Monk (1968) - full transcript
In 1968, we had the opportunity to spend time with Thelonious Monk and his musicians, following him in New York, Atlanta, and in various European cities. In New York his quartet plays at the Village Vanguard and at recording sessions for Columbia Records; in Atlanta they appear at a Jazz Festival organized by George Wein. The members of the quartet were Charlie Rouse, Larry Gales, and Ben Riley. The group was joined on the European tour by Ray Copeland, Clark Terry, Phil Woods, and Johnny Griffin, traveling as part of George Wein's Newport Jazz Festival road company.
(jazz music)
(upbeat jazz music)
(applause)
(upbeat jazz music)
(applause)
- And I got in New York.
- Oh, that was this morning,
that was at Queen Elizabeth's.
- [Man] How many cats do you have now?
- [Woman] Only 46.
- [Man] 40, 46?
- Oh, they went down,
you got rid of all these?
- [Man] 46 cat?
That's all?
- Was about 60 or something like that.
- [Man] She had 55 when I was over there.
- I had over 106, but I
couldn't count up to 106.
(laughter)
(talking)
- Catville, call it.
- [Woman] Cat what?
- Catville.
(chatter)
Thank you.
(upbeat jazz music)
(cheers)
(upbeat jazz music)
(applause)
Isn't that right?
The royal family came
to your grandfather and
crying the blues, you know?
All that begging, and
you laid the bread on him
so he could beat Napoleon, right?
- Ain't that a bitch.
(talking)
- They changed the world.
- Ain't nobody's fault around here.
- [Man] Yeah, but that
was over a year ago.
- What you mean?
I tell people who you are.
- [Man] The United States.
- She's a billionaire,
heard of the Roskows?
- Man] We're talking about you and I now.
- That's how come I always got money.
I don't ever be without money no more,
that's over with.
- [Woman] I used to buy some family.
- Oh yeah we know about that.
- [Woman] It's the truth.
You do?
(laughter)
- What is that?
What it look like?
- It look like a piece of paper to me.
A piece of paper.
- [Woman] Money is paper.
(talking)
- That's just a piece of paper man.
That's a piece of paper.
You got to have it in gold,
you got to have it in gold
or jewelry or some shit.
- Listen I'd rather have
this, this is more substantial
that's more universal and what not.
- I'd rather, and you know what?
You should rather have this,
that's what you don't have?
- That brain.
- That's expensive you can
tell the way it's made,
they made it in an eastern town.
- [Man] Give me your brain and I can make
all the money I want to make.
- Tell the truth, you line
50 people up, 50 people.
- You hear that song?
Don't feel like doing nothing
'cause all of you complaining.
I ain't worried about nothing.
- [Man] They'll take that
$1,000 before they'll
take that $1,000 ring.
- I don't know if I can
play the piano straight.
- [Man] As a matter of fact I
think they'll take a $20 bill
I can take you to an area
where they'll take a $20 bill
before they'll take that ring or a $1,000.
'Cause they think the $1,000
and the ring is a trick.
(laughter)
- [Woman] Even they'll know it's a trick.
- That's a black opal,
that's my birthstone,
that's a black opal, and
that stone if you can find it
it's a rare stone, it's
the first one I seen,
it cost about a grand
or so I was told, at
least it cost a grand.
- [Man] Homecoming didn't it?
- I put some different
diamonds on the side.
And I had to have it made
smaller, it was too big.
I'd have it on my finger
it'd be coming off
while I'm playing.
- [Woman] Well you've got tiny
fingers and tiny tootsies.
(upbeat jazz music)
Hey I got a present for you.
- [Monk] A million dollars?
- No, not quite,
here, here.
It's a
marker, you know.
- To sign autographs.
- No, it's a.
- I don't ever carry a pen on me because.
- [Woman] For your autograph book.
- Yeah but see I don't
like to carry a pen on me,
somebody want me to sign autographs,
I tell them I haven't got a pen.
- [Woman] But this one.
- Is that jive of real?
Is that silver?
- It's silver but a silver marker.
It's like a magic marker.
Well that's not much.
(laughs)
You see, you see the writing?
- Shut my mouth wide up.
- [Woman] There's a proper piece of paper.
