Carla Bley is a musician I have loved and listened to for years, an inspired and unique composer, and a pianist full of surprises. Of course, you can hear some Monk in her love of dissonance and her clumsy playing (on purpose!). But to me there's more: like John Lewis, she seems to try to produce the most effect with the fewest notes possible. She keeps things simple – and always groovy: her rhythmic language is very strong.
I really like her duo albums with Steve Swallow, and her trio albums with Andy Sheppard. Her big band albums are obviously great, but I don't feel like embarking on this kind of transcription…
From Duets, with Steve Swallow (1988):
Romantic Notions #3 (Video)
This is a weird tune. It starts with dissonant, awkward chords, followed by some solos over those chords (AABB). It's a bit hard to recognize a real theme, there are bits of melody that you hear several times, but I couldn't figure out much more. But anyway, it's a great fun to play!
Edit: I just bought Carla's score for her Romantic Notions, and without surprise I got most of her rhythms wrong… I'll let it this way, because I believe that my version is very readable (if not accurate). If you want to dig in, buy her score on her website!
Útviklingssang (Video)
I suppose this is one of Carla Bley's most famous compositions, and rightly so: the melody is very beautiful and the harmony is both simple and full of subtlety. She plays this piece with great simplicity, like a song, which gives even more emotional weight to the moments of tension.
I use the chord names and structure that I found on Carla Bley's leadsheet, but if you ask me, I would rather notate G/A than Am11 ; and D/E than Em11.
From Trios, with Andy Sheppard and Steve Swallow (2013):
Vashkar (Video)
This is a catchy piece composed in 6/4, an unusual meter carried by Steve Swallow's groovy bass lines. Dissonances, strange and exotic scales, rhythmic richness: everything we like!
Affichage des articles dont le libellé est jazz. Afficher tous les articles
Affichage des articles dont le libellé est jazz. Afficher tous les articles
mercredi 24 novembre 2010
Stefano Bollani
Steve Coleman
From Motherland Pulse (1985)
Wights Waits For Weights (VIDEO)
The Glide Was In The Ride : a groovy bassline, some odd time signatures, a great Geri llen solo: it's make my day !(VIDEO)
From On the Edge of Tomorrow (1986)
Little one I'll miss you
Theme of this beautiful song, as sung by Cassandra Wilson.
Nine to Five
From On the Rising of th 64 Paths (2002)
Round Midnight
Beautiful live version of this marvellous song that you can find on a bonus track of the On the Rising of th 64 Paths album. Sax and guitar version.
Eight Base Probing (Video)
From Weaving symbolics (2006)
Ritual trio (earth)
Fantastic song, based on a simple but irregular structure that reminds me of Coltrane plus odd measures. I've transcribed the main theme and the first part of the solo.
VIDEO HERE
Wights Waits For Weights (VIDEO)
The Glide Was In The Ride : a groovy bassline, some odd time signatures, a great Geri llen solo: it's make my day !(VIDEO)
From On the Edge of Tomorrow (1986)
Little one I'll miss you
Theme of this beautiful song, as sung by Cassandra Wilson.
Nine to Five
From On the Rising of th 64 Paths (2002)
Round Midnight
Beautiful live version of this marvellous song that you can find on a bonus track of the On the Rising of th 64 Paths album. Sax and guitar version.
Eight Base Probing (Video)
From Weaving symbolics (2006)
Ritual trio (earth)
Fantastic song, based on a simple but irregular structure that reminds me of Coltrane plus odd measures. I've transcribed the main theme and the first part of the solo.
VIDEO HERE
Marc Copland
When I really started learning the piano, Marc Copland's music had a huge impact on me: I couldn't really understand what he was doing, but I was fascinated by the harmonic landscapes he creates and the beautiful colours he plays with.
From Bookends, with Dave Liebman (2002)
Bookends
Blackboard
When You're Smiling (Video)
From Round and Round, with Greg Osby (2002)
Balloonman (Video)
Full transcription, piano only, sax only, leadsheet.
This tune is a great example of Marc Copland's music: catchy melody, simple harmony implied by the left hand (3 notes per chord), and a lot of different textures in the right hand.
