Thelonious Monk Plays Standards - Volume 1: Piano Transcriptions (Artist Transcriptions) [Paperback] Review

you have no vision of jazz piano until you see the Solo, away from the group who's keepeen the beat, and laying down the bass for you, this just frees you up a bit, Monk created his greea-test solos in the group, all those spiky chords, Ab-D-G, or cd-Ab-Db,also the suspension(S) of the beat attest to his interest in expanding what we call music, But if you've never heard Solo you really haven't heard anything, Also Cecil Taylor, needs a review of Solo, what he creates, the bonfires he sets with the Solo Piano,

But Monk equally did Solo Work,n'had a way of practicing, taking only one song and playing it for hours, to see what was in it, He did this with all the tunes here, and I guess you can say that what is here was the best reading of possibly I don't know 10 different reading of each tune. Still you get the interesting dimensions of what Monk could do with harmonies, and chords,-flatted and sharped 5ths and Ninths, is where the tension comes from, in a Blues progression you need to sharp the Ninth, as in C-Major, Tonic Chord is now E-Bb-D#, and F-Chord, is F-A-B-Eb, greet stuff.When he Went Solo he kept the traditional stride Left Hand, something if you look for it in group Work it remains but, He began to use his Left Hand in the Group as rhythm as percussion products, with cluster chords, even in "Bright Mississippi", he uses his whole arm for accents.

My favorite here is "everything happens to me", sums up the state of the globe now for us down here, you can play this over and over again and still find different voices between the hands, I found myself developing from what is written out, and it is fairly faithful to the recording, well one of them in that Monk always took multiple taks on all the Tunes herein. "Don't Blame me" as well, has great dissonances, that you can develop even more, and the classic now, "just a gigolo', who would think this Vegas tune could be made into a classic, but again the dissonances are incredible, it lives forever because of the unresolved tensions you have here;and there are more hesitations in Live than in the transcription; I found that you can really make your own half hour solos from what is written here, and apply the chords in and around the other tunes, like a paradigm that lives throughout all the tunes herein.There are other more strenuus as "devil and Deep Blue Sea", difficult to bring off, and Gershwin's "Liza" you really need to work with vision. . . This is the best book I've found thus far on Monk or any jazz transcriptions, the other are too skeletle,too obvious to do you any good, if you really want to learnnn jazz. But please listen to Monk play without the music first, and bring that experience internally inside yourself, then you can go and play from this Book. . . it will change the way you think about music. . .

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Product Description:
Volume 1 features note-for-note transcriptions of Monk's renditions of 11 jazz classics: April in Paris * Between the Devil and the Deep Blue Sea * Dinah * Don't Blame Me * Everything Happens to Me * I Should Care * I Surrender, Dear * Just a Gigolo * Liza (All the Clouds'll Roll Away) * Nice Work If You Can Get It * Sweet and Lovely. Includes a biography and a discography.

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