French-born tenor saxophonist Jerome Sabbagh has long been a fixture on the New York jazz scene, known for his warm tone, lyrical phrasing, and commitment to musical honesty. A Paris native who moved to the U.S. in the mid-1990s to study at the Berklee College of Music, Sabbagh then moved to New York and quickly immersed himself in the city’s vibrant improvisational community, collaborating with artists like the late Paul Motian. His latest release, Stand Up! (Analog Tone Factory, 2025), featuring guitarist Ben Monder, bassist Joe Martin, and drummer Nasheet Waits. Recorded live to ½-inch analog tape, weaving through original compositions that blend post-bop sophistication with subtle touches of blues, rock, and modal jazz. Each piece is dedicated to a musical influence—from Ray Charles to Stevie Wonder to Trent Reznor (NIN)—showcasing Sabbagh’s wide-ranging curiosity and respect for the jazz and rock lineage. The title Stand Up! reflects both artistic conviction and a quiet social statement against the current political climate, reaffirming Sabbagh’s belief in integrity, collaboration, and the power of real-time, analog musicianship in an increasingly digital world.
(98) “Donna Lee” an Claude Thornhill
Standards Ratings 7 Difficulty Rating 8
“Donna Lee” is a cornerstone of the bebop repertoire, composed by Miles Davis (though often attributed to Charlie Parker) and first recorded in 1947 by the Charlie Parker Quintet featuring Parker on alto sax and Davis on trumpet. The tune is a whirlwind of rapid-fire eighth notes, angular leaps, and constant harmonic motion over the chord changes of “(Back Home Again in) Indiana.” Its technical demands and unpredictable phrasing make it both a rite of passage and a challenge for jazz musicians. The tune’s spirit can be heard in the influence of Gil Evans and Claude Thornhill’s orchestra and their reworking of the tune. Thornhill’s group, with its cool, impressionistic voicings and advanced harmonies, deeply influenced both Parker and Davis. Evans, who arranged for Thornhill, later became Davis’s collaborator on Birth of the Cool. The contrast between Parker’s version and Thornhills, both recorded in 1947 makes for a cool contrast.
Cuban-American saxophonist, clarinetist, and composer Paquito D’Rivera — a towering figure whose joyful spirit matches his musical brilliance — will be honored as the newest recipient of the Giants of Jazz Award on November 29, 2025 at the South Orange Performing Arts Center. The event will feature an all-star lineup including Eric Alexander, Don Braden, Roberta Gambarini, Jeb Patton, Rufus Reid, Steve Davis, Freddie Hendrix, and Yotam Silberstein.
At 77, D’Rivera remains a symbol of artistic excellence and personal courage. Raised in Havana by a classical saxophonist father, he absorbed everything from Mozart to Benny Goodman and began performing professionally as a child.
After co-founding the groundbreaking Cuban ensembles Orquesta Cubana de Música Moderna and Irakere, he famously defected during a European tour, seeking creative freedom away from Cuba’s political restrictions. His leap of faith came at great personal cost — years without seeing his family — yet it launched an extraordinary international career supported by legends like Dizzy Gillespie.
Still fiercely active, D’Rivera continues to blend classical, jazz, and Latin traditions. His latest album, La Fleur de Cayenne, recorded with the Madrid-New York Connection, showcases his lifelong spirit of innovation.
