This is a list of compositions by jazz musician Thelonious Monk. 0-9 52nd Street Theme A contrafact based loosely on rhythm changes in C, and was copyrighted by Monk under the title "Nameless" in April 1944. The tune was also called "Bip Bop" by Monk, and he claims that the tune's latter title was the origin of the genre-defining name bebop. It quickly became popular as an opening and closing tune on the clubs on 52nd Street on Manhattan where Dizzy Gillespie and Charlie Parker played. It was first recorded by Dizzy Gillespie's sextet on February 22, 1946, under the title "52nd Street Theme". Leonard Feather claims he gave the latter title. A Ask Me Now A tonally ambiguous ballad in D first recorded on July 23, 1951, for the Genius of Modern Music sessions. It also appears on 5 by Monk by 5, and Solo Monk. Jon Hendricks wrote lyrics to the tune and called it ”How I Wish”; it was first recorded by Carmen McRae on Carmen Sings Monk. Mark Murphy sings a version (the lyric is credited to Ben Sidran) on his album Kerouac, Then and Now. B Ba-Lue Bolivar Ba-Lues-Are A riff-based blues in B first recorded on October 9, 1956, for Brilliant Corners. The title references Pannonica de Koenigswarter's troubles with her stay at the Bolivar Hotel, where her parties would disturb the management of the hotel. It also appears on Les Liaisons dangereuses 1960, and on Monk's Dream; on the latter release, it was retitled "Bolivar Blues" or "Blue Bolivar Blues". Live versions also appear from the albums recorded in 1964 at the It Club and the Jazz Workshop. Bemsha Swing A tune Monk wrote with Denzil Best and was first recorded on December 18, 1952, for the album Thelonious Monk Trio. The tune is also known as "Bimsha Swing", because the word Bemsha is a re-spelling of "Bimshire" – a colloquial nickname for Barbados, where Denzil Best's parents were born. It is a 16-bar tune with an AABA-form. The 4-bar A-section is essentially in C major but borrows tones from the parallel C minor scale, and is transposed up a fourth to create the B section of the form. The tune also appears on Miles Davis and the Modern Jazz Giants and Brilliant Corners, featuring Max Roach with a timpani drum added to his set. This inspired Monk's son "Toot" Monk to play