- [Monk] Proper piece of paper?
So I'll do it etiquettely.
- [Woman] It's a nice pen.
- Can you read that, can you read that,
can you read that?
- A beautiful message.
- Maybe you can get someone
to decipher that for you
and tell you what it means, huh?
I'll touch you.
You'll flip, I mean flip for real.
(laughter)
(upbeat jazz music)
(applause)
- [Woman] Where are we going?
- Anywhere.
- [Woman] Alright.
(upbeat music)
- I do that on the street.
(laughter)
They said put him in a straight jacket.
(laughter)
(chatter)
Oh that Thelonious Monk, he's crazy.
Thank you.
Oh Max Gordon, the club owner.
Hooray for the club owner.
Ra! Ra! Ra!
(laughter)
(chatter)
- [Man] Hello guys.
- Hi there.
- [Man] How are you doing today?
(greetings)
- [Man] Hey!
- How are you?
- What's going?
What's up, that a new hat?
- Oh yeah this was given to me in Poland.
- Poland?
Hey Larry, Charlie Rouse here?
Everybody's here, where's Big Ben?
You guys came on time, everybody's here,
only a half an hour late.
- [Charles] Hold it, this was expensive.
(laughter)
- Hey Charles.
- Hello T, how ya doing?
- [T] I'm doing good.
- [Charles] You're looking fatter.
- Tio, how are ya brother?
Play that again Tio, Tio.
- Bro, yeah.
- Y'all were supposed to be on time man.
- Come on man, let me see the glasses.
Oh, you're jiving me.
(laughs)
Oh.
(laughs)
Hey Frank.
- [Frank] I like that, I like it.
- [Tio] The glasses.
- [Frank] With the glasses too.
- Where can I get another pair like that?
I want to get a pair.
- They don't fit.
- [Man] Got anything in 'em?
- It's invisible, got
invisible glasses on.
- [Frank] You got invisible glasses on.
- That's right.
- What's that?
Oh these are just little sketches, right?
- Write down something,
four bars or something,
get four bars down, you might can.
- [Tio] You can play.
- Yeah.
Sound like that.
That's all it is.
- We were gonna do that
last year, never did that.
Why don't we do that?
A Merrier Christmas?
- Alright, I could do that.
Put that down,
need to write Merry Christmas.
'Cause it really has a Christmas sound,
make all kind of ways to sing it you know?
- I haven't seen ya in four
months, since the Vanguard.
- Yeah, that's right, time flies.
- I'm getting older,
you're getting younger.
- It's sweet of you to say that too.
I'm hearing it now,
even before you said it.
- Let's do some free form
things today, that's an idea?
- Free form?
- Yeah.
- You mean like Dixie Land?
- [Tio] No, no, no.
Different keys.
(piano)
(talking)
- Stop people from hearing that,
thinking that,
I want it to be easy as
possible so people can dig it.
And then that shit will be good.
My song is like that, it's easy,
melody, and the time and
shit already, you just
have to beat it, majority of the solos,
put titles and sounds and everything too.
(piano notes)
(saxophone playing)
- [Man] Alright, stand by.
- What are we doing,
are we gonna play now?
You take the first time you play it.
And then bass, and drums keep going.
Drums after bass and then
come back to the inside, okay?
- [Man] Inside?
(piano notes)
- That's how we do it.
- [Man] Huh?
(playing piano)
(slow jazz music)
- [Tio] Monk, let's really do
one now, we're all finished,
let's do one.
- We were just running the piece over,
why you stop us for?
Shit.
An unnecessary stop.
Where was we at man?
Where was we at before we
were so rudely interrupted?
- Right after one bass part.
(talking)
- One or two, however you feel.
(soft bass playing)
(upbeat jazz music)
- See that it's.
- I'm gonna play it however
we feel it this time.
- [Tio] Alright, alright, alright.
(upbeat jazz music)
- Let's hear that, we finished with it.
- [Man] You ready to hear that Monk?
- Yes please.
- [Man] Come on inside.
(talking)
We're gonna play it.
- [Monk] One string.
- A broken string?
Oh man, no not the same one.
- [Tio] Hey I like the other one better.
- [Monk] That's what I said.
