Jazz piano solo and musical/historical discussion of Thelonious Monk’s jazz standard “I Mean You.”
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Exploring Thelonious Monk’s “I Mean You” 0:00
The uniqueness of Monk’s compositions 0:51
The bebop intro to Monk’s “I Mean You” 1:38
Monk as house pianist at Minton’s during the development of early bebop 2:15
The Petrillo recording ban coinciding with the birth of bebop 2:35
Live recordings of the transition from swing to bebop 3:14
The use of pentatonic scales by Art Tatum and Thelonious Monk 4:18
An example of chromatic harmony in Monk’s compositions 5:24
The influence of early jazz on Thelonious Monk’s harmony 6:11
A Louis Armstrong-influenced accompaniment to Monk’s “I Mean You” 6:55
Angular, beboppish phrases in Monk’s melody 7:28
Playing the intro to “I Mean You” in octaves between the two hands 8:13
Accompanying Monk’s melody with LH chords on beats 2 and 4 8:16
Adding substitute chords by continuing the bass line’s upward chromatic ascent 8:23
Using a dominant pedal tone during the turnaround 8:27
Continuing the pedal tone into the second ‘A’ section 8:29
Varying the LH comping rhythms 8:41
Improvising with Monk’s rhythmic “hits” from the end of the intro 9:08
Monk-ish block chords 9:19
Hinting at the melody 9:27
Polytonality 9:31
Improvising around the melody to “I Mean You” 9:42
Soloing over a LH octave-based accompaniment 9:54
Using pentatonics, inspired by the main melody 9:59
A “broken” stride pattern 10:06
Walking bass 10:17
Chromatic lines in contrary motion 10:27
Going “outside” the harmony 10:41
Quoting Monk’s tune “Well, You Needn’t” 10:54
Returning to the melody (on the bridge) 11:03
Using the intro as an ending 11:25
Assimilating Thelonious Monk’s music over many years 11:33
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Enjoy the journey, and "let the music flow!"
Ron
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