From the solo album Time Within Time (2004)
Rivers Run (Video)
From Bookends, with Dave Liebman (2002)
Bookends
Blackboard
When You're Smiling (Video)
From Round and Round, with Greg Osby (2002)
Balloonman (Video)
Full transcription, piano only, sax only, leadsheet.
This tune is a great example of Marc Copland's music: catchy melody, simple harmony implied by the left hand (3 notes per chord), and a lot of different textures in the right hand.
From the solo album Time Within Time (2004)
Rivers Run (Video)
Laurent Coq
From Live at Duc des Lombards, with David el Malek and Olivier Zanot
Act up
Piece for 2 saxophones and piano.
Act up - Solo 1
Still incomplete, but…
From At Barloyd's (2018)
Social Call
A fantastic version of one of my favorite standards (leadsheet and transcription of Gigi Gryce's version is here !)
I've made a video of it.
Act up
Piece for 2 saxophones and piano.
Act up - Solo 1
Still incomplete, but…
From At Barloyd's (2018)
Social Call
A fantastic version of one of my favorite standards (leadsheet and transcription of Gigi Gryce's version is here !)
I've made a video of it.
Chick Corea
Armando's Rhumba (Solo piano : Originals)
Impressive solo version of this great tune. 100% complete !
Impressive solo version of this great tune. 100% complete !
Guillaume de Chassy
From his amazing Piano Solo album :
Valse Dombelle
Slava, based on Prokofiev's first violin concerto. Impressive, beautiful, worth checking! (Video)
Valse Dombelle
Slava, based on Prokofiev's first violin concerto. Impressive, beautiful, worth checking! (Video)
Laurent de Wilde
From his very fun New Monk Trio album, released for Thelonious Monk's centennial, on which he plays with Monk's tune, revisiting the repertoire with his own reading and groovy arrangements.
Monk's Mix (Video)
Laurent de Wilde discovered that many Monk's tune can fit very well over a calipso rhythm in B-flat. Can you recognise them all?
Tune for T. (Video)
This is the only original composition on the album – and it's obviously in the style of Thelonious Monk. You have stride, swing, dissonances, weird harmonic movements (as if some progressions are going backwards), and a lot of fun!
Coming on the Hudson (Video)
The original tune is an absolutely great (but rather unkown) gem. I think that Laurent de Wilde made it even better, with his backward and extended progressions.
He explains: "Monk has an imitable way of starting to build on a harmonic movement, and then abruptly turning to something else. On this arrangement I wanted to extend the symmetric progression of the chords at the beginning so as to delay this change in direction for as long as possible. […] And the comes the bridge, a real saw going through your head; hearing it once wasn't enough for me so I made a loop of it and asked [drummer] Donald Kontomanou to improvise over it, and then other things started happening…"
I've made the (almost) full transcription + a 2-pages lead sheet for solo piano, because you'll want to play the tune even if you're alone!
Monk's Mix (Video)
Laurent de Wilde discovered that many Monk's tune can fit very well over a calipso rhythm in B-flat. Can you recognise them all?
Tune for T. (Video)
This is the only original composition on the album – and it's obviously in the style of Thelonious Monk. You have stride, swing, dissonances, weird harmonic movements (as if some progressions are going backwards), and a lot of fun!
Coming on the Hudson (Video)
The original tune is an absolutely great (but rather unkown) gem. I think that Laurent de Wilde made it even better, with his backward and extended progressions.
He explains: "Monk has an imitable way of starting to build on a harmonic movement, and then abruptly turning to something else. On this arrangement I wanted to extend the symmetric progression of the chords at the beginning so as to delay this change in direction for as long as possible. […] And the comes the bridge, a real saw going through your head; hearing it once wasn't enough for me so I made a loop of it and asked [drummer] Donald Kontomanou to improvise over it, and then other things started happening…"
I've made the (almost) full transcription + a 2-pages lead sheet for solo piano, because you'll want to play the tune even if you're alone!
Thomas Enhco
From Feathers (2015):
Letting You Go : transcription, leadsheet and video
A beautiful and moving ballad.
Je voulais te dire : transcription, leadsheet and video
Another beautiful ballad, with a very long theme (more than 2 minutes!)
Letting You Go : transcription, leadsheet and video
A beautiful and moving ballad.
Je voulais te dire : transcription, leadsheet and video
Another beautiful ballad, with a very long theme (more than 2 minutes!)