- I think the other one
has a little more spirit.
- The first one is the best.
It seems like the first
one's always the best one.
- Goofed up.
(upbeat jazz music)
- That's the first one wasn't it?
- [Man] No that's the
second, the last one.
Some of that was alright.
- [Monk] The first one.
- [Tio] Let's do Bobo.
(humming)
Where you going Monk?
- Get some water right here.
- [Tio] Get some water, alright.
- That sound alright, right?
Song sound alright to you?
- [Man] Yeah.
- [Man] Where are you from originally?
- I was born in Rocky
Mount, North Carolina.
- [Man] South.
- And then my mother
brought me up to New York
when I was four,
ya dig?
So I figured she wanted me to
be there and I stayed there.
(upbeat jazz music)
(saxophone playing)
(upbeat jazz music)
(applause)
(upbeat jazz music)
(cheers)
(upbeat jazz music)
(applause)
- Thelonious!
Thelonious Monk.
Charlie Rouse, Larry Gales, Ben Riley.
(applause)
Thelonious Monk,
well ladies and gentlemen
it's been a long evening,
you've been listening to jazz
now for four and a half hours.
Well more comes tomorrow
night, so thanks you've been
a wonderful audience, we'll see
you all tomorrow night, goodnight.
(chatter)
- Hey Thelonious.
(talking)
- Thelonious, good to
see you man, how ya been?
- Good man, good.
- Nice to finally see
you, I was just going
across the street to my shop.
- This shop over here.
- In that building, I
was just going in there.
How's everything going with you?
- Alright.
- I called a couple
times you're usually out.
- Well see we done moved
from up there over here.
- [Man With Brown Hair]
Where, over to the other side?
- Yeah, to 165.
- You want to get the river view?
- [Monk] Yeah.
- You wanted the river view, right,
very nice, I'll have to come and visit.
Am I welcome to come up?
- Yeah, you know that, are you kidding me?
- We moved up here on
Westend Avenue and 103rd.
- Oh yeah.
- Took a big six and a half
room there with a river view.
Part river view, pretty
nice, feel like I manage
to get a country place, we'll be alright.
I'd love to get together with you soon.
Alright.
I'll come down, are you
playing at the Mandalay?
- [Monk] No not right now.
- [Man With Brown Hair] Where
are you gonna be playing at?
- I don't know.
I mean, pretty soon at the
end of the month I'll be busy,
I'll be going everywhere,
but, you know I don't know
what I'm gonna do here.
Right here.
Where I used to live.
How you feel?
- Alright, how you?
Fine.
- [Man] When did you first come here?
- When'd I first come here?
In the '20s,
1920 something.
- '20s? This been here.
- That's right.
See if my brother's home, okay?
- [Man] Alright.
- [Monk] Come on.
- Hey man.
- Get away from him,
people taking pictures.
Monk I'm glad to see you're
back, Monk I ain't seen,
how ya been Monk?
- [Short Man] Shake my hand.
- He's taking pictures.
(talking)
- [Short Man] How ya feel Monk?
- Oh get lost.
You know David Wright's?
- David Wright?
I know him.
- Bang, bang, bang, have
you talked to Darryl lately?
- Yeah I saw him the other day.
- How ya feel, alright?
- She didn't tell you anything?
- No mm mm.
- [Man] No.
(chatter)
(piano playing)
- Two beats of four beats.
- Three beats a piece.
Three beats a piece.
- F7, flat nine, and what?
- E, E, the same chord a chromatic down.
(playing notes)
- [Charlie] What is
that chord right there?
- [Monk] That's E.
- E7 flat at nine?
- Yeah.
- Same thing, E7 flat at nine.
(piano playing)
- That's E.
- E?
- Yeah.
(piano playing)
- What's that?
- That's D flat in seven.
- D flat?
- Yeah, D flat.
- G?
- D.
- D flat.
D flat what?
- D flat seven.
- D flat seven.
Right here, what's that?
The same thing?
- D flat seven.
- D flat seven, two bars then huh?
D flat seven two bars?
- Yeah, uh huh.
(bass playing)
(upbeat jazz music)
- This part is the part
I was talking about.
