(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.

John Coltrane

Kenny Garrett

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“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.

Victor Silvester

Addison Bailey Trio

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(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"

Full Album: YouTube Spotify

Playlist: YouTube