(82) “Days and Nights Waiting” and Charles Lloyd
Standards Rating 2 Difficulty Rating 5
“Days and Nights Waiting,” composed by Keith Jarrett and performed by the Charles Lloyd Quartet, is a harmonically rich tune built on a 32-bar AABA form. Its spacious melody contrasts with intricate II–V-based progressions that tease traditional resolutions, giving soloists wide harmonic freedom. Jarrett’s composition features rhythmic motifs and non-diatonic tonal shifts, supporting lyrical yet adventurous improvisation. Notable recordings include the 1967 Montreux performance by the Charles Lloyd Quartet, showcasing their dynamic interplay and emotional depth.
Charles Lloyd, born in 1938 in Memphis, fused blues, gospel, and jazz from an early age. After formative years with legends like Chico Hamilton and Cannonball Adderley, Lloyd formed a groundbreaking quartet with Jarrett, DeJohnette, and McClure. Their crossover appeal brought jazz to wider audiences, notably with Forest Flower. After a retreat from the spotlight, Lloyd returned with profound, genre-blending work. His lifelong pursuit of spiritual and musical truth cements him as a visionary voice in modern jazz.
Stanley Clarke is a pioneering American bassist, composer, and producer, widely regarded as one of the most influential jazz fusion musicians of all time. Born on June 30, 1951, in Philadelphia, Clarke revolutionized the role of the bass in contemporary music, bringing it to the forefront as a lead instrument. He gained fame as a founding member of the jazz fusion group Return to Forever, alongside Chick Corea, where his virtuosic electric and acoustic bass playing stood out. Clarke's solo career further showcased his versatility, blending jazz, funk, rock, and classical influences. Albums like School Days and Journey to Love highlighted his technical brilliance and musical innovation. Throughout his career, Clarke has collaborated with artists across genres, from George Duke to Jeff Beck. A multiple Grammy Award winner, he continues to inspire generations of musicians with his groundbreaking work and remains a towering figure in modern bass playing
(81) “Day Waves” and Stanley Clarke
Standards Rating 2 Difficulty Rating 6
“Day Waves,” composed by Chick Corea, is a harmonically adventurous piece first recorded on Stan Getz’s Captain Marvel. Its unique 25-bar form, shifting tonality, and descending melodic lines create a floating, untethered feeling, showcasing Corea’s sophisticated harmonic language. The A section’s sparse, rhythmically tied motifs build tension with colorful extensions, while the B section continues a chromatic descent in the bass, reinforcing the piece’s elusive tonal center. The signature recording features Getz on tenor saxophone, with Corea, Stanley Clarke, Tony Williams, and Airto Moreira creating a vibrant, modern Latin-infused groove. The solos highlight the players’ improvisational mastery, especially Clarke’s brilliant bass lines.
Stanley Clarke revolutionized the electric and double bass, transforming it into a virtuosic solo instrument. Rooted in classical double bass yet drawn to the electric’s possibilities, he became a pioneer of jazz fusion with Return to Forever and his groundbreaking solo work. Clarke’s melodic approach, innovative techniques, and fearless exploration inspired generations, solidifying the bass as a central voice in modern music.
Patrick Zimmerli Interview
Patrik Zimmerli is an acclaimed American composer and saxophonist known for blending jazz improvisation with contemporary classical forms., Zimmerli has built a reputation for pushing genre boundaries while maintaining clarity and emotional depth in his work. His 2025 trio album Songs of Innocence—featuring pianist Kevin Hays and percussionist Satoshi Takeishi—demonstrates his signature fusion of jazz, classical, and pop influences. The album balances lyrical expressiveness with structural complexity, creating a contemplative and melodic sound world. Zimmerli’s compositions often explore intricate rhythms and layered textures, evident in both his small ensemble work and large-scale commissions for ensembles like Songs of Innocence stands as a compelling example of Zimmerli’s ability to craft music that is both intellectually rich but also appealing to listeners across stylistic boundaries.