Because it goes into that
G and then it goes up into
the D flat or the F sharp?
- What's all that, that's right.
Bass notes,
just play that ya dig?
- Alright.
- One, two, three, four.
(upbeat jazz music)
You play.
(piano notes)
And then you play.
(piano notes)
(playing notes on bass)
After the C.
You feel it?
After the C ya dig.
(playing bass)
You ready to play it one
time without no chorus?
(bass playing)
You want to do it without no chorus?
- [Bass] Yeah alright.
- One, two, three, four.
(upbeat jazz music)
- What you want me to hit
'cause what I did I just
wrote, you want me to hit the top notes,
I just wrote the keys to,
what you want me to hit here?
You want me to hit C?
Or my note's contrary?
What you want me to do top notes?
- Hit everything, anything you want to.
- Any notes I want to.
- There.
This here, you can hit any one of them.
- Alright yes.
I can get D then C then huh?
(playing saxophone)
I hit this note here, C.
But right here it's two notes here,
it's either C sharp or a C natural.
- Either one of those.
- Either one of those.
(upbeat jazz music)
(playing soft piano)
(upbeat jazz music)
(talking)
We open right up with that.
- [Charlie] Could you play
that again, just you know.
- Yeah, we'll play that back.
- [Monk] Play the next one?
- [Tio] We got it, we got it,
that's it we got it all,
I'm glad you went back
and did that little thing
over again, you know?
The little piece, the
follow up at the end.
Good, good.
Can you play that back?
You want a copy?
- Yeah, I'll listen to it
when I come in the studio
the next time get right on it.
- But I don't think you
need to make another one.
- [Monk] I hope not.
- No, it's all good, and
Charles went very well,
and you played well, it's
an interesting thing,
bass and you, and we've made it.
Could you put another tape on there?
That's a clear you did it.
(talking)
- Sung a lot of bars.
I don't think of myself
after it's over with.
I'm just like they are.
I make up something and sometimes
I don't even know what it is
until I look at it again myself.
It's new to me.
(talking)
(chatter)
Ready to go,
let's go.
(laughter)
Ready.
♪ I want you to know that
it's getting closer. ♪
- [Man] Ain't it, ain't it?
- [Man] Relax.
I got something I want to tell ya.
♪ Getting closer ♪
(upbeat jazz music)
(applause)
(cheers)
(upbeat jazz music)
(applause)
(upbeat jazz music)
(applause)
(upbeat jazz music)
(applause)
(upbeat jazz music)
(applause)
- And I got in New York.
- Oh, that was this morning,
that was at Queen Elizabeth's.
- [Man] How many cats do you have now?
- [Woman] Only 46.
- [Man] 40, 46?
- Oh, they went down,
you got rid of all these?
- [Man] 46 cat?
That's all?
- Was about 60 or something like that.
- [Man] She had 55 when I was over there.
- I had over 106, but I
couldn't count up to 106.
(laughter)
(talking)
- Catville, call it.
- [Woman] Cat what?
- Catville.
(chatter)
Thank you.
(upbeat jazz music)
(cheers)
(upbeat jazz music)
(applause)
Isn't that right?
The royal family came
to your grandfather and
crying the blues, you know?
All that begging, and
you laid the bread on him
so he could beat Napoleon, right?
- Ain't that a bitch.
(talking)
- They changed the world.
- Ain't nobody's fault around here.
- [Man] Yeah, but that
was over a year ago.
- What you mean?
I tell people who you are.
- [Man] The United States.
- She's a billionaire,
heard of the Roskows?
- Man] We're talking about you and I now.
- That's how come I always got money.
I don't ever be without money no more,
that's over with.
- [Woman] I used to buy some family.
- Oh yeah we know about that.
- [Woman] It's the truth.
You do?
(laughter)
- What is that?
What it look like?
- It look like a piece of paper to me.
A piece of paper.
- [Woman] Money is paper.
(talking)
- That's just a piece of paper man.
That's a piece of paper.
You got to have it in gold,
you got to have it in gold
or jewelry or some shit.
- Listen I'd rather have
this, this is more substantial
that's more universal and what not.
- I'd rather, and you know what?
You should rather have this,
that's what you don't have?
- That brain.