Bill Evans
Israel – Explorations, 1961 (Video)
Wonderful version of this minor blues.
The two lonely people – Alone, 1968 (video)
This song is on the bonus version of the album. It's a work-in-progress version: each song of the "official" record is made of different recordings edited together. The two lonely people is one take, in-progress, and wasn't meant to be heard like this, and yet it's really interesting – and beautiful.
I've transcribed the theme and the first solo, and they're just perfect.
The second solo is really different : it looks like that Evans was throwing up ideas for and edited version. Then he just dashes the theme…
Wonderful version of this minor blues.
The two lonely people – Alone, 1968 (video)
This song is on the bonus version of the album. It's a work-in-progress version: each song of the "official" record is made of different recordings edited together. The two lonely people is one take, in-progress, and wasn't meant to be heard like this, and yet it's really interesting – and beautiful.
I've transcribed the theme and the first solo, and they're just perfect.
The second solo is really different : it looks like that Evans was throwing up ideas for and edited version. Then he just dashes the theme…
Édouard Ferlet
Édouard Ferlet published in 2012 a marvelous album called Think Bach, in wich he doesn't play Bach but play with Bach. His compositions are inspired by the Master's work, and modified in many ways
A la suite de Jean (Video)
In his remarquable album Think Bach, Édouard Ferlet plays with Bach's music, adding bits to it, playing it backwards… This tune is based on the famous Prelude of the Cello Suite N°1 BWV 1007, and it mirrors the original music: high pitch becomes low pitch, ascending becomes descending…
The new theme written by Ferlet is really beautiful, and it's followed by a free-improvisation. You can hear another version in this video.
Réplique
Inspired by Bach's preludio in C#M (here I've written in Db, which is much easier to read), from the Well-Tempered Klavier Book I, but instead of 3/8, it's in 5/8. Good luck ;)
You should check Brad Mehldau's version of the same prelude, Rondo, also on 5/4 !
Infinité, a Airelle Besson composition, from Aïrés (2017)
(Almost) complete transcription
Piano reduction
Leadsheet version
A la suite de Jean (Video)
In his remarquable album Think Bach, Édouard Ferlet plays with Bach's music, adding bits to it, playing it backwards… This tune is based on the famous Prelude of the Cello Suite N°1 BWV 1007, and it mirrors the original music: high pitch becomes low pitch, ascending becomes descending…
The new theme written by Ferlet is really beautiful, and it's followed by a free-improvisation. You can hear another version in this video.
Réplique
Inspired by Bach's preludio in C#M (here I've written in Db, which is much easier to read), from the Well-Tempered Klavier Book I, but instead of 3/8, it's in 5/8. Good luck ;)
You should check Brad Mehldau's version of the same prelude, Rondo, also on 5/4 !
Infinité, a Airelle Besson composition, from Aïrés (2017)
(Almost) complete transcription
Piano reduction
Leadsheet version
Sullivan Fortner
Everyone knows it: Sullivan Fortner is one of the greatest contemporary pianists. He's also the most difficult musician I have had to transcribe (more than Martial Solal or Art Tatum, that's saying something!)
I spent several weeks on each of these transcription, wondering about each measure (which hand plays which note? how to write the score so that it is clear and readable?)…
Yesterday (video)
When Sullivan Fortner plays one of the most beautiful songs of all time, it's bound to be fantastic! It's both sublime and extremely rich and dense. For the first time, I even needed to add a third staff to make the score readable! The transcription of this song is a real dive into a great musical spirit - I advise you to sit down at the piano to try to play this music, it's quite an experience.
Alfonsina y el Mar (video)
This is a beautiful song, popularized by Mercedes Sosa. Sullivan Fortner plays it mostly rubato; I tried to notate his rhythms as precisely as possible, without complicating it too muche with with weird time signatures. I believe it's tricky but playable up to measure 88; then it becomes pure madness, like Sullivan does :)
This transcription was commissioned by Alex. Thanks to him for his support!
From Solo Game (2023)
Don't You Worry 'bout a Thing (video)
I am not surprised that Glenn Zaleski managed to make a 25-minute video on the first 20 seconds of this piece: each measure is a masterpiece, a fireworks, a kaleidoscope!
