Epistrophy

"Epistrophy" is a jazz standard composed by Thelonious Monk and Kenny Clarke in 1941. It has been called "the first classic, modern jazz composition." It was first recorded later that year, under the title "Fly Right," by a big band led by Cootie Williams.

Its 'A' section is based on a pattern of alternating chords a tone apart.

The title "Epistrophy" is not a word in any dictionary. However, the word "epistrophe" is defined by Merriam-Webster as "the repetition of a word or expression at the end of successive phrases, clauses, sentences, or verses especially for rhetorical or poetic effect." It is therefore likely that Monk coined the word to mean the use of repeated sounds at the end of a musical line. This corresponds to the term "BeBop" which refers not only to the new style of jazz Monk and others helped to create at Minton's Playhouse in Harlem, but to the imitative onomatopoeia of the two-note phrase so often repeated at the end of a 1940s bebop musical line, in which the "bop" is five semitones down from the "be."

Epistrophy (Ran Blake album)

Epistrophy is an album of solo piano performances of material written by, or associated with, Thelonious Monk by the American jazz pianist Ran Blake recorded in 1991 and released on the Italian Soul Note label.

Reception

The Allmusic review by Scott Yanow awarded the album 3 stars stating "Ran Blake's re-interpretations of 12 Thelonious Monk songs and four standards that Monk enjoyed playing are quite different than everyone else's".

Track listing

Epistrophy (Steve Lacy album)

Epistrophy (also released as Steve Lacy Plays Monk) is the second album by Steve Lacy to consist entirely of tunes written by Thelonious Monk following Reflections (1958). It was released in 1969 on the French BYG label and features performances by Lacy, Michel Graillier, Jean-François Jenny Clark and Aldo Romano.

Reception

The Allmusic review by Thom Jurek awarded the album 4 stars stating "This is easily Lacy's "straightest" album from the period, and he stays melodically and harmonically close to Monk's original compositions in the heads before taking off somewhere else in the solos. But Lacy keeps to the notion of repetition, syncopation, and melodic invention that Monk did, and the band is nearly symbiotic in its communication around and with him. The music here is a delight and a revelation all at the same time. The sound is warm and full and the transfer is solid.".

Track listing