(80) “Darn That Dream” and Dexter Gordon
Standards Rating 7 Difficulty Rating 6
“Darn That Dream,” composed by Jimmy Van Heusen with lyrics by Eddie DeLange, debuted in the 1939 Broadway jazz musical Swingin’ the Dream and soon became a popular ballad recorded by Benny Goodman, Tommy Dorsey, and others. Built on a rich 32-bar AABA form in G major, the melody weaves ascending and descending lines with poignant tensions, while the harmony shifts chromatically through unexpected II–V progressions, creating emotional depth and tonal ambiguity. Dexter Gordon’s 1964 recording on One Flight Up stands as a signature interpretation, with Gordon’s warm tenor saxophone delivering the melody’s longing character. His improvisation blends bebop sophistication and lyrical phrasing.. This rendition highlights Gordon’s expressive command and exemplifies his resurgence during his European period, capturing the tenderness and complexity of this timeless jazz standard performed by a jazz legend.
(79) “Dancing on The Ceiling” and Chet Baker
Standards Rating 6, Difficulty Rating 3
“Dancing on the Ceiling,” composed by Richard Rodgers with lyrics by Lorenz Hart for the 1930 musical Ever Green, is a graceful, harmonically rich tune that fits well within Chet Baker’s cool jazz aesthetic. Baker, known for his lyrical trumpet style and soft, emotionally detached vocals, recorded a signature version of the song on his 1958 album Chet Baker Sings: It Could Happen to You. On this recording, Baker only sings, bringing a relaxed, introspective tone that contrasts with the tune’s buoyant title. The song’s structure—a 32-bar AABA form—features subtle harmonic turns, like chromatic movement and key shifts, which Baker navigates effortlessly with his smooth, unhurried phrasing. His intimate delivery reflects the quieter, more melancholic aspects of his style. A rising star in the 1950s, Baker’s charm and talent were at times overshadowed by his heroin addiction, legal troubles, and eventual decline. Yet even amid personal turmoil, Baker brought depth and vulnerability to standards, leaving a lasting mark on jazz interpretation.
78- “Dauhood” and Harold Land
Standards Rating 6 Difficult Rating 7
Harold Land was a prominent tenor saxophonist known for his deep, emotive tone and contributions to the hard bop and post-bop styles. His career launched in the late 1940s, gaining national recognition in 1954 as a member of the Clifford Brown/Max Roach Quintet. One of their signature tunes, “Daahoud,” (by Clifford Brown) exemplifies Land’s lyrical yet rhythmically sharp improvisation. The composition itself is harmonically rich, built on a 36-bar AABA’ form with intricate ii–V progressions and chromatic movement, posing a challenge for improvisers. In the original 1954 recording, Land’s solo is focused and inventive, matching Clifford Brown’s technical brilliance. Max Roach’s dynamic drumming and Richie Powell’s bebop-informed piano work round out the ensemble’s tight interplay. Land continued to evolve stylistically throughout his career, later embracing Coltrane-inspired modalism while retaining a uniquely introspective voice. Though underrated compared to peers, Land's playing on “Daahoud” cements his status as a vital figure in modern jazz history.
The Trumpet Summit Meets The Oscar Peterson Big Four
(77)- “D Natural Blues” and Wes Montgomery
Standards Rating 7 Difficulty 6
Wes Montgomery, a self-taught jazz guitarist born in 1923, became a major influence in jazz history with his warm tone and signature thumb-picking technique. He gained national attention after joining Lionel Hampton’s band and later formed The Montgomery Brothers. Discovered by Cannonball Adderley, Montgomery recorded key albums like The Incredible Jazz Guitar of Wes Montgomery and achieved commercial success in the 1960s with pop-oriented jazz under Creed Taylor. His track “D Natural Blues,” a 12-bar blues in D, showcases his rhythmic sophistication and blues phrasing. The melody features syncopated motifs and a strong use of the flat 3rd, while the harmony includes a classic blues progression with some variations. Montgomery’s solo incorporates single-line runs, octave playing, and double-time feel. His legacy lives on through tributes by artists like George Benson and Emily Remler, whose live version of “D Natural Blues” honors Montgomery’s style. He died in 1968 at 45, leaving a profound musical legacy.