Giants of Jazz Concert https://www.sopacnow.org/events/giants-of-jazz-2025/
New Album La Fleur de Cayenne, https://open.spotify.com/album/43hycGOSuAa3LkQwDBHelv?si=JnZGFm5-R22vt2TWx6k3vg
Jay Sweet's Cover Article on Paquito D'Rivera https://njjs.org/magazine/
Nat King Cole’s interpretation of “Don’t Get Around Much Anymore” marries the song’s refined Ellington roots with Cole’s signature warmth and polish. The tune, originally an instrumental titled “Never No Lament” before lyrics were added, is built on a classic 32-bar AABA structure that balances elegant chromatic motion with a memorable melodic hook. Cole keeps the melody’s graceful contour intact while subtly shaping phrases to enhance the lyric’s quiet humor and bittersweet nostalgia—avoiding emotional excess in favor of poised understatement. His relaxed swing feel, conversational timing, and velvet tone soften the song’s theme of social withdrawal and lost romance, making the sentiment tender rather than bitter. Billy May’s buoyant arrangement surrounds Cole with bright brass punctuation and smooth sax textures, reinforcing the tune’s sophisticated charm. For Cole, the performance represents both his jazz roots—seen in his phrasing and rhythmic ease—and his mastery of popular songcraft, demonstrating why he remains one of the most enduring interpreters of the American songbook
Wolfgang Muthspiel Interview
Austrian guitarist and composer Wolfgang Muthspiel’s new album Tokyo, released on ECM Records in September 2025, captures the refined interplay of his long-standing trio with bassist Scott Colley and drummer Brian Blade. Recorded in Tokyo in October 2024 and produced by ECM founder Manfred Eicher, the record highlights Muthspiel’s composition skills and prowess as a guitarist. His music is a true balance of lyricism and expressionism. Each track demonstrates the trio’s remarkable equality — a conversation of three master musicians rather than a leader and accompanists. Critics have praised Tokyo for its clarity, warmth, and understated virtuosity, noting how it extends Muthspiel’s exploration of space, tone, and subtle rhythmic dialogue. The result is a brilliant statement from one of contemporary jazz’s most distinctive voices.
Check Out The Album: Tokyo https://open.spotify.com/album/3NFQljNO1NEBEw8qMSGVWY?si=xhfMaeu0T4ePEIOgGjKajA
(96) Don’t Blame Me and Ethel Waters
“Don’t Blame Me,” written by Jimmy McHugh and Dorothy Fields in 1932, became a popular standard known for its lyrical melody and elegant harmonic motion. Ethel Waters’ 1933 recording, arranged by Victor Young, remains one of the definitive interpretations. Her expressive phrasing, subtle rhythmic control, and spoken introduction elevate the song from a simple love ballad to a deeply personal statement. The arrangement’s double-time instrumental section and Waters’ seamless reentry on the bridge highlight her professionalism and command of musical form. Waters (1896–1977), a trailblazing vocalist and actress, rose from poverty to stardom in the 1920s and 1930s, breaking racial barriers in recording, Broadway, film, and television. Known for her clarity of diction and emotional depth, she influenced later artists like Billie Holiday and Lena Horne. Her rendition of “Don’t Blame Me” exemplifies both her artistry and her role in shaping the expressive language of American popular song.
(95) “Domino Biscuit” and Hotel Hello
Steve Swallow’s “Domino Biscuit,” from Hotel Hello (ECM, 1975), is a concise yet characterful duet that epitomizes the minimalist charm of the album. Built on a simple 10-bar form in D♭, the piece unfolds with a brief two-bar introduction and a recurring rhythmic motif of dotted quarter, eighth, and quarter notes. Written in traditional piano score, the melody sits in the bass clef, suggesting Swallow’s intent for pianistic phrasing despite its bass-driven origin. Harmonically, the tune moves gracefully through I–IV–VII–V relationships, with subtle reharmonization on the repeat, maintaining both clarity and curiosity.
As part of Hotel Hello, “Domino Biscuit” captures the essence of Gary Burton and Steve Swallow’s long partnership—intimate, conversational, and understated. Recorded in 1974, the album’s sound world is quintessential ECM: airy, introspective, and spacious. Across its brief sketches and lyrical duets, it blurs the boundaries between jazz composition and chamber improvisation, achieving quiet brilliance through restraint.
