The Evolution of 'Round Midnight

Thelonious Monk

Pianist Thelonious Monk's "'Round Midnight," justly famous as a jazz standard, but has had many guises since it was first recorded in 1944 - big band, small group, vocal, easy listening, and so on. Today's post examines the genesis of the song and how it evolved in its early years.

It's said that Monk composed the anthem years before it first came to public notice. The song's first recording was not by Monk himself but by trumpeter-bandleader Cootie Williams in 1944. Pianist Bud Powell had brought the tune to Williams' notice, and before it was recorded, Cootie had composed a contrasting theme for the piece and Bernie Hanighen had attached lyrics (which in the event did not appear on record for several years).

Williams' disc starts off with a staccato descending figure that strongly resembles the Dragnet motto, which it predates. Cootie's trumpet enters and the band provides a suitably noir-ish atmosphere, with Eddie De Verteuil's baritone sax important in the mix. The bandleader's contrasting theme is well done, but would not be heard again after this outing.

The Cootie Williams band - I believe Bud Powell is on piano and Eddie "Cleanhead" Vinson on alto sax. The drummer is Butch Ballard.

Although Cootie Williams' contribution is seldom heard, another trumpeter-bandleader, Dizzy Gillespie, came up with an opening section for "'Round Midnight" that is still used today. This riff was first heard as the coda of Gillespie's 1945 recording of "I Can't Get Started" (it shows up about 2:30 minutes into the piece, which is included in the download).

By 1946, Dizzy had incorporated it at the beginning of his "'Round Midnight" arrangement, as recorded. This came out as one of the earliest issues on the important bop label Dial records, where Gillespie was credited as the arranger. (There was no composer credit.) The ensemble was called "The Tempo Jazz Men featuring 'Gabriel' on trumpet." Later issues would credit the Dizzy Gillespie Jazzmen or All-Stars. Gillespie's record titles the song "'Round About Midnight," perhaps starting the endless confusion about whether its actual name includes "About" or not. His recording features notable contributions by Lucky Thompson on tenor sax and Milt Jackson on vibes. 

Miles Davis, Dizzy Gillespie, Charlie Parker

Monk himself finally got his chance to record the piece in late 1947 for Blue Note. That label had been a bastion of traditionalism, but that year it began offering a haven for such boppers as Babs Gonzales, Tadd Dameron and Monk.

Monk led a rough-sounding quintet into the WOR studios, but nonetheless produced what may be the best recording of his most famous composition. This was largely because of the memorable arrangement, which leans into the dissonances, and his unique piano style. Perhaps surprisingly, Monk had incorporated a version of Gillespie's opening into his arrangement - and Blue Note dubbed his composition "'Round About Midnight."

"'Round Midnight" was becoming one of the most frequently performed bop numbers, and as such was taken up by the deity of the movement, short-lived alto saxophonist Charlie Parker. His five-minute workout on the tune comes from an ancient bootleg of a 1951 broadcast that also featured Gillespie and Bud Powell.

Jackie Paris

Bernie Hanighen's apposite lyrics for the song finally received their first recording in 1949, thanks to the brilliant Jackie Paris - whose recording nonetheless was not issued until several years later.

To complete the set, we have a version of the song which turned it into an easy-listening jazz experience, courtesy of arranger Michel Legrand and trumpeter Miles Davis. By this time, Davis had performed the piece in many jazz settings, including a 1955 recording with a quintet that included tenor saxophonist John Coltrane. (Hedging his bets, Miles called the LP "'Round About Midnight" and the song "'Round Midnight.") On his version, Legrand concocted a swirling setting of harp, vibes, winds and piano (Bill Evans!) to cushion Miles' characteristic muted musings.

Legrand and Davis are impressive, but let's return to Monk's sound world to finish off the set. Those who purchased his 1947 "'Round Midnight" were treated to another Monk classic on the flip side - "Well You Needn't." This one is just Thelonious moaning along to his own idiosyncratic pianism backed solely by bassist Gene Ramey and drummer Art Blakey. A memorable record.

The recordings come from 78s on Internet Archive and my own collection. These are in ambient stereo, and generally are vivid reproductions.

Diz Sings for the Butchers of America

I love records of jazz musicians singing, so I was happy to acquire this Dizzy Gillespie effort a while back. The title "Hey Pete" sounded familiar to me, but I couldn't place it. Turns out I have heard it before, and the full lyrics are as follows:

"Hey Pete, let's eat more meat.
"Hey Pete, let's eat more meat.
"Cause the meat from the Texas cows is cheap."

These are shouted by the ensemble (apparently led by Diz) in the time-dishonored band vocal style. It has a certain jaunty character, but not enough to give one an impression of Gillespie's prowess as a vocalist. (He would, however, undoubtedly be effective in a butcher shop.)

Otherwise, it is a lively bop item with a spectacular solo by the leader. The other side, "One Alone," is NOT the aria from The Desert Song, but rather a dull bop ballad. Better they should have done the Romberg.

These items were recorded in May 1954 in New York's Fine Sound Studios, with the following personnel: Hank Mobley (ts) Wade Legge (p) Lou Hackney (b) Charlie Persip (d). "Hey Pete" also appeared on the LP "Dizzy Gillespie and His Orchestra." Another take of "One Alone" was on "Diz and Getz" even though Stan is not the man on tenor here.

Oh, and I was familiar with "Hey Pete" because Dizzy had recorded it five years earlier for RCA Victor.

This record has now been remastered in meaty ambient stereo.