Bass legend Marcus Miller is renowned for his groundbreaking work with artists such as Miles Davis, Luther Vandross, Herbie Hancock, and David Sanborn. Miller helped redefine the electric bass with his distinctive slap technique, compositional depth, and genre-crossing sound. In this interview, Miller discusses adapting to the rise of drum machines and synthesizers in the studio, finding his voice on electric bass rather than upright bass, and drawing inspiration from both the jazz and funk traditions. Miller shares stories from his time with Miles Davis, including the creation of the iconic Tutu album, and offers powerful advice to young musicians about the importance of individuality over imitation. As he prepares to release new music with his current touring band, Miller remains a vital and forward-thinking artist.
(76) “Crystal Silence” and the album Chick Corea & Gary Burton- Crystal Silence
Standard Rating 4 and Difficulty Rating 7
Crystal Silence, the iconic 1973 duet album by Chick Corea and Gary Burton, introduced a new sonic language in jazz—intimate, spacious, and emotionally nuanced. Defined by its minimalist textures and chamber-like interplay, the album helped shape the signature ECM sound: pristine, contemplative, and harmonically rich. At its heart lies the title track, “Crystal Silence,” a 41-bar ballad that exemplifies Corea’s lyrical sophistication and harmonic invention. With its slow tempo, subtle rubato, and haunting chord voicings, the piece unfolds in floating, asymmetric phrases. Burton’s shimmering vibraphone and Corea’s resonant piano lines intertwine with extraordinary sensitivity, creating a meditative soundscape. The tune’s form, full of surprising harmonic turns and suspended resolutions, invites deep introspection. Together, the song and album represent a landmark in modern jazz, expanding the expressive potential of the duet format and highlighting the deep artistic connection between two masters at the peak of their creative powers.
Pasquale Grasso, an Italian-born jazz guitarist, is celebrated for his virtuosic technique and deep bebop roots. Grasso has captivated jazz audiences worldwide by blending intricate harmonies with a clean, classic tone. Legendary guitarist Pat Metheny praised him in Vintage Guitar magazine, stating, “The best guitar player I’ve heard in my entire life is floating around now, Pasquale Grasso.” This acclaim reflects Grasso’s artistry, showcased on his trio album Fervency (Sony Music Masterworks), which features bassist Ari Roland and drummer Keith Balla. A protégé of Barry Harris, Grasso developed perfect pitch and began playing by ear at a young age. George Benson, Charlie Christian, and Bud Powell influenced him, and he refined his craft in Italy before relocating to New York at the age of 19. In addition to solo work, he collaborates with Grammy-winning vocalist Samara Joy. Named DownBeat’s 2024 Rising Star Guitarist of the Year, Grasso continues to shape modern jazz with reverence for its traditions.
(75) “Crescent” and Jimmy Garrison
Standard Rating 4 and Difficulty Rating 7
Bassist Jimmy Garrison was a key figure in 1960s jazz, best known for his work with John Coltrane’s classic quartet from 1962 to 1967. His firm tone, solid rhythm, and blues-inflected modal playing anchored the group, especially on landmark albums like A Love Supreme and Live at Birdland. Garrison’s innovative techniques, including extended unaccompanied solos, helped shape the quartet’s spiritual and modal sound. The 1964 track “Crescent” highlights the quartet’s exceptional interplay. It opens with Coltrane’s expressive tenor sax over Tyner’s delicate piano, supported by Garrison’s steady bass and Jones’s dynamic drumming. The simple, hymn-like melody unfolds over ii–V progressions enriched with altered chords and modal tensions, creating a contemplative atmosphere. The solo section features modal improvisation and unexpected harmonic shifts, foreshadowing the quartet’s later spiritual works. This piece exemplifies Garrison’s role as the group’s grounding force and Coltrane’s evolving compositional style, later echoed in Tyner’s solo piano rendition of “Crescent.”
