(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

(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.

Duke Ellington

Oscar Peterson Trio

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(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.

Gary Burton Version

John Scofield Version

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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.

McCoy Tyner-The Real McCoy

McCoy Tyner -Land of Giant

The Jazz Real Book