- That's expensive you can
tell the way it's made,
they made it in an eastern town.
- [Man] Give me your brain and I can make
all the money I want to make.
- Tell the truth, you line
50 people up, 50 people.
- You hear that song?
Don't feel like doing nothing
'cause all of you complaining.
I ain't worried about nothing.
- [Man] They'll take that
$1,000 before they'll
take that $1,000 ring.
- I don't know if I can
play the piano straight.
- [Man] As a matter of fact I
think they'll take a $20 bill
I can take you to an area
where they'll take a $20 bill
before they'll take that ring or a $1,000.
'Cause they think the $1,000
and the ring is a trick.
(laughter)
- [Woman] Even they'll know it's a trick.
- That's a black opal,
that's my birthstone,
that's a black opal, and
that stone if you can find it
it's a rare stone, it's
the first one I seen,
it cost about a grand
or so I was told, at
least it cost a grand.
- [Man] Homecoming didn't it?
- I put some different
diamonds on the side.
And I had to have it made
smaller, it was too big.
I'd have it on my finger
it'd be coming off
while I'm playing.
- [Woman] Well you've got tiny
fingers and tiny tootsies.
(upbeat jazz music)
Hey I got a present for you.
- [Monk] A million dollars?
- No, not quite,
here, here.
It's a
marker, you know.
- To sign autographs.
- No, it's a.
- I don't ever carry a pen on me because.
- [Woman] For your autograph book.
- Yeah but see I don't
like to carry a pen on me,
somebody want me to sign autographs,
I tell them I haven't got a pen.
- [Woman] But this one.
- Is that jive of real?
Is that silver?
- It's silver but a silver marker.
It's like a magic marker.
Well that's not much.
(laughs)
You see, you see the writing?
- Shut my mouth wide up.
- [Woman] There's a proper piece of paper.
- [Monk] Proper piece of paper?
So I'll do it etiquettely.
- [Woman] It's a nice pen.
- Can you read that, can you read that,
can you read that?
- A beautiful message.
- Maybe you can get someone
to decipher that for you
and tell you what it means, huh?
I'll touch you.
You'll flip, I mean flip for real.
(laughter)
(upbeat jazz music)
(applause)
- [Woman] Where are we going?
- Anywhere.
- [Woman] Alright.
(upbeat music)
- I do that on the street.
(laughter)
They said put him in a straight jacket.
(laughter)
(chatter)
Oh that Thelonious Monk, he's crazy.
Thank you.
Oh Max Gordon, the club owner.
Hooray for the club owner.
Ra! Ra! Ra!
(laughter)
(chatter)
- [Man] Hello guys.
- Hi there.
- [Man] How are you doing today?
(greetings)
- [Man] Hey!
- How are you?
- What's going?
What's up, that a new hat?
- Oh yeah this was given to me in Poland.
- Poland?
Hey Larry, Charlie Rouse here?
Everybody's here, where's Big Ben?
You guys came on time, everybody's here,
only a half an hour late.
- [Charles] Hold it, this was expensive.
(laughter)
- Hey Charles.
- Hello T, how ya doing?
- [T] I'm doing good.
- [Charles] You're looking fatter.
- Tio, how are ya brother?
Play that again Tio, Tio.
- Bro, yeah.
- Y'all were supposed to be on time man.
- Come on man, let me see the glasses.
Oh, you're jiving me.
(laughs)
Oh.
(laughs)
Hey Frank.
- [Frank] I like that, I like it.
- [Tio] The glasses.
- [Frank] With the glasses too.
- Where can I get another pair like that?
I want to get a pair.
- They don't fit.
- [Man] Got anything in 'em?
- It's invisible, got
invisible glasses on.
- [Frank] You got invisible glasses on.
- That's right.
- What's that?
Oh these are just little sketches, right?
- Write down something,
four bars or something,
get four bars down, you might can.
- [Tio] You can play.
- Yeah.
Sound like that.
That's all it is.
- We were gonna do that
last year, never did that.
Why don't we do that?
A Merrier Christmas?
- Alright, I could do that.
Put that down,
need to write Merry Christmas.
'Cause it really has a Christmas sound,
make all kind of ways to sing it you know?