I had a hard time choosing the right key signature: Ebm seemed natural, but the Cb and Fb bothered me… BM didn't work either. I ended up choosing no key, and alternated between flats and sharps. Hope it works for you!
You can also check my transcription of Stevie Wonder's original song!
Invitation (Video)
Another gem from Sullivan Fortner's amazing solo album. As I already said for my previous Fortner's transcriptions, his music is incredibly complex and dense, and incredibly hard to transcribe… I tried my best!
I spent several weeks on each of these transcription, wondering about each measure (which hand plays which note? how to write the score so that it is clear and readable?)…
Yesterday (video)
When Sullivan Fortner plays one of the most beautiful songs of all time, it's bound to be fantastic! It's both sublime and extremely rich and dense. For the first time, I even needed to add a third staff to make the score readable! The transcription of this song is a real dive into a great musical spirit - I advise you to sit down at the piano to try to play this music, it's quite an experience.
Alfonsina y el Mar (video)
This is a beautiful song, popularized by Mercedes Sosa. Sullivan Fortner plays it mostly rubato; I tried to notate his rhythms as precisely as possible, without complicating it too muche with with weird time signatures. I believe it's tricky but playable up to measure 88; then it becomes pure madness, like Sullivan does :)
This transcription was commissioned by Alex. Thanks to him for his support!
From Solo Game (2023)
Don't You Worry 'bout a Thing (video)
I am not surprised that Glenn Zaleski managed to make a 25-minute video on the first 20 seconds of this piece: each measure is a masterpiece, a fireworks, a kaleidoscope!
I had a hard time choosing the right key signature: Ebm seemed natural, but the Cb and Fb bothered me… BM didn't work either. I ended up choosing no key, and alternated between flats and sharps. Hope it works for you!
You can also check my transcription of Stevie Wonder's original song!
Invitation (Video)
Another gem from Sullivan Fortner's amazing solo album. As I already said for my previous Fortner's transcriptions, his music is incredibly complex and dense, and incredibly hard to transcribe… I tried my best!
Yaron Herman
From his solo album Variations (2006) :
Libera Me, Wonderful version of this Fauré piece (from his Requiem).
I've made a video of this transcription !
Libera Me, Wonderful version of this Fauré piece (from his Requiem).
I've made a video of this transcription !
Stéphane Kerecki
From Focus Danse, Stéphane Kerecki Trio, w/ Mathieu Donarier (sax) and Thomas Grimmonprez (drums) (2007)
Anna
Resilience
Anna
Resilience
Brad Mehldau
Live in Marciac :
Unrequited
Lithium - The Nirvana song. This is how you make a piano rock ! (complete) VIDEO HERE
Dat Dere
Secret Love
It's Allright With Me
- - - - - -
Live in Tokyo :
Things Behind The Sun
Nick Drake song, Live in Tokyo version + intro of the Live in Marciac version !
50 Ways To Leave Your Lover (Video)
Paul Simon cover, you can find the leadsheet of the wonderful original song here !
Monk's Dream
Obviously an amazing Thelonious Monk cover.
- - - - - -
10 Years Solo Live :
Waltz for JB
And I Love Her (Beatles song)
Knives out (groovy Radiohead cover)
Think of One (Monk cover) VIDEO
- - - - - -
Nearness, with Joshua Redman :
Always August
A wonderful Mehldau tune, you can find the leadsheet here.
In Walked Bud
- - - - - -
Variations on Bach's Goldberg Theme, from After Bach II (see the complete transcriptions)
I. Aria (Video)
II. Variation 1, minor, in 5/8 (Video)
III. Variation 2, minor, in 5/8 (Video)
IV. Variation 3, in 7/8 (Video)
Brad says it's in 7/4, but I believe it's way easier to read in 7/8 – and more coherent with the other variations… Sorry Brad! V. Variation 4, Backbeat (Video)
VI. Variation 5, Jazz (Video)
VII. Finale (Video)
Transcription is a form of translation, and choices must be made to make the musician's improvised choices understandable. Here, I admit that I had a hard time figuring out what Brad Mehldau was thinking.
So I made two versions of this transcription: a "simple" 4/4 version (with some quirks when I think Brad forgets a beat) ; and another one that navigates between 4/4 et 6/8, because at times it seems like Brad is thinking that way. I think the second one is easier to read, but you may disagree – in any case I don't think either one is perfect.
