. There has been a marked decrease in the jazz industry and in stylistic evolution since 1959, which emphasizes 1959’s importance in jazz history. Many jazz listeners, including myself up until recently, have always thought the modal style, from the famous 1959 Miles Davis recording, Kind of Blue, dominated the late 1950s. However, a few of the other great and stylistically diverse recordings from 1959 were John Coltrane’s Giant Steps, Ornette Coleman’s The Shape of Jazz To Come, and Dave Brubeck’s Time Out, which included the very well- known jazz standard Take Five. My research has found many more 1959 recordings of equally unique artistic achievement. -
Jazzflits) BIG BAND COMPETITION HAARLEMMERMEER
1 15 de JAARGANG, NR. 276 17 APRIL 2017 IN DIT NUMMER: 1 NIEUWS 5 JAZZ OP PAPIER 6 JAZZ OP DE PLAAT Baars-Henneman, Bravo Big Band, Fabulous Jets, Raad van Toezicht, Somi, Lorrèn, Tim Finoulst, MJO, Simone Honijk, John Stein e.a. 15 JAZZ OP DE PLANKEN ICP Orkest en Marcel Worms . EN VERDER: 17 New York Calling (R. Plaatsman) 18 Bestsellers en tips Jazzcenter 19 Monks en Les Liaisons Dangereuses (B. IJpma) JAZZ FLITS 277 KOMT 1 MEI UIT ONAFHANKELIJK JAZZPERIODIEK SINDS 2003 JAZZNIEUWS DAAHOUD SALIM 5-TET WINT B-JAZZ CONTEST Saxofonist Donny McCaslin wint Paul Acket Award Saxofonist Donny McCaslin is de winnaar van de Paul Acket Award 2017. “2017 is Donny’s jaar en dat is zeer verdiend”, aldus jurylid Maurin Auxéméry van Festi- val International de Jazz de Montréal. “De kern van zijn werk is inventiviteit. Zijn avontuurlijke geest en ongelooflijke controle over zijn instrument maken deze saxofonist een van de belangrijkste muzikanten van zijn generatie. Ik ben blij dat hij dankzij zijn samenwerking met Bowie in de volle aandacht kwam te staan.” De Paul Acket Award wordt jaar- lijks uitgereikt op het North Sea Jazz Festival aan een artiest die een bredere publieke erkenning verdient voor zijn buitengewone muzikale kwaliteit. McCas- lin neemt de prijs zondag 9 juli in ont- vangst, tijdens een optreden op het Daahoud Salim Quintet. (Persfoto) festival in Rotterdam. Het Spaanse Daahoud Salim Quintet, dat bestaat uit Al Di Meola op Jazz in Duketown (oud-)studenten van het Conservatorium van Amsterdam, Gitarist Al Di Meola treedt 3 juni op tij- heeft 25 maart in Leuven de B-Jazz Contest gewonnen. -
Thelonious Monk Mulligan Meets Monk Mp3, Flac, Wma
Thelonious Monk Mulligan Meets Monk mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Mulligan Meets Monk Country: US Released: 1967 Style: Bop, Cool Jazz MP3 version RAR size: 1737 mb FLAC version RAR size: 1307 mb WMA version RAR size: 1778 mb Rating: 4.4 Votes: 165 Other Formats: XM AUD AAC RA DMF FLAC ADX Tracklist Hide Credits 'Round Midnight A1 Written-By – Hanighen*, Williams*, Monk* A2 Rhythm-A-Ning Sweet And Lovely A3 Written-By – Arnheim*, Tobias*, Lemare* B1 Decidedly B2 Straight, No Chaser B3 I Mean You Credits Baritone Saxophone – Gerry Mulligan Bass – Wilbur Ware Design [Cover] – Paul Bacon Drums – Shadow Wilson Engineer [Recording Engineer] – Jack Higgins Liner Notes – Orrin Keepnews Photography By [Cover Photo] – Robert Parent* Piano – Thelonious Monk Producer – Orrin Keepnews Written-By – Gerry Mulligan (tracks: B1), Thelonious Monk (tracks: A2, B2, B3) Notes Recorded in New York; August 12 and 13, 1957. Green Orpheum Productions label. Barcode and Other Identifiers Matrix / Runout (Side A [etched]): RLP-12-247 A-1 RI Matrix / Runout (Side B [etched]): RLP-12-2̶4̶7̶ 247 B-1 RI Other versions Category Artist Title (Format) Label Category Country Year Thelonious Monk Thelonious And Gerry Mulligan - Riverside RLP 12-247 Monk And RLP 12-247 US 1957 Mulligan Meets Records Gerry Mulligan Monk (LP, Album) Thelonious Monk Thelonious And Gerry Mulligan - Musical MHS 512504Y Monk And Mulligan Meets Heritage MHS 512504Y US 1990 Gerry Mulligan Monk (CD, Album, Society Club, RE) Thelonious Monk Thelonious And Gerry Mulligan -