- I haven't seen ya in four
months, since the Vanguard.
- Yeah, that's right, time flies.
- I'm getting older,
you're getting younger.
- It's sweet of you to say that too.
I'm hearing it now,
even before you said it.
- Let's do some free form
things today, that's an idea?
- Free form?
- Yeah.
- You mean like Dixie Land?
- [Tio] No, no, no.
Different keys.
(piano)
(talking)
- Stop people from hearing that,
thinking that,
I want it to be easy as
possible so people can dig it.
And then that shit will be good.
My song is like that, it's easy,
melody, and the time and
shit already, you just
have to beat it, majority of the solos,
put titles and sounds and everything too.
(piano notes)
(saxophone playing)
- [Man] Alright, stand by.
- What are we doing,
are we gonna play now?
You take the first time you play it.
And then bass, and drums keep going.
Drums after bass and then
come back to the inside, okay?
- [Man] Inside?
(piano notes)
- That's how we do it.
- [Man] Huh?
(playing piano)
(slow jazz music)
- [Tio] Monk, let's really do
one now, we're all finished,
let's do one.
- We were just running the piece over,
why you stop us for?
Shit.
An unnecessary stop.
Where was we at man?
Where was we at before we
were so rudely interrupted?
- Right after one bass part.
(talking)
- One or two, however you feel.
(soft bass playing)
(upbeat jazz music)
- See that it's.
- I'm gonna play it however
we feel it this time.
- [Tio] Alright, alright, alright.
(upbeat jazz music)
- Let's hear that, we finished with it.
- [Man] You ready to hear that Monk?
- Yes please.
- [Man] Come on inside.
(talking)
We're gonna play it.
- [Monk] One string.
- A broken string?
Oh man, no not the same one.
- [Tio] Hey I like the other one better.
- [Monk] That's what I said.
- I think the other one
has a little more spirit.
- The first one is the best.
It seems like the first
one's always the best one.
- Goofed up.
(upbeat jazz music)
- That's the first one wasn't it?
- [Man] No that's the
second, the last one.
Some of that was alright.
- [Monk] The first one.
- [Tio] Let's do Bobo.
(humming)
Where you going Monk?
- Get some water right here.
- [Tio] Get some water, alright.
- That sound alright, right?
Song sound alright to you?
- [Man] Yeah.
- [Man] Where are you from originally?
- I was born in Rocky
Mount, North Carolina.
- [Man] South.
- And then my mother
brought me up to New York
when I was four,
ya dig?
So I figured she wanted me to
be there and I stayed there.
(upbeat jazz music)
(saxophone playing)
(upbeat jazz music)
(applause)
(upbeat jazz music)
(cheers)
(upbeat jazz music)
(applause)
- Thelonious!
Thelonious Monk.
Charlie Rouse, Larry Gales, Ben Riley.
(applause)
Thelonious Monk,
well ladies and gentlemen
it's been a long evening,
you've been listening to jazz
now for four and a half hours.
Well more comes tomorrow
night, so thanks you've been
a wonderful audience, we'll see
you all tomorrow night, goodnight.
(chatter)
- Hey Thelonious.
(talking)
- Thelonious, good to
see you man, how ya been?
- Good man, good.
- Nice to finally see
you, I was just going
across the street to my shop.
- This shop over here.
- In that building, I
was just going in there.
How's everything going with you?
- Alright.
- I called a couple
times you're usually out.
- Well see we done moved
from up there over here.
- [Man With Brown Hair]
Where, over to the other side?
- Yeah, to 165.
- You want to get the river view?
- [Monk] Yeah.
- You wanted the river view, right,
very nice, I'll have to come and visit.
Am I welcome to come up?
- Yeah, you know that, are you kidding me?
- We moved up here on
Westend Avenue and 103rd.
- Oh yeah.
- Took a big six and a half
room there with a river view.
Part river view, pretty
nice, feel like I manage
to get a country place, we'll be alright.
I'd love to get together with you soon.
Alright.
I'll come down, are you
playing at the Mandalay?
- [Monk] No not right now.
- [Man With Brown Hair] Where
are you gonna be playing at?
- I don't know.
