Toot My Own Horn Dept.
Monkin' Around With the "Evidence"
A Self-Transcription
Monkin' Around With the "Evidence"
A Self-Transcription
October, being the month of a shared birthday with Thelonious Monk, made me think it might be time to try and tackle another one of Monk's classics - "Evidence" - which is based on the chord changes of the standard pop song "Just You, Just Me".
"Just You, Just Me" - Just Us - Justice - "Evidence".
Monk first recorded "Evidence" in 1948 with a quartet that featured Milt Jackson on vibraphone, which was released on Blue Note.
His original version went through numerous changes over the years, and if you've been following current events of late, it compliments other legal-titled themes, such as, "Arraigny Night in Georgia" (my fav!).
"Just You, Just Me" - Just Us - Justice - "Evidence".
Monk first recorded "Evidence" in 1948 with a quartet that featured Milt Jackson on vibraphone, which was released on Blue Note.
His original version went through numerous changes over the years, and if you've been following current events of late, it compliments other legal-titled themes, such as, "Arraigny Night in Georgia" (my fav!).
It's always a fun, interesting, educational and revealing practice to record one's self on occasion. The results are not always what one might expect and can be full of surprises - both on the plus and minus side. This solo itself consists largely of bebop language and phraseology, drawn from the history of the genre - from Bird to 'Trane and everyone in between.
The play-along track used here is from Thelonious Monk Classics Jazz Play-Along Volume 90 available form Hal Leonard. As with previous self-recordings / transcriptions of Monk tunes, the rhythm section features pianist Ronnie Mathews, bassist Kiyoshi Kitagawa, as well Monk's former drummer Ben Riley. Together with Vol. 91 - to my knowledge - this is the most authentic sounding Monk play-along set to be found anywhere in the universe.
"Evidence" has a standard 32-bar, AABA song form, as does "Just You, Just Me", of which "Evidence" is a contrafact.
The notation examples below are in concert key. The key signature - although not shown - is three flats - Eb Major. Check out the link below to see and/ or download the complete solo.
In Ex.1 below, bars #12 - 13, is a device which I like to use, derived from "Coltrane Changes". It works, in most cases, as a IV-bVI7-bII7-I substitution for a standard ii-V7-I cadence and is similar in effect to a Tadd Dameron "Lady Bird" turnaround (I-bIII7-bVI-bII7).
Over the Bb7b9 in bar #12, the superimposition is Ab Maj (beat #2) - the IV of Eb, B7 (beats #3 & 4) - the bVI7 of Eb, continuing in bar #13 over the A7alt with E Maj (beats 1 & 2) - the bII7 of Eb, resolving to the tonic Eb on beats 3 & 4. The A7alt in bar #13 is Monk's tritone substitution for Eb, the chord originally found there in "Just You, Just Me", and continues with a iv7-bVII7 "backdoor cadence"
(Ab-7 Db7) in bar #14, via some blues inflected material in the line, resolving to Eb Maj in bar #15 - even though Fmin7 Bb7b9 is listed as the changes on the lead sheet. It all goes by in the blink of an eye.
Ex.1 - Bars #12 & 13 - IV-bVI7-bII7-I substitution.
*Key signature = 3 flats.
The play-along track used here is from Thelonious Monk Classics Jazz Play-Along Volume 90 available form Hal Leonard. As with previous self-recordings / transcriptions of Monk tunes, the rhythm section features pianist Ronnie Mathews, bassist Kiyoshi Kitagawa, as well Monk's former drummer Ben Riley. Together with Vol. 91 - to my knowledge - this is the most authentic sounding Monk play-along set to be found anywhere in the universe.
"Evidence" has a standard 32-bar, AABA song form, as does "Just You, Just Me", of which "Evidence" is a contrafact.
The notation examples below are in concert key. The key signature - although not shown - is three flats - Eb Major. Check out the link below to see and/ or download the complete solo.
In Ex.1 below, bars #12 - 13, is a device which I like to use, derived from "Coltrane Changes". It works, in most cases, as a IV-bVI7-bII7-I substitution for a standard ii-V7-I cadence and is similar in effect to a Tadd Dameron "Lady Bird" turnaround (I-bIII7-bVI-bII7).