Friday, October 13, 2017 @BLUEWHALE
Angel City Jazz Festival The tenth annual Angel City Jazz Festival continues its tradition of Criss Cross (featuring Donny McCaslin and Dan Weiss); and Elliott being Los Angeles’ most adventurous modern jazz celebration. This Sharp playing Monk in a solo guitar performance for the closing night year’s theme celebrates the centennial of Thelonious Sphere Monk of the festival. In addition, Dwight Trible is curating a Monk-themed (born October 10, 1917). A very innovative individual and creative double-bill at The World Stage with James Leary’s Bassed (six force throughout his career as both a pianist and a composer, many basses and a drummer) premiering original arrangements of Monk’s of Monk’s songs (best-known of which is “’Round Midnight”), while music, and Dwight Trible’s band ‘Cosmic Vibrations’ with special way ahead of their time when they were introduced in the 1940s and guest award-winning actor Roger Guenveur Smith adding a bit of ‘50s, have since become jazz standards. His unique piano style has abstract storytelling based on Monk’s life and career. also been very influential while being impossible to duplicate. As is always the case at the Angels City Jazz Festival, there is much Rather than merely recreating Monk’s classic recordings, many much more. You can find full details about all of the performances of the performers at this year’s Angel City Jazz Festival will be listed within this program. paying tribute to the musical genius in their own unique way. The special opening night concert at the Ford Theatres features Dee We hope you’ll enjoy our musical presentations and we’d like to Dee Bridgewater’s “Afro-Cuban Dream” — her interpretation of invite you to support our programming efforts through our non- Carmen McCrae’s famous Carmen Sings Monk album — under the profit organization Angel City Arts. -
Fred Ho Enrico Pieranunzi Russell
November 2011 | No. 115 Your FREE Guide to the NYC Jazz Scene nycjazzrecord.com Fred • Enrico • Russell • Auand • Festival • Event Ho Pieranunzi Garcia Records Reports Calendar John Coltrane is rightly considered one of the innovators in jazz even though his career as a leader lasted only a brief, if remarkably prolific, decade before his tragic death in 1967 at 40. But most critical acclaim is heaped on the period before New York@Night 1964. Ascension, recorded in 1965, is considered by many the end of Coltrane as a 4 legitimate jazz musician, as he moved away from his roots into the burgeoning Interview: Fred Ho avant garde and free jazz scenes. But another group see Coltrane’s shift in this direction helping to propel these new forms, not least because of his championing 6 by Ken Waxman of such musicians as Pharoah Sanders, Archie Shepp, John Tchicai and Marion Artist Feature: Enrico Pieranunzi Brown, now all legends in their own rights. This month two tributes (at Le Poisson Rouge and Jazz Standard) will recreate Coltrane’s controversial work with allstar by Laurel Gross 7 casts of musicians from across the modern spectrum, a living testament to the On The Cover: John Coltrane’s Ascension music’s continuing impact. For our cover story this month, we’ve spoken with by Marc Medwin participants from the original Ascension album plus other musicians who have 9 done their own interpretations and those involved in the upcoming tributes. Encore: Lest We Forget: Two other controversial figures are baritone saxophonist/composer Fred Ho 10 (Interview), whose political statements and inclusive musical blending have Russell Garcia Sam Jones resulted in some monumental works over the past few decades, and Italian pianist by Andy Vélez by Donald Elfman Enrico Pieranunzi (Artist Feature), who mixes the classical music of his native Megaphone VOXNews Europe with his adopted jazz in a mélange that challenges the assumptions of both by Denny Zeitlin by Suzanne Lorge art forms. -
