If you're familiar with, you know that we've dedicated over two decades to supporting jazz as an art form, and more importantly, the creative musicians who make it. Our enduring commitment has made All About Jazz one of the most culturally important websites of its kind in the world reaching hundreds of thousands of readers every month. However, to expand our offerings and develop new means to foster jazz discovery we need your help. You can become a sustaining member for a modest and in return, we'll immediately hide those pesky Google ads PLUS deliver exclusive content and provide access to for a full year! This combination will not only improve your AAJ experience, it will allow us to continue to rigorously build on the great work we first started in 1995. Thelonious Sphere Monk is one of the true great jazz originals. Monk's family moved from North Carolina to while he was still an infant. He began piano lessons around age 12, playing Harlem rent parties then graduating to Harlem clubs such as Minton's Playhouse. Monk often played with and through the early 1940s. As Minton's house pianist, Monk was entrenched as THE bebop pianist: At Minton's, with Gillespie,,, and others, he helped codify the new harmonic and rhythmic style of bebop. Udf reader windows 7. Monk was mainly a self-taught pianist, growing a personal style that spanned jazz decades from the 'left hand' rhythmic bounce of Harlem stride piano past bebop to modern jazz. Rocking and lurching in rhythm, dropping the bottom out with unexpected empty spaces, Monk kept you guessing. Monk's Music Thelonious Monk and Jazz History in the Making. Biography, and musical analysis to shed new light on Monk's music and on the jazz canon itself. Aug 11, 2014 - A statistical analysis of Parker's formulas can be found in Toward a. Thelonious Monk's contribution was along multiple reinforcing lines. He made his first recordings in 1947 for Blue Note, for whom he recorded until 1952, unveiling his first wave of classic compositions: 'Straight, No Chaser,' 'Well, You Needn't,' 'Ruby, My Dear' and his enduring 'Round Midnight.' Monk's recordings between 1952 and 1960 were released by Prestige, Riverside, and Milestone (Disappointed in his sales, in 1955 Prestige sold Monk's contract to Riverside for the value of an $108.27 royalty overpayment). ![]() Many of these recordings were masterworks. Monk was finally an overnight success. In 1960, Monk signed with Columbia where he recorded prolifically. Monk's best foils were tenor saxophonists who could accommodate his unique perspectives on time and structure,, and, a Monk staple for more than a decade. Monk's music is almost its own genre. He often seemed to inhabit his own musical universe at a tangent to, and yet profoundly influencing, every other jazz style. He truly was 'the onliest Monk.' Genius of Modern Music, Vol. 1 (Blue Note, 1947) Rarely are an artist's first sessions as a leader so important and influential: Introduces the classics 'Round Midnight,' 'Well, You Needn't,' and 'Ruby, My Dear,' his ballad to his first love, each precision crafted with a modern jazz all-star galaxy. Genius of Modern Music, Vol. 2 (Blue Note, 1951) Once more with Blakey, Dorham, Roach and the rest, this time on a complete set of originals including 'Straight No Chaser' and the challenging 'Four in One' and 'Criss Cross.' Navigating the sharp corners, Monk and 'Bags' Jackson swing playful and joyous. Thelonious Monk & Sonny Rollins (Prestige, 1954) Two giants -one established, one emerging -in the awakening new music free-spiritedly romp through 'I Want to Be Happy,' 'The Way You Look Tonight' and Monk's 'Friday the Thirteenth.' Monk's characteristic harmonic and rhythmic inventions seem to feed and flow through Rollins' exhaustive streams of ideas. ![]() Plays Duke Ellington (Riverside, 1955) Purely as pianist: With Kenny Clarke and Oscar Pettiford, Monk mines new treasure from a revelatory, affectionate set of familiar Ellingtonia. 'It Don't Mean A Thing (If It Ain't Got That Swing)' and Monk swings for sure.
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