Over the Bb7b9 in bar #12, the superimposition is Ab Maj (beat #2) - the IV of Eb, B7 (beats #3 & 4) - the bVI7 of Eb, continuing in bar #13 over the A7alt with E Maj (beats 1 & 2) - the bII7 of Eb, resolving to the tonic Eb on beats 3 & 4. The A7alt in bar #13 is Monk's tritone substitution for Eb, the chord originally found there in "Just You, Just Me", and continues with a iv7-bVII7 "backdoor cadence"
(Ab-7 Db7) in bar #14, via some blues inflected material in the line, resolving to Eb Maj in bar #15 - even though Fmin7 Bb7b9 is listed as the changes on the lead sheet. It all goes by in the blink of an eye.
Ex.1 - Bars #12 & 13 - IV-bVI7-bII7-I substitution.
*Key signature = 3 flats.
The next example (Ex.2), starts out with a classic, Sonny Stitt-esque sequence for the first 2 1/2 measures, where in the second half of bar #43 , it morphs into a series of 027 trichords, based for the most part, on the interval of a Perfect 4th - before returning to a more traditional scalar line in bars #45 thru #48.
Ex.2 - 027 Sequence (ca 1:41) bars contrasting with scalar material
*Key signature = 3 flats.
Ex.2 - 027 Sequence (ca 1:41) bars contrasting with scalar material
*Key signature = 3 flats.
In the final example (Ex.3), I borrowed a concept from Johnny Griffin's awesome tenor solo on "Evidence", which is part of the live recording "Thelonious in Action" from the Five Spot in 1958 (YouTube vid below).
While not an exact note for note copy, the concept is to take the short eighth-note chromatic hits - one to a bar - which make up the "melody" on the bridge, and build alternating ascending diatonic and whole tone scales, one measure apiece, for the eight bars.
Bar #81 - Bb Dorian over Bb min7 starting on Ab
Bar #82 - Eb Whole Tone over Eb7 starting on A
Bar #83 - Ab Lydian over Ab Maj7 starting on Bb
Bar #84 - Db Whole Tone over Db7 starting on B
Bar #85 - C Dorian over C min7 starting on C
Bar #86 - G Whole Tone over G7 starting on Db
Bar #87 - G# Whole Tone over F7#9 starting on D
Bar #88 - Intervallic and scalar material over Bb7alt
Ex.3 - Ascending scales, alternating between diatonic & whole tone
*Key signature = 3 flats.
While not an exact note for note copy, the concept is to take the short eighth-note chromatic hits - one to a bar - which make up the "melody" on the bridge, and build alternating ascending diatonic and whole tone scales, one measure apiece, for the eight bars.
Bar #81 - Bb Dorian over Bb min7 starting on Ab
Bar #82 - Eb Whole Tone over Eb7 starting on A
Bar #83 - Ab Lydian over Ab Maj7 starting on Bb
Bar #84 - Db Whole Tone over Db7 starting on B
Bar #85 - C Dorian over C min7 starting on C
Bar #86 - G Whole Tone over G7 starting on Db
Bar #87 - G# Whole Tone over F7#9 starting on D
Bar #88 - Intervallic and scalar material over Bb7alt
Ex.3 - Ascending scales, alternating between diatonic & whole tone
*Key signature = 3 flats.
Listen
So, ladies and gentleman of the jury, with the "Evidence" now presented, I rest my horn case (for the moment, anyway).
B. Stern
B. Stern
Related:
* 'Ning's the Thing! Monk's "Rhythm-a-Ning" *
* Monk's Time Again - "Bye-Ya" *
* Thelonious Monk's "Bemsha Swing" *
* 'Ning's the Thing! Monk's "Rhythm-a-Ning" *
* Monk's Time Again - "Bye-Ya" *
* Thelonious Monk's "Bemsha Swing" *
This recording of "Evidence", from a live performance of the Thelonious Monk Quartet at The Five Spot from 1958, is for me the definitive version of the tune. It features the great Johnny Griffin on tenor, who quite simply tears it up.
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