Gigi Gryce Nica's Tempo Mp3, Flac, Wma
Gigi Gryce Nica's Tempo mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Nica's Tempo Released: 2013 Style: Hard Bop, Swing MP3 version RAR size: 1682 mb FLAC version RAR size: 1942 mb WMA version RAR size: 1610 mb Rating: 4.4 Votes: 939 Other Formats: MMF WMA TTA MIDI RA DXD DMF Tracklist 1 Speculation 4:08 2 In A Meditating Mood 4:25 3 Social Call 2:44 4 Smoke Signal 3:40 5 (You'll Always Be) The One I Love 3:27 6 Kerry Dance 3:00 7 Shuffle Boil 5:01 8 Brake's Sake 4:45 9 Gallop's Gallop 5:28 10 Nica's Tempo 6:09 Other versions Category Artist Title (Format) Label Category Country Year Gigi Gryce · Thelonious Monk · Percy Heath · Art Gigi Gryce · Blakey · Horace Silver · Art Thelonious Monk · Farmer · Kenny Clarke · Percy Heath · Art Cecil Payne · Jimmy Blakey · Horace Cleveland · Oscar Pettiford Silver · Art · Julius Watkins - Gigi S1201, S Signal , S1201, S Farmer · Kenny Gryce · Thelonious Monk · US 1955 1201 Signal 1201 Clarke · Cecil Percy Heath · Art Blakey · Payne · Jimmy Horace Silver · Art Farmer Cleveland · Oscar · Kenny Clarke · Cecil Pettiford · Julius Payne · Jimmy Cleveland · Watkins Oscar Pettiford · Julius Watkins (LP, Album, Mono) Gigi Gryce (LP, Album, S 1201 Gigi Gryce Signal S 1201 US 1955 Mono) BYG BYG Thelonious Monk, Gigi BYG Thelonious Monk, Records, 529153, Gryce - Nica's Tempo (LP, 529153, France 1969 Gigi Gryce BYG 529.153 Album, RE) 529.153 Records Thelonious Monk & Gigi Thelonious Monk RM 52223 Gryce - Nica's Tempo (LP, CBS RM 52223 UK 1966 & Gigi Gryce Album, Mono, RE) The Orchestra* And The The Orchestra* UK, Quartet Of Gigi Gryce* - Savoy Jazz CY-18057 And The Quartet CY-18057 Europe & 1998 Nica's Tempo (CD, Album, Classics Of Gigi Gryce* US RE, RM) Related Music albums to Nica's Tempo by Gigi Gryce Gigi Gryce - Duke Jordan - Hall Overton - Signals Art Farmer - When Farmer Met Gryce Thelonious Monk, Phil Woods, Jimmy Cleveland, Max Roach - I Giganti Del Jazz Vol. -
Harold MABERN: Teo MACERO
This discography is automatically generated by The JazzOmat Database System written by Thomas Wagner For private use only! ------------------------------------------ Harold MABERN: "Workin' And Wailin'" Virgil Jones -tp,flh; George Coleman -ts; Harold Mabern -p; Buster Williams -b; Leo Morris -d; recorded June 30, 1969 in New York Leo Morris aka Idris Muhammad 101615 A TIME FOR LOVE 4.54 Prest PR7687 101616 WALTZING WESTWARD 9.26 --- 101617 I CAN'T UNDERSTAND WHAT I SEE IN YOU 8.33 --- 101618 STROZIER'S MODE 7.58 --- 101619 BLUES FOR PHINEAS 5.11 --- "Greasy Kid Stuff" Lee Morgan -tp; Hubert Laws -fl,ts; Harold Mabern -p; Boogaloo Joe Jones -g; Buster Williams -b; Idriss Muhammad -d; recorded January 26, 1970 in New York 101620 I WANT YOU BACK 5.30 Prest PR7764 101621 GREASY KID STUFF 8.23 --- 101622 ALEX THE GREAT 7.20 --- 101623 XKE 6.52 --- 101624 JOHN NEELY - BEAUTIFUL PEOPLE 8.33 --- 101625 I HAVEN'T GOT ANYTHING BETTER TO DO 6.04 --- "Remy Martin's New Years Special" James Moody Trio: Harold Mabern -p; Todd Coleman -b; Edward Gladden -d; recorded December 31, 1984 in Sweet Basil, New York it's the rhythm section of James Moody Quartet 99565 YOU DON'T KNOW WHAT LOVE IS 13.59 Aircheck 99566 THERE'S NO GREEATER LOVE 10.14 --- 99567 ALL BLUES 11.54 --- 99568 STRIKE UP THE BAND 13.05 --- "Lookin' On The Bright Side" Harold Mabern -p; Christian McBride -b; Jack DeJohnette -d; recorded February and March 1993 in New York 87461 LOOK ON THE BRIGHT SIDE 5.37 DIW 614 87462 MOMENT'S NOTICE 5.25 --- 87463 BIG TIME COOPER 8.04 --- 87464 AU PRIVAVE