Jazz Compositions: "Well, You Needn't"

"Well, You Needn't" is a jazz standard composed by Thelonious Monk in 1944. According to Robin D.G. Kelley in his seminal biography "Thelonious Monk: the Life and Times of an American Original" the title was inspired by a protegé of Monk's, the jazz singer Charlie Beamon; Monk wrote a song and told Beamon he was going to name it after him, to which Beamon replied "Well, you needn't". ~wikipedia



Song review by Lindsay Planer:
Along with "'Round Midnight" and "Straight, No Chaser", this tune is among Thelonious Monk's (piano) best known works. The slightly left-of-centre melody reveals layers of sophisticated arranging as well as an open space for plenty of improvisation. Although "Well You Needn't" is one of Monk's incipient contributions to his voluminous catalogue, it remained an active part of his songbook. It was initially recorded during his second date for Blue Note in October of 1947 and for a final time 24 years later during the artist's last solo session in November of 1971.

The song is infectious as it rollicks about with an enthusiastic drive. The opening flourish gives no true indication of the direction until it spills into the more structured and defined melody. This is followed by an extended and open-ended arrangement that allows Monk to freely improvise and weave his distinct counterpoint. However as the numerous surviving live recordings attest, Monk would often forgo any and all formalities, pouncing directly into a flurry of finger work up and down the keys in a headlong immersion into the piece. It is here that the musical fortitude of his backing constituency would be at its' most challenged -- as they would instinctively join the leader in a sonic game of fox and hound.

Monk's oblique chord progressions and emphatically off-kilter piano interjections rarely caught folks such as Ahmed-Abdul-Malik (bass), Charlie Rouse (tenor sax) or Frankie Dunlop (drums) off guard. In addition to the scores of recordings of "Well You Needn't" that feature Thelonious Monk and crew, there are infinitely more cover versions of a melody that has become so ingrained into the DNA of post-bop jazz, it could easily be considered a standard. Jazz heavies of every sub-genre have taken their turn at the perpetual possibilities inherent within one of Monk's most progressive compositions. ~www.allmusic.com