Bemsha Swing: Difference between revisions
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'''Bemsha Swing''' (also known as '''Bimsha Swing''') |
'''Bemsha Swing''' (also known as '''Bimsha Swing''') is a jazz standard co-written by [[Thelonious Monk]] and [[Denzil Best]]. |
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The tune is 16 bars in the form of AABA. It is in 4/4 meter but is often played with a 2-feel.<ref>''The Thelonious Monk Fake Book,'' Steve Cardenas (transcriber), Don Sickler (editor). Hal Leonard, 2002, p. 9.</ref> The melody consists of a motif around a descending C [[Spanish phrygian scale]] (the A section) and a chromatic [[Sequence_(music)|sequencing]] of the same motif a fourth higher on an F Spanish phrygian scale (the B section). The chordal movement by contrast suggests a C Major tonality rather than C Spanish phrygian, its relative minor f (melodic or harmonic), or its relative Major, A♭ Major. However, the song ends on a D♭maj7(#11) rather than a C chord, a displacement which is characteristic of Monk compositions. |
The tune is 16 bars in the form of AABA. It is in 4/4 meter but is often played with a 2-feel.<ref>''The Thelonious Monk Fake Book,'' Steve Cardenas (transcriber), Don Sickler (editor). Hal Leonard, 2002, p. 9.</ref> The melody consists of a motif around a descending C [[Spanish phrygian scale]] (the A section) and a chromatic [[Sequence_(music)|sequencing]] of the same motif a fourth higher on an F Spanish phrygian scale (the B section). The chordal movement by contrast suggests a C Major tonality rather than C Spanish phrygian, its relative minor f (melodic or harmonic), or its relative Major, A♭ Major. However, the song ends on a D♭maj7 (#11) rather than a C chord, a displacement which is characteristic of Monk compositions. |
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The song was first recorded by Monk on the sessions for the album [[Thelonious Monk Trio]] in 1952. It was later recorded with Monk as a sideman on the [[Miles Davis]] album [[Miles Davis and the Modern Jazz Giants]]. Monk revisited the song on his acclaimed 1957 LP [[Brilliant Corners]]. |
The song was first recorded by Monk on the sessions for the album [[Thelonious Monk Trio]] in 1952. It was later recorded with Monk as a sideman on the [[Miles Davis]] album [[Miles Davis and the Modern Jazz Giants]]. Monk revisited the song on his acclaimed 1957 LP [[Brilliant Corners]]. |
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In 2002, [[jazz fusion]] guitarist [[Larry Coryell]] covered the song from his album "Cedars of Avalon."<ref>{{cite web|url={{Allmusic|class=album|id=r608274|pure_url=yes}}|title=Cedars of Avalon overview |work=[[Allmusic|Allmusic.com]]}}</ref><ref>{{cite web|url=http://www.allaboutjazz.com/php/review_print.php?id=10713|title=Cedars of Avalon|work=[[All About Jazz]]}}</ref> |
In 2002, [[jazz fusion]] guitarist [[Larry Coryell]] covered the song from his album "Cedars of Avalon."<ref>{{cite web|url={{Allmusic|class=album|id=r608274|pure_url=yes}}|title=Cedars of Avalon overview |work=[[Allmusic|Allmusic.com]]}}</ref><ref>{{cite web|url=http://www.allaboutjazz.com/php/review_print.php?id=10713|title=Cedars of Avalon|work=[[All About Jazz]]}}</ref> |
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== References == |
== References == |
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Revision as of 02:09, 16 September 2012
Bemsha Swing (also known as Bimsha Swing) is a jazz standard co-written by Thelonious Monk and Denzil Best.
The tune is 16 bars in the form of AABA. It is in 4/4 meter but is often played with a 2-feel.[1] The melody consists of a motif around a descending C Spanish phrygian scale (the A section) and a chromatic sequencing of the same motif a fourth higher on an F Spanish phrygian scale (the B section). The chordal movement by contrast suggests a C Major tonality rather than C Spanish phrygian, its relative minor f (melodic or harmonic), or its relative Major, A♭ Major. However, the song ends on a D♭maj7 (#11) rather than a C chord, a displacement which is characteristic of Monk compositions.
The song was first recorded by Monk on the sessions for the album Thelonious Monk Trio in 1952. It was later recorded with Monk as a sideman on the Miles Davis album Miles Davis and the Modern Jazz Giants. Monk revisited the song on his acclaimed 1957 LP Brilliant Corners.
Rock band, Red Hot Chili Peppers covered the song durng their 1989-90 Mother's Milk tour renaming their version F.U. and adding some lyrics. A live version can be found on their Out In L.A. album. Bassist, Flea is a huge fan of Thelonious Monk.
In 2002, jazz fusion guitarist Larry Coryell covered the song from his album "Cedars of Avalon."[2][3]
References
- ^ The Thelonious Monk Fake Book, Steve Cardenas (transcriber), Don Sickler (editor). Hal Leonard, 2002, p. 9.
- ^ "Cedars of Avalon overview". Allmusic.com.
- ^ "Cedars of Avalon". All About Jazz.
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