- - - - - -
Various:
Hey You
A very symphonic rendition of Pink Floyd's classic (from a radio show, see here) (Video)
Crazy Quilt – Modern music, with Kevin Hayes and Patrick Zimmerli
Transcribing a 2 piano stuff is rather hard…
O Que Sera – Brad Mehldau trio : Live (Video)
I haven't transcribed all the solos, but the main parts are here. Wonderful 2 hands counterpoint in here ! Notice the strange whole-tone modulations : Fm – Gm – Am – Bm – C#m etc.
Thelonious – Live at la Villette, 2011 (Video)
Amazing cover of the Thelonious Monk song. Listen to the original here.
Trailer Park Ghost – Elegiac Cycle
Theme and beginnig of the solo
Teardrop – Jazz à Vienne (Video)
Massive Attack cover, as seen on Jazz à Vienne 2010 video.
Paris – Places
Monk's Dream – Live at the Village Vanguard: The Art of the Trio Vol. 2
Rondo – After Bach
This one is based on the Prelude and Fugue in C sharp Major BWV 848 from The Well-Tempered Clavier by Bach. But guess what ? It's in 5/8 !
By comparing with this live version I realised that that piece was ENTIRELY written ! At first look, I thought that the part starting at measure 130 was an improvisation, and I thought that the 4/8 measures he plays sometimes were “mistakes”... It turns out it's perfectly thought : he plays exactly the same notes and the same rhythm on the live version !
You should check Édouard Ferlet's version of the same prelude called Réplique, also in 5/8 !
Unrequited
Lithium - The Nirvana song. This is how you make a piano rock ! (complete) VIDEO HERE
Dat Dere
Secret Love
It's Allright With Me
- - - - - -
Live in Tokyo :
Things Behind The Sun
Nick Drake song, Live in Tokyo version + intro of the Live in Marciac version !
50 Ways To Leave Your Lover (Video)
Paul Simon cover, you can find the leadsheet of the wonderful original song here !
Monk's Dream
Obviously an amazing Thelonious Monk cover.
- - - - - -
10 Years Solo Live :
Waltz for JB
And I Love Her (Beatles song)
Knives out (groovy Radiohead cover)
Think of One (Monk cover) VIDEO
- - - - - -
Nearness, with Joshua Redman :
Always August
A wonderful Mehldau tune, you can find the leadsheet here.
In Walked Bud
- - - - - -
Variations on Bach's Goldberg Theme, from After Bach II (see the complete transcriptions)
I. Aria (Video)
II. Variation 1, minor, in 5/8 (Video)
III. Variation 2, minor, in 5/8 (Video)
IV. Variation 3, in 7/8 (Video)
Brad says it's in 7/4, but I believe it's way easier to read in 7/8 – and more coherent with the other variations… Sorry Brad! V. Variation 4, Backbeat (Video)
VI. Variation 5, Jazz (Video)
VII. Finale (Video)
Transcription is a form of translation, and choices must be made to make the musician's improvised choices understandable. Here, I admit that I had a hard time figuring out what Brad Mehldau was thinking.
So I made two versions of this transcription: a "simple" 4/4 version (with some quirks when I think Brad forgets a beat) ; and another one that navigates between 4/4 et 6/8, because at times it seems like Brad is thinking that way. I think the second one is easier to read, but you may disagree – in any case I don't think either one is perfect.
- - - - - -
Various:
Hey You
A very symphonic rendition of Pink Floyd's classic (from a radio show, see here) (Video)
Crazy Quilt – Modern music, with Kevin Hayes and Patrick Zimmerli
Transcribing a 2 piano stuff is rather hard…
O Que Sera – Brad Mehldau trio : Live (Video)
I haven't transcribed all the solos, but the main parts are here. Wonderful 2 hands counterpoint in here ! Notice the strange whole-tone modulations : Fm – Gm – Am – Bm – C#m etc.
Thelonious – Live at la Villette, 2011 (Video)
Amazing cover of the Thelonious Monk song. Listen to the original here.
Trailer Park Ghost – Elegiac Cycle
Theme and beginnig of the solo
Teardrop – Jazz à Vienne (Video)
Massive Attack cover, as seen on Jazz à Vienne 2010 video.