The 2026 Gilmore Bell Young Artist Award, accompanied by a $25,000 grant, recognizes two rising stars in jazz piano — Tyler Bullock II and Esteban Castro — both representing the vibrant next generation of the art form. Based in New York City and trained at the Juilliard School, Bullock and Castro share a commitment to honoring jazz’s deep traditions while advancing its creative boundaries. Bullock, a dynamic performer and collaborator with artists like Samara Joy and Dee Dee Bridgewater, channels storytelling and collective improvisation through his modern trio work. Castro, mentored by Fred Hersch, brings prodigious compositional talent and a global performance resume to his explorations of lyricism and innovation. Together, their artistry embodies the spirit of the Bell Award — celebrating youthful mastery, imagination, and a dedication to the living heritage of jazz.
(94) Dolphin Dance and George Coleman
“Dolphin Dance,” from Herbie Hancock’s 1965 album Maiden Voyage (Blue Note Records), is a luminous example of modern jazz composition. Built on a 38-bar form, the tune flows with modal harmonies, shifting tonal centers, and a lyrical melody unified by rhythmic motifs. Hancock’s use of parallel motion, pedal tones, and deceptive resolutions creates a sound both serene and exploratory—perfectly evoking the imagery of dolphins gliding through water. The piece balances sophistication with accessibility, making it a staple for improvisers and one of Hancock’s most frequently interpreted works.
George Coleman, the tenor saxophonist on the recording, brings a warm, articulate voice that bridges hard bop and modal jazz. Born in Memphis in 1935, Coleman’s career included pivotal collaborations with Miles Davis, Max Roach, and Elvin Jones. His solo on “Dolphin Dance” reflects both intellectual precision and blues-rooted depth, embodying his role as a vital link between post-bop tradition and modern innovation.
Marc Johnson, a distinguished American jazz bassist, rose to prominence in the late 1970s as a member of Bill Evans’ final trio. Renowned for his warm tone, lyrical phrasing, and rhythmic sensitivity, he has led groups such as Bass Desires and collaborated with Eliane Elias, Joe Lovano, and Pat Metheny. His 2025 ECM release Tramonto, recorded live in 2002 with pianist John Taylor and drummer Joey Baron, captures the trio’s elegant interplay and Johnson’s expressive solo work. The album, issued posthumously for Taylor, preserves a vital moment of creative synergy and reaffirms Johnson’s stature as a master of modern jazz bass.
(93) “Dolores” and Tony Williams
Standard Rating 5 Difficulty Rating 6
“Dolores,” from Miles Smiles (1967), is a brisk, harmonically shifting Wayne Shorter composition that showcases the daring interplay of Miles Davis’s Second Great Quintet. Built on a 38-bar form (A–Interlude–B–Interlude–A), the tune moves fluidly through changing tonal centers and unexpected ii–V progressions, challenging soloists with its constant motion and ambiguity. The melody, light yet intricate, features Shorter’s characteristic use of upper extensions and rhythmic displacement. In performance, Miles delivers a fiery, angular solo, while Shorter and Herbie Hancock expand on the tune’s open texture, supported by Ron Carter’s grounding bass and Tony Williams’s explosive, responsive drumming. Tony Williams (1945–1997), the group’s rhythmic engine, redefined jazz drumming by treating the kit as a equal conversational instrument. His restless polyrhythms, dynamic control, and fearless interaction drove the quintet’s sound, influencing generations of drummers. “Dolores” exemplifies his balance of fire, freedom, and precision within modern jazz innovation.
(92) “Doin’ The Pig” and Bill Goodwin
Standards Rating 1 Difficulty Rating 8
“Doin’ the Pig,” composed by Steve Swallow and featured on Gary Burton’s Throb (1969), is a bold and funky example of early jazz fusion that blends jazz sophistication with rock’s rhythmic drive. The tune’s structure—divided into four sections (A, B, C, and D)—creates a constantly shifting landscape of rhythmic tension and release. The melody is jagged and syncopated, full of wide leaps and rests that give it an unpredictable, almost playful edge. Beneath that, Bill Goodwin’s drumming locks tightly with Swallow’s electric bass, generating a deep, propulsive groove that grounds the tune’s complex harmonic motion. His crisp ride cymbal patterns and subtle snare accents provide both momentum and space for the solos that follow. As the ensemble builds intensity, Goodwin adapts seamlessly, moving from understated swing phrasing to rock-inflected power. The result is a vibrant, forward-looking track that captures Throb’s adventurous fusion spirit and highlights Goodwin’s rhythmic mastery.