(74) “Countdown” and Art Taylor
Standards Rating 6 Difficulty Rating 8
Arthur S. Taylor Jr. (1929–1995) was a leading American jazz drummer known for shaping modern jazz drumming with a dynamic, supportive style influenced by drummers Max Roach, Art Blakey, and Kenny Clarke. Raised in Harlem, he played with legends like Miles Davis, Bud Powell, and John Coltrane. Taylor’s drumming is featured on Coltrane’s 1960 track "Countdown," a landmark in jazz harmony using Coltrane Changes—rapid, symmetrical key modulations that challenge improvisers. His clarity and precision support Coltrane’s complex use of upper chord extensions. Taylor also appears on "Giant Steps," opening the tune with a solo before the full rhythm section joins, contributing to its intensity and innovation. As a bandleader, Taylor formed Taylor’s Wailers, showcasing top hard bop talents like Donald Byrd and Jackie McLean. After living in Europe (1963–1980), he returned to the U.S., re-formed his group, and recorded Wailin’ at the Vanguard in 1991.
“Could It Be You” and Victor Silvester
“Could It Be You” is a sophisticated Cole Porter composition from the 1943 Broadway musical Something for the Boys. Structured in a 32-bar AABA form in B♭ major, the tune features clever melodic phrasing and inventive harmonic progressions, including ii–V sequences and a seamless modulation to F major. Its logical structure and memorable melody make it accessible for vocalists and instrumentalists alike, while subtle harmonic twists keep it engaging.
Victor Silvester’s version, recorded with his Ballroom Orchestra, brings a unique charm through his signature “strict tempo” style and the innovative “lemonade” dual-piano concept. Featuring pianist Felix King, this technique balances a stride-based lead piano with a continuously improvising second piano, creating a lively, effervescent texture ideal for ballroom dancing. Silvester’s arrangement emphasizes clarity and rhythmic consistency, enhancing the tune’s danceability while retaining its musical sophistication. His version exemplifies how dance orchestras adapted Broadway songs into accessible, rhythmically precise formats for popular audiences.
(S4 EP 21) Wayne Shorter’s -Adam's Apple (Blue Note)
Released October 1967 - Recorded February 3 and 24, 1966
Wayne Shorter’s Adam’s Apple (1967) is a landmark post-bop album that captures the saxophonist at his creative peak. Recorded in 1966 at Van Gelder Studio, the album features Herbie Hancock (piano), Reggie Workman (bass), and Joe Chambers (drums)—a quartet that delivers both lyrical subtlety and rhythmic daring. The record blends blues, modal jazz, Latin grooves, and impressionistic balladry, showcasing Shorter's sophisticated yet accessible compositional voice. Tracks like the iconic “Footprints” and the soulful title track highlight his melodic clarity and harmonic depth. Hancock’s intuitive comping and soloing add dimension throughout, while Workman and Chambers bring texture and flexibility. This was the first recorded version of “Footprints,” later made famous by Miles Davis. Produced by Alfred Lion for Blue Note, Adam’s Apple is one of the finest examples of mid-’60s jazz, balancing structure and exploration. It remains a timeless, essential entry in Shorter’s catalog and the post-bop era..
Signature Song: "Adam's Apple," "El Gaucho, “"Footprints"
Playlist: YouTube
(72) “Cotton Tail” and Ben Webster
Standards Ratting 8 Difficulty Rating 5
Ben Webster, born in 1909 in Kansas City, Missouri, was a leading tenor saxophonist of the Swing Era, known for his rich, raspy tone and blues-infused phrasing. Bridging the styles of Lester Young and Coleman Hawkins, he became a key figure in Duke Ellington’s Orchestra during the early 1940s. This period, known as the "Blanton-Webster years," produced some of Ellington’s finest recordings. One standout is “Cotton Tail” (1940), a fast-paced, rhythm-changes-based composition featuring Webster’s iconic two-chorus solo. His playing blends lyrical swing with bold melodic invention, especially in the bridge, where he builds intensity with repeated motifs and upper-register runs. The arrangement showcases Ellington’s mastery and his band’s precision, with standout solos from Harry Carney and Ellington himself. Cotton Tail remains a definitive jazz recording, capturing Webster at his expressive best and solidifying his place in jazz history. Later versions, like Oscar Peterson’s 1959 take, reimagine the tune in a small-group setting.