Paris – Places
Monk's Dream – Live at the Village Vanguard: The Art of the Trio Vol. 2
Rondo – After Bach
This one is based on the Prelude and Fugue in C sharp Major BWV 848 from The Well-Tempered Clavier by Bach. But guess what ? It's in 5/8 !
By comparing with this live version I realised that that piece was ENTIRELY written ! At first look, I thought that the part starting at measure 130 was an improvisation, and I thought that the 4/8 measures he plays sometimes were “mistakes”... It turns out it's perfectly thought : he plays exactly the same notes and the same rhythm on the live version !
You should check Édouard Ferlet's version of the same prelude called Réplique, also in 5/8 !
Giovanni Mirabassi
Giovanni Mirabassi is an Italian jazz pianist based in Paris.
From Live at Blue Note Tokyo, 2010
My Broken Heart (Video)
Mirabassi's lyricism is evident on this waltz, which reminds me of Bill Evans. The melody is simple but very touching, it is a very pleasant piece to play!
NY #1 (Video)
piano+bass, only piano, leadsheet
This tune starts with a strong rhythmic theme in odd meters, before switching to a beautiful yet rich Evans-like waltz.
It Is What It Is (Video)
A very groovy tune.
From Live at Blue Note Tokyo, 2010
My Broken Heart (Video)
Mirabassi's lyricism is evident on this waltz, which reminds me of Bill Evans. The melody is simple but very touching, it is a very pleasant piece to play!
NY #1 (Video)
piano+bass, only piano, leadsheet
This tune starts with a strong rhythmic theme in odd meters, before switching to a beautiful yet rich Evans-like waltz.
It Is What It Is (Video)
A very groovy tune.
Thelonious Monk
Thelonious Monk is a genius. And he's an interresting pianist, with some real interresting licks, and an amazing tempo. Good luck for playing this, it's really not that easy…
From Genius of the Modern Music (1947-1952)
Carolina Moon (Video)
Transcription of the theme + solos.
From the fabulous solo Paris 1954 recording
'Round Midnight (Video)
For me, this is the ultimate version of this great standard. The voicings are precise, the melodic lines are clear and swinging as hell, the ideas seem to flow naturally and fluidly. When I want to play this tune, this is the version that I have in mind.
Well you needn't (Video)
I had some some trouble writing down the names of the chords. When Monk plays the theme, in the A sections the melody implies F - Gb, but the bass plays something else (a chromatic line over F). In the solos he clearly thinks F almost exclusively. Very different from the Real Book version!
Evidence (Video)
Eronel (Video)
Off Minor (Video)
On this one, I love how simple most of his chords are (exept for the Bb7/D7 endings), and how swingy they sound. Notice measure 63, when he makes a lick in 12/8 over 4/4.
We See (Video)
What he plays is kinda simple, but his swing is so insane!
Smoke Gets in Your Eyes (Video)
I realise that I've never listenned to the original recording of the song, because to me THIS IS the original! I've just listenned to Gertrude Niesen's recording, it's a very cute song… but I prefer Monk's version :)
Some of the fast licks are pretty hard to play!
Reflections (Video)
You can compare with the San Francisco version!
From Thelonious Monk & Sonny Rollins (1954)
Work (Video)
I love this song, with the call and response with the left hand.
From The Unique Thelonious Monk (1956)
Tea for Two (Video)
(You can also check Fats Waller's version here)
From Miles Davis and the Modern Jazz Giants (1959)
The Man I Love (Video)
We know that this session did not go well, and that Miles and Monk had various arguments. This precise passage has been the subject of numerous glosses. Monk plays a weird solo, fooling around the melody, with a lot of silence. And then, he stops playing, and all is left is silence, for an eternity. Miles enters as if he were saying "what the hell are you doing?", and the pianist starts swinging again as if nothing had happened. A fun moment, also fun to transcribe :)
From Thelonious Alone in San Francisco (1959)
Everything Happens to Me (Video)
Ruby my Dear (Video)
One of Thelonious Monk's most famous ballads. I had a hard time choosing how to write certain rhythms: should I follow the leadsheets (at least based on versions with bass and drums, which helps to have the rhythms right!) ; or should I trust my ears and what Thelonious Monk actually sounds like he's playing? Well, I guess I did a bit of both. When Monk plays the theme (bars 3-32), I followed the leadsheet; during his solo, he plays mostly in time and he's easier to follow (although he adds a 8th bar 35, hence the 9/8); and in the rubato sections at the beginning (bars 1-2), at the end of the theme (bars 33-34) and at the end of the song (bars 65-77), I trusted my ears and chose to write what seemed most logical to read to play like him. Transcribing is making choices, I hope mine will make sense to you!