Spyro Gyra, led by saxophonist and composer Jay Beckenstein, has been blending jazz, R&B, Latin, and Caribbean influences for over 50 years, creating an instantly recognizable sound that has earned them fans worldwide. Known for radio hits like "Morning Dance," "Shaker Song," and "Catching the Sun," the band continues to make their music fresh and accessible while showcasing top-tier musicianship. Much of their longevity comes from Beckenstein’s leadership style, which balances authority with collaboration, allowing every member to contribute creatively. From their beginnings in Buffalo clubs to platinum-selling albums and global tours, Spyro Gyra has remained a force in contemporary jazz. Audiences still respond with standing ovations, a testament to the energy and joy the group brings to every performance. As part of WBGO’s All That Jazz series, Spyro Gyra will bring their dynamic sound to the Union County Performing Arts Center in New Jersey on November 1.
(91) “Django” and Modern Jazz Quartet
Standards Waiting 7 Difficulty Waiting 6
John Lewis’s composition “Django” (1954) stands as one of the Modern Jazz Quartet’s most enduring works. Written as a tribute to Belgian guitarist Django Reinhardt, the piece blends a solemn, dirge-like opening with a swinging solo section, reflecting both Lewis’s classical training and the group’s jazz roots. Miles Davis praised “Django” as one of the finest jazz compositions, and it has since become a standard, celebrated for its sophisticated harmonic design and lyrical beauty. The Modern Jazz Quartet—Lewis on piano, Milt Jackson on vibraphone, Percy Heath on bass, and Connie Kay on drums—epitomized elegance in jazz, marrying formal structure with blues-infused improvisation.
Their chamber-like approach helped define the “third stream” movement, expanding jazz’s artistic and cultural reach. A decade later, guitarist Joe Pass offered his own homage with For Django (1964), an album that reinterpreted Reinhardt’s legacy through a modern lens, further cementing the guitarist’s lasting influence.
Irish-born guitarist, arranger, and educator David O’Rourke has built a distinguished career bridging performance, composition, and mentorship. Mentored by jazz great Louis Stewart and later aided by Bucky Pizzarelli, he arrived in the U.S. in 1982, inspired by Pat Martino, with whom he would later collaborate. O’Rourke has performed with legends including Tommy Flanagan, Cedar Walton, and Jackie McLean, and his arranging credits span Lewis Nash, Terumasa Hino, and Steve Wilson. As founder of the O’Rourkestra Big Band and longtime director of youth programs at Jazz Standard/Jazz Generation, he continues to shape jazz’s future while honoring its deep traditions.
(90) “Dizzy Atmosphere” and Arturo Sandoval
Standards Rating 7, Difficulty Rating 6
“Dizzy Atmosphere” (1945) is a bebop standard composed by Dizzy Gillespie and first recorded with Charlie Parker. Built on George Gershwin’s “I Got Rhythm” changes, the tune exemplifies bebop’s innovation through angular melodies, rhythmic variety, and harmonic daring. The A section’s compact four-note triplet motif creates instant character, while the bridge departs from Gershwin’s model with a sequence of descending dominant sevenths, heightening tension before returning home. A signature recording from 1945 featuring Gillespie, Parker, Slam Stewart, and others captures bebop’s energy at its birth.
Trumpeter Arturo Sandoval (b. 1949) has carried this bebop legacy into the modern era. A virtuoso rooted in Afro-Cuban traditions, Sandoval blends dazzling technique with expressive power. His 1996 recording Swingin’ reimagines Gillespie’s bebop spirit, pairing high-energy improvisation with nods to classics like “Groovin’ High.” By fusing bebop brilliance with Latin fire, Sandoval illustrates the continuing vitality of Gillespie’s innovations.