I mean, pretty soon at the
end of the month I'll be busy,
I'll be going everywhere,
but, you know I don't know
what I'm gonna do here.
Right here.
Where I used to live.
How you feel?
- Alright, how you?
Fine.
- [Man] When did you first come here?
- When'd I first come here?
In the '20s,
1920 something.
- '20s? This been here.
- That's right.
See if my brother's home, okay?
- [Man] Alright.
- [Monk] Come on.
- Hey man.
- Get away from him,
people taking pictures.
Monk I'm glad to see you're
back, Monk I ain't seen,
how ya been Monk?
- [Short Man] Shake my hand.
- He's taking pictures.
(talking)
- [Short Man] How ya feel Monk?
- Oh get lost.
You know David Wright's?
- David Wright?
I know him.
- Bang, bang, bang, have
you talked to Darryl lately?
- Yeah I saw him the other day.
- How ya feel, alright?
- She didn't tell you anything?
- No mm mm.
- [Man] No.
(chatter)
(piano playing)
- Two beats of four beats.
- Three beats a piece.
Three beats a piece.
- F7, flat nine, and what?
- E, E, the same chord a chromatic down.
(playing notes)
- [Charlie] What is
that chord right there?
- [Monk] That's E.
- E7 flat at nine?
- Yeah.
- Same thing, E7 flat at nine.
(piano playing)
- That's E.
- E?
- Yeah.
(piano playing)
- What's that?
- That's D flat in seven.
- D flat?
- Yeah, D flat.
- G?
- D.
- D flat.
D flat what?
- D flat seven.
- D flat seven.
Right here, what's that?
The same thing?
- D flat seven.
- D flat seven, two bars then huh?
D flat seven two bars?
- Yeah, uh huh.
(bass playing)
(upbeat jazz music)
- This part is the part
I was talking about.
Because it goes into that
G and then it goes up into
the D flat or the F sharp?
- What's all that, that's right.
Bass notes,
just play that ya dig?
- Alright.
- One, two, three, four.
(upbeat jazz music)
You play.
(piano notes)
And then you play.
(piano notes)
(playing notes on bass)
After the C.
You feel it?
After the C ya dig.
(playing bass)
You ready to play it one
time without no chorus?
(bass playing)
You want to do it without no chorus?
- [Bass] Yeah alright.
- One, two, three, four.
(upbeat jazz music)
- What you want me to hit
'cause what I did I just
wrote, you want me to hit the top notes,
I just wrote the keys to,
what you want me to hit here?
You want me to hit C?
Or my note's contrary?
What you want me to do top notes?
- Hit everything, anything you want to.
- Any notes I want to.
- There.
This here, you can hit any one of them.
- Alright yes.
I can get D then C then huh?
(playing saxophone)
I hit this note here, C.
But right here it's two notes here,
it's either C sharp or a C natural.
- Either one of those.
- Either one of those.
(upbeat jazz music)
(playing soft piano)
(upbeat jazz music)
(talking)
We open right up with that.
- [Charlie] Could you play
that again, just you know.
- Yeah, we'll play that back.
- [Monk] Play the next one?
- [Tio] We got it, we got it,
that's it we got it all,
I'm glad you went back
and did that little thing
over again, you know?
The little piece, the
follow up at the end.
Good, good.
Can you play that back?
You want a copy?
- Yeah, I'll listen to it
when I come in the studio
the next time get right on it.
- But I don't think you
need to make another one.
- [Monk] I hope not.
- No, it's all good, and
Charles went very well,
and you played well, it's
an interesting thing,
bass and you, and we've made it.
Could you put another tape on there?
That's a clear you did it.
(talking)
- Sung a lot of bars.
I don't think of myself
after it's over with.
I'm just like they are.
I make up something and sometimes
I don't even know what it is
until I look at it again myself.
It's new to me.
(talking)
(chatter)
Ready to go,
let's go.
(laughter)
Ready.
♪ I want you to know that
it's getting closer. ♪
- [Man] Ain't it, ain't it?
- [Man] Relax.
I got something I want to tell ya.
♪ Getting closer ♪
(upbeat jazz music)
(applause)
(cheers)
(upbeat jazz music)
(applause)
(upbeat jazz music)
(applause)