Bluehawk (Video)
Monk's typical B-flat blues! The theme is really simple (a four notes motif), but Monk play a lot with the contrast between long-held notes and staccatto notes ; I tried my best to write all these subtleties down. During the solo he occasionnally plays stride, and who will complain? Even though Monk stays true to the basic structure of the blues, he adds some nice harmonic colours here and there, with the BbM7 and the FM7-Bb7 – I also like the Dbdim in the turnarounds. He ends with a very unique chord, a Bb7 wit the flat 9th and the natural 9th!
Pannonica (Video)
Blue Monk (Video)
Round Lights (Video)
Another Bb blues, with a really weird intro: was Monk trying something new? Did he knew from the start he'll play a blues? The outro chord is one of his favorites!
You Took the Words Right Out of My Heart (Video)
Remember (Video)
There's Danger in Your Eyes, Cherie (Video)
Reflections (Video)
You can compare with the version recorded in Paris in 1954!
Alone in San Francisco (Video)
From Monk in Italy (1961)
Body and Soul (Video)
Thelonious monk wrote this crazy reharmonization of Body and Soul, with a lot of chromatic harmonies, a lot of whole-tone scales and some of the crunchiest chords.
He recorded his arrangement a few times, the best known of which is probably the one on Monk's Dream (1963), but there are also several live versions, including this one. The tempo here is very free, I tried my best to get close to it!
From Solo Monk (1964)
Sweet and Lovely (Video)
I Should Care (Video)
I Surrender, Dear (Video)
For me, Monk's interpretations of ballads are profoundly moving. Is it their weirdness and quirkiness? The apparent simplicity of the melodies he chooses? I can't really explain it yet, but I love it. This tune here is a great illustration.
As always, he chooses precisely the voicing he plays. I love the alternation, bars 2 of each A, between A7 and Bb7, it add a nice variation to the song.
From Underground (1968)
Thelonius
From Genius of the Modern Music (1947-1952)
Carolina Moon (Video)
Transcription of the theme + solos.
From the fabulous solo Paris 1954 recording
'Round Midnight (Video)
For me, this is the ultimate version of this great standard. The voicings are precise, the melodic lines are clear and swinging as hell, the ideas seem to flow naturally and fluidly. When I want to play this tune, this is the version that I have in mind.
Well you needn't (Video)
I had some some trouble writing down the names of the chords. When Monk plays the theme, in the A sections the melody implies F - Gb, but the bass plays something else (a chromatic line over F). In the solos he clearly thinks F almost exclusively. Very different from the Real Book version!
Evidence (Video)
Eronel (Video)
Off Minor (Video)
On this one, I love how simple most of his chords are (exept for the Bb7/D7 endings), and how swingy they sound. Notice measure 63, when he makes a lick in 12/8 over 4/4.
We See (Video)
What he plays is kinda simple, but his swing is so insane!
Smoke Gets in Your Eyes (Video)
I realise that I've never listenned to the original recording of the song, because to me THIS IS the original! I've just listenned to Gertrude Niesen's recording, it's a very cute song… but I prefer Monk's version :)
Some of the fast licks are pretty hard to play!
Reflections (Video)
You can compare with the San Francisco version!
From Thelonious Monk & Sonny Rollins (1954)
Work (Video)
I love this song, with the call and response with the left hand.
