Since I really enjoyed doing last month's post - recording a tenor solo on Thelonious Monk's “Bemsha Swing” then transcribing it and posting them both here - I thought I'd try an encore with another Monk classic - “Bye-Ya”
“Bye-Ya” was originally recorded on October 15th, 1952 and, as with the aforementioned "Bemsha Swing", was initially released as part of the album “Thelonious Monk Trio”. The title given was actually “Vaya”, which remains an expression of positive affirmation in many Spanish speaking cultures – and was anglicized into “Bye-Ya”.
Subsequent versions were recorded featuring tenor greats Johnny Griffin and long time quartet member Charlie Rouse, as well as Steve Lacey's recording on soprano saxophone, but the definitive version - for me - is the 1957 Carnegie Hall concert featuring the immortal John Coltrane. 'Trane knew this tune so well that he was able to deliver his then patented “sheets of sound” - cascades of sixteenth-notes – for almost the entirety of his solo.
“Bye-Ya” was originally recorded on October 15th, 1952 and, as with the aforementioned "Bemsha Swing", was initially released as part of the album “Thelonious Monk Trio”. The title given was actually “Vaya”, which remains an expression of positive affirmation in many Spanish speaking cultures – and was anglicized into “Bye-Ya”.
Subsequent versions were recorded featuring tenor greats Johnny Griffin and long time quartet member Charlie Rouse, as well as Steve Lacey's recording on soprano saxophone, but the definitive version - for me - is the 1957 Carnegie Hall concert featuring the immortal John Coltrane. 'Trane knew this tune so well that he was able to deliver his then patented “sheets of sound” - cascades of sixteenth-notes – for almost the entirety of his solo.
Although its form is the standard 32-bar AABA, “Bye-Ya” was (and is) a challenging tune to play on, and remains, for me, a work in progress.
All the lead sheets of this tune that I've seen have 4-flats in the key signature (Ab concert, Bb tenor key – 2 flats), but the last measure clearly resolves to Eb (F tenor). Wussup widdat!?
In fact, on the first 2 chords – Db7 to Ab6, which last a measure apiece and repeat - my initial approach was as a sort of B Maj7#11 to Eb6, similar to “Night & Day”.
But no... that's not really it.
It seems as if Monk's just messing with our collective heads – though I can only speak for myself in this case. So let's just say “Bye-Ya” takes some serious woodshedding before it'll say “Hi-Ya”.
Then, of course, there's the final 2 bars of each A-section:
E7b5 B7 | Db6 D6 Eb6 |
(Gb7b5 Db7 | Eb6 E6 F6) - Tenor Key
which could be a study in and of itself. Once again, all signs point to a resolution in Eb concert (F tenor) - the final chord of each A-section and of the tune.
Ex. 1 below - in tenor key (2 flats) - is of the last 4 bars of the first A-section of the second chorus.
The last 2 bars could be viewed as an arcing V7(bII7) - I, in F (Eb concert). On most recorded versions, the Eb6 & E6 are not articulated by the soloist, but on this playalong, it's expressed by the rhythm section each time through, and therefore should be respected.
Ex. 1 - Measures 37 - 40, end of A-sections resolving to F (Eb concert)
All the lead sheets of this tune that I've seen have 4-flats in the key signature (Ab concert, Bb tenor key – 2 flats), but the last measure clearly resolves to Eb (F tenor). Wussup widdat!?
In fact, on the first 2 chords – Db7 to Ab6, which last a measure apiece and repeat - my initial approach was as a sort of B Maj7#11 to Eb6, similar to “Night & Day”.
But no... that's not really it.
It seems as if Monk's just messing with our collective heads – though I can only speak for myself in this case. So let's just say “Bye-Ya” takes some serious woodshedding before it'll say “Hi-Ya”.
Then, of course, there's the final 2 bars of each A-section:
E7b5 B7 | Db6 D6 Eb6 |
(Gb7b5 Db7 | Eb6 E6 F6) - Tenor Key
which could be a study in and of itself. Once again, all signs point to a resolution in Eb concert (F tenor) - the final chord of each A-section and of the tune.
Ex. 1 below - in tenor key (2 flats) - is of the last 4 bars of the first A-section of the second chorus.
The last 2 bars could be viewed as an arcing V7(bII7) - I, in F (Eb concert). On most recorded versions, the Eb6 & E6 are not articulated by the soloist, but on this playalong, it's expressed by the rhythm section each time through, and therefore should be respected.
Ex. 1 - Measures 37 - 40, end of A-sections resolving to F (Eb concert)
Ex. 2 shows the bridge of the 3rd chorus. The last 4 bars especially, employ various intervallic shapes - triads, trichords and triad pairs - as opposed to step-wise scalar motives.
Ex. 2 - Bridge of 3rd chorus - triad and trichord usage.
Ex. 2 - Bridge of 3rd chorus - triad and trichord usage.
Ex. 3 illustrates the last eight bars of the solo. Bar #91 contains a nice little Bb Blues Scale based sequence over an Eb7. In measure #95, a descending Ab Melodic Minor motive services both the Gb7 & Db7 before annunciating the roots of the 3 chromatically ascending Maj6 chords in the final bar... and out.
Ex. 3 - Final eight measures of the 3rd chorus.
Ex. 3 - Final eight measures of the 3rd chorus.
Listen
Once again, enough can't be said for the quality of the tracks on this playalong “Thelonious Monk Favorites – 10 Classic Tunes” (Hal Leonard Jazz Play-Along, Vol. 91), nor can enough be said for the rhythm section - each member being a giant in his own right.
Pianist Ronnie Mathews and drummer Ben Riley are no longer with us, having transitioned in 2008 and 2017 respectively. At the risk of sounding corny, I have to say that their spirits definitely live on in these playalongs.
As Sonny Rollins said, "Jazz is a spirit. You can't kill a spirit."
The spirit of Thelonious is alive and well, in any case. Let him in and "you'll flip... I mean flip for real!"
B. Stern
As Sonny Rollins said, "Jazz is a spirit. You can't kill a spirit."
The spirit of Thelonious is alive and well, in any case. Let him in and "you'll flip... I mean flip for real!"
B. Stern
For an even more in-depth look, the following Shortbooks™ are recommended
and available for immediate download.
and available for immediate download.
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