Braxton Cook is an American alto saxophonist, singer-songwriter, and one of the leading voices of his generation in jazz and beyond. Raised in Silver Spring, Maryland, he studied at Juilliard under Ron Blake and Steve Wilson before joining Christian Scott’s touring band. Cook has since performed with Christian McBride, Jon Batiste, Rihanna, and Mac Miller, and was hailed by Fader as a “jazz prodigy.” His solo career began with the EP Sketch (2014) and has expanded across acclaimed projects including Somewhere in Between (2017), Fire Sign (2020), and Who Are You When No One Is Watching (2023). In 2025, he released his sixth album, Not Everyone Can Go, further showcasing his fusion of jazz, soul, and R&B. Beyond recording, Cook has earned recognition for his NPR Tiny Desk appearances and collaborations spanning from Pixar’s Soul soundtrack to Taylor Swift’s Midnights.
(89) “Dexterity” and Barry Harris
Standards Rating 7 and Difficulty Rating 7
Charlie Parker’s 1947 composition “Dexterity” epitomizes bebop. Built on the chord changes of Gershwin’s “I Got Rhythm,” its angular melody and flowing ii–V progressions reveal Parker’s genius for reshaping familiar structures into fresh, logical lines. The tune became a touchstone for generations, including pianist Barry Harris, one of bebop’s most devoted interpreters. Harris (1929–2021) absorbed Parker’s language deeply, blending it with the influence of Bud Powell and Thelonious Monk. His trio performance of “Dexterity” on “Magnificent!” demonstrates this lineage: Harris states the melody with clarity, launches into solos steeped in bebop vocabulary, and leads the rhythm section through crisp exchanges before returning to the head. Beyond performance, Harris ensured that Parker’s innovations lived on through his legendary workshops, where he taught bebop as both a musical system and a philosophy of community. In playing and teaching, Harris embodied Parker’s belief that bebop was the foundation of modern jazz.
Love, Life, and Jazz: Abena Koomson Davis and Steve Davis
The jazz world has long celebrated couples who share both life and the stage. Vocalist Abena Koomson Davis and trombonist Steve Davis now join that tradition with their first jazz album together: Where Is Love? (WJ3 Records), Abena’s debut as a leader. With roots in theater, funk, and soul—including a starring role in Broadway’s Fela!—Abena embraces her long-held love of jazz on this recording, supported by Willie Jones III, Rick Germanson, Nat Reeves, Tony Davis, Mike DiRubbo, and Josh Bruneau.
Steve Davis, widely regarded as one of today’s finest jazz trombonists, has performed with legends from Art Blakey to Chick Corea. His latest release, We See (Smoke Sessions, 2024), captures his all-star sextet—Ralph Moore, Eddie Henderson, Renee Rosnes, Essiet Essiet, Lewis Nash, and Steve—in electrifying live performances at Smoke Jazz Club.
(88)” Desert Air” and ECM
Standards Rating 2 and Difficulty Rating 7
Founded in Munich in 1969 by bassist-producer Manfred Eicher, ECM Records quickly established itself as one of the most distinctive and influential modern music labels. With its crystalline sound, minimalist visual design, and commitment to artistic freedom, ECM became a home not only for exploratory jazz but also for contemporary classical and world music. Among its many landmark releases is Crystal Silence (1973), a duo recording by Chick Corea and vibraphonist Gary Burton. One of its most striking tracks, “Desert Air,” captures the spacious, atmospheric qualities that came to define ECM’s sound. Written in ¾ time and structured as AAB, the 88-measure piece features unusual harmonic movement, slash-chords, and fluid melodic lines with no rests. Its difficulty and unconventional form make it rarely performed, yet Corea’s conception is brilliant. The original recording is conversational and immersive, embodying ECM’s ideal of music as both experience and atmosphere.