the first four bars of the A-section are replaced with cycling dominants, that start on F7, before landing on the tonic B in bar 5. The cycling dominants became a cliché that Monk would always play on other Rhythm changes tunes. The tune was only recorded once, on October 15, 1947, for the Genius of Modern Music sessions. I I Mean You A 32-bar tune in AABA-form that Monk co-wrote with Coleman Hawkins, and Hawkins was the first to record the tune in December 1946. The first recording by Monk was recorded on July 2, 1948, for the Wizard of the Vibes sessions, featuring Milt Jackson. The tune later appears on Art Blakey's Jazz Messengers with Thelonious Monk, Mulligan Meets Monk, and on 5 by Monk by 5. Live versions of the tune appear on the albums recorded on Five Spot, Live versions of the tune appear on the albums recorded in France and at the Lincoln Center. Both Chaka Khan and Jon Hendricks have written lyrics to tune. Khan's lyrics first appears on the album Echoes of an Era. Hendricks re-titled the tune ”You Know Who”, and was first recorded by Carmen McRae for the album Carmen Sings Monk. In Walked Bud "In Walked Bud" was based loosely on the chord progression of "Blue Skies", an early pop standard composed in 1927 by Irving Berlin. Monk composed "In Walked Bud" as a tribute to friend and fellow jazz pianist Bud Powell, and many biographies of Powell have since cited it as Monk's gratitude for Powell's actions in his defense during a police raid of the Savoy Ballroom in 1945. The tune was first recorded by Monk on November 21, 1947, for the Genius of Modern Music sessions. It was later also recorded for the album Art Blakey's Jazz Messengers with Thelonious Monk. Live versions of the tune appear on the live albums Discovery!, Misterioso and on The Thelonious Monk Orchestra at Town Hall. The last recording by Monk was for his 1968 record Underground, featuring lyrics and vocals by Jon Hendricks. The song has since been covered by numerous artists. Introspection A 36-bar tune in AABA-form (8-8-8-12). It that was first recorded on October 24, 1947, for the Genius of Modern Music sessions. It was also later recorded for the album Solo Monk. The tune is notable for its radical chord progressions and form, as it is borderline atonal.