From The Unique Thelonious Monk (1956)
Tea for Two (Video)
(You can also check Fats Waller's version here)
From Miles Davis and the Modern Jazz Giants (1959)
The Man I Love (Video)
We know that this session did not go well, and that Miles and Monk had various arguments. This precise passage has been the subject of numerous glosses. Monk plays a weird solo, fooling around the melody, with a lot of silence. And then, he stops playing, and all is left is silence, for an eternity. Miles enters as if he were saying "what the hell are you doing?", and the pianist starts swinging again as if nothing had happened. A fun moment, also fun to transcribe :)
From Thelonious Alone in San Francisco (1959)
Everything Happens to Me (Video)
Ruby my Dear (Video)
One of Thelonious Monk's most famous ballads. I had a hard time choosing how to write certain rhythms: should I follow the leadsheets (at least based on versions with bass and drums, which helps to have the rhythms right!) ; or should I trust my ears and what Thelonious Monk actually sounds like he's playing? Well, I guess I did a bit of both. When Monk plays the theme (bars 3-32), I followed the leadsheet; during his solo, he plays mostly in time and he's easier to follow (although he adds a 8th bar 35, hence the 9/8); and in the rubato sections at the beginning (bars 1-2), at the end of the theme (bars 33-34) and at the end of the song (bars 65-77), I trusted my ears and chose to write what seemed most logical to read to play like him. Transcribing is making choices, I hope mine will make sense to you!
Bluehawk (Video)
Monk's typical B-flat blues! The theme is really simple (a four notes motif), but Monk play a lot with the contrast between long-held notes and staccatto notes ; I tried my best to write all these subtleties down. During the solo he occasionnally plays stride, and who will complain? Even though Monk stays true to the basic structure of the blues, he adds some nice harmonic colours here and there, with the BbM7 and the FM7-Bb7 – I also like the Dbdim in the turnarounds. He ends with a very unique chord, a Bb7 wit the flat 9th and the natural 9th!
Pannonica (Video)
Blue Monk (Video)
Round Lights (Video)
Another Bb blues, with a really weird intro: was Monk trying something new? Did he knew from the start he'll play a blues? The outro chord is one of his favorites!
You Took the Words Right Out of My Heart (Video)
Remember (Video)
There's Danger in Your Eyes, Cherie (Video)
Reflections (Video)
You can compare with the version recorded in Paris in 1954!
Alone in San Francisco (Video)
From Monk in Italy (1961)
Body and Soul (Video)
Thelonious monk wrote this crazy reharmonization of Body and Soul, with a lot of chromatic harmonies, a lot of whole-tone scales and some of the crunchiest chords.
He recorded his arrangement a few times, the best known of which is probably the one on Monk's Dream (1963), but there are also several live versions, including this one. The tempo here is very free, I tried my best to get close to it!
From Solo Monk (1964)
Sweet and Lovely (Video)
I Should Care (Video)
I Surrender, Dear (Video)
For me, Monk's interpretations of ballads are profoundly moving. Is it their weirdness and quirkiness? The apparent simplicity of the melodies he chooses? I can't really explain it yet, but I love it. This tune here is a great illustration.
As always, he chooses precisely the voicing he plays. I love the alternation, bars 2 of each A, between A7 and Bb7, it add a nice variation to the song.
From Underground (1968)
Thelonius
Jason Moran
All Rise: A Joyful Elegy for Fats Waller (2014)
This album is a modern and playful hommage to the great Fats Waller.
Handful of Keys (Video)
Fats on acid!
Jitterbug Waltz (Video)
A 4/4 neo-soul waltz, sort of… Piano + Tarus Mateen's amazing basslines.
This album is a modern and playful hommage to the great Fats Waller.
Handful of Keys (Video)
Fats on acid!
Jitterbug Waltz (Video)
A 4/4 neo-soul waltz, sort of… Piano + Tarus Mateen's amazing basslines.
Joshua Redman
From Compass (2009) (Video)
Faraway
Great groovy song. You'd better find a great bass player and a great drummer to play this song!
Identity Thief (Video)
With James Farm
From the amazing 2011 album of this supergroup (Joshua Redman, Aaron Parks, Matt Penman, Eric Harland).
Chronos
Polliwog (Video)
Nearness, with Brad Mehldau:
Always August
A wonderful Mehldau tune, you can find the leadsheet here.
In Walked Bud
Faraway
Great groovy song. You'd better find a great bass player and a great drummer to play this song!
Identity Thief (Video)
With James Farm
From the amazing 2011 album of this supergroup (Joshua Redman, Aaron Parks, Matt Penman, Eric Harland).
Chronos
Polliwog (Video)
Nearness, with Brad Mehldau:
Always August
A wonderful Mehldau tune, you can find the leadsheet here.
In Walked Bud
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