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Artwork| Tracklist | Credits

1. Brake’s Sake feat. Dontae Winslow

piano, synthesizer: John Beasley

acoustic and electric bass: Ben Shepherd

drums: Terreon Gully

solo: Dontae Winslow – trumpet and rap

trumpets: Bijon Watson, Jamie Hovorka, James Ford, Brian Swartz

woodwinds: Bob Sheppard, Danny Janklow, Tom Luer

2. Played Twice

piano, synthesizer: John Beasley

acoustic and electric bass: Ben Shepherd

drums: Terreon Gully

solos: Ben Shepherd – bass; Bob Sheppard – soprano saxophone

trumpets: Bijon Watson, Jamie Hovorka, James Ford, Brian Swartz

woodwinds: Bob Sheppard, Danny Janklow, Tom Luer

3. Crepuscule With Nellie

piano, synthesizer: John Beasley

acoustic and electric bass: Ben Shepherd

drums: Terreon Gully

guest appearance by Regina Carter – violin

trumpets: Bijon Watson, Jamie Hovorka, James Ford, Brian Swartz

woodwinds: Bob Sheppard, Danny Janklow, Tom Luer

4. Evidence

piano, synthesizer: John Beasley

acoustic and electric bass: Ben Shepherd

drums: Terreon Gully

guest appearances by Kamasi Washington – tenor saxophone; Conrad Herwig – trombone

solo: Ben Shepherd – bass, trumpet: Brandyn Philips

woodwinds: Thomas Peterson, Adam Schroeder, Alex Budman

5. Ugly Beauty/Pannonica

piano, synthesizer: John Beasley

acoustic and electric bass: Ben Shepherd

drums: Terreon Gully

solo: Francisco Torres – trombone

trumpets: Bijon Watson, Jamie Hovorka, James Ford, Brian Swartz

woodwinds: Bob Sheppard, Danny Janklow, Tom Luer

6. I Mean You

piano, synthesizer: John Beasley

acoustic and electric bass: Ben Shepherd

drums: Terreon Gully

solos: Danny Janklow – alto saxophone; Brian Swartz – trumpet; Adam Schroeder – baritone saxophone

trumpets: Bijon Watson, Jamie Hovorka, James Ford, Brian Swartz

woodwinds: Bob Sheppard, Danny Janklow, Tom Luer

7. Light Blue

piano, synthesizer: John Beasley

acoustic and electric bass: Ben Shepherd

drums: Terreon Gully

solos: Brian Swartz – trumpet; John Beasley – organ

trumpets: Bijon Watson, Jamie Hovorka, James Ford, Brian Swartz

woodwinds: Bob Sheppard, Danny Janklow, Tom Luer

drums: Gene Coye

8. Dear Ruby

piano, synthesizer: John Beasley

acoustic and electric bass: Ben Shepherd

drums: Terreon Gully

guest appearance by Dianne Reeves – vocals,t rumpet: Brandyn Philips

woodwinds: Thomas Peterson, Adam Schroeder, Alex Budman

9. Criss Cross

piano, synthesizer: John Beasley

acoustic and electric bass: Ben Shepherd

drums: Terreon Gully

guest appearance by Pedrito Martinez – conga and bata

solos: Tom Luer – tenor saxophone; John Beasley – piano

trumpets: Bijon Watson, Jamie Hovorka, James Ford, Brian Swartz

woodwinds: Bob Sheppard, Danny Janklow, Tom Luer

10. Work

piano, synthesizer: John Beasley

acoustic and electric bass: Ben Shepherd

drums: Terreon Gully

solo: Ryan Dragon – trombone

trumpets: Bijon Watson, Jamie Hovorka, James Ford, Brian Swartz

woodwinds: Bob Sheppard, Danny Janklow, Tom Luer

John Beasley

MONK’estra, Vol. 2

If one were to have access to a time machine and could go back to see legendary bandleader Thelonious Monk in concert during the 1950s and ‘60s, you’d likely see him so compelled by the music that he would retreat from his piano mid-performance and conduct his band, no matter how small or large, through an impassioned dance. But behind the joyous dance that overtook the stage lay the societal struggles a jazz musician endured to present that 90 minutes of musical freedom – a tale of police harassment, systemic oppression and constant battles for equality. Fast forward to 2017 and composer-arranger-pianist John Beasley is using Monk’s spontaneous movements and experiences as the basis for conducting radically reconceived versions of the late composer’s music for his critically acclaimed big band project: MONK’estra

John Beasley has shared stages with some of the most important names in jazz during his three-decade career. From his days as a member of Freddie Hubbard’s quintet and one of Miles Davis’ last touring bands to his role as Music Director for Jazz Day galas for the Thelonious Monk Institute, Beasley has had a first-hand involvement with the genre's never-ending evolution.

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