(71) “Coral” and Keith Jarrett
Standards Rating 2 Difficulty Rating 6
Keith Jarrett, born in 1945, is a groundbreaking pianist celebrated for his emotionally charged improvisations and genre-blending artistry. Known for his solo performances and collaborations with jazz legends such as Miles Davis and Charles Lloyd, Jarrett’s work encompasses jazz, classical, and avant-garde traditions. His 1975 Köln Concert is one of the most iconic solo piano recordings in the history of music. Among his compositions, “Coral” stands out as a hauntingly beautiful 8-bar ballad in B♭ major. Reminiscent of Bill Evans, it features a stream-of-consciousness melody and an unpredictable yet harmonically rich progression. The tune unfolds with ii–V sequences, unexpected modulations, and lush voicings, creating a contemplative, floating atmosphere. Its subtle complexity offers both challenge and inspiration for performers. Recorded by vibraphonist Gary Burton in 1978 with Tiger Okoshi and others, “Coral” is reimagined with lyrical beauty and emotional depth, showcasing its enduring appeal and the expressive power of Jarrett’s writing.
Sam Sadigursky is widely recognized as one of the most talented clarinetists and reed doublers of his generation. He has released eleven acclaimed albums as a leader and appears on over sixty recordings as a sideman, including numerous Grammy-nominated and Grammy Award-winning projects. A member of the Philip Glass Ensemble, he has also toured and recorded with Brad Mehldau, David Byrne, Bruce Hornsby, Darcy James Argue’s Secret Society, the Mingus Orchestra, and U.S. Poet Laureate Robert Pinsky. From 2017 to 2019, Sadigursky was the onstage clarinetist in the Grammy, Tony, and Emmy Award-winning Broadway production of The Band’s Visit, and he has performed in over twenty other Broadway productions.
Blending Jewish spiritual and Klezmer music with post-minimalist classical, jazz, and elements of American folk, Sadigursky and accordionist/multi-instrumentalist Nathan Koci recently released Volumes IV and V of The Solomon Diaries on Adhyaropa Records. This five-album series reflects on the Borscht Belt—the once-thriving Jewish resort region that helped shape 20th-century American culture—while also exploring contemporary experiences of immigration and Jewish identity.
The Solomon Diaries Volume IV .https://open.spotify.com/album/6aueHALAzKJf0eDoo048ek?si=LVmkM3hhQiSBUJJBb1egAw
The Solomon Diaries Volume V
https://open.spotify.com/album/6dkN03M2qai0xXNC38VTSa?si=bBjX0IVXQQyJO4J1hjKtVA
Enjoy this replay of a 2022 Ron Carter interview conducted for Jersey Jazz Magazine https://njjs.org/magazine/to celebrate the Maestro's 85th Birthday.
View the Interview at https://youtu.be/suzcfI7VznI?si=1vRV-w6KCfuBTBGI
Read the article at https://www.jaysweetmusic.com/blog
(70) “Contemplation” and Ron Carter
Standard Rating 6 Difficulty Rating 6
Ron Carter, born in 1937, is one of the most influential jazz bassists in history, with a career spanning over six decades and more than 2,000 recordings. Originally a cellist from Detroit, Carter switched to bass at 14 and studied at the Eastman School of Music before becoming a staple of the New York jazz scene in the 1960s. His work with Miles Davis’ “Second Great Quintet” solidified his legacy, and he has since led numerous projects, including his Grammy-winning 2022 album Skyline. A dedicated educator at Juilliard since 2008, Carter remains a humble and passionate advocate for lifelong learning in music. “Contemplation,” from McCoy Tyner’s 1967 album The Real McCoy, features Carter’s signature bass work and showcases his subtlety and depth. The piece is a meditative 16-bar waltz in C minor, with a minimalist bass line built on just three notes—C, F, and G—creating a grounded, reflective mood. The melody, played by Joe Henderson, is sparse and introspective, while Tyner’s harmonic language offers modal richness and emotional depth. Carter’s solo is melodic and thoughtful, aligning with the tune’s mood. A 2003 reimagining on Land of Giants features Bobby Hutcherson on vibraphone, offering a fresh take on this timeless composition.
