(62) “A Child Is Born” and Thad Jones 

Standards Rating 8 Difficulty Rating 4

Thad Jones (1923–1986) was a pioneering jazz trumpeter, composer, and bandleader. A key figure in Count Basie’s Orchestra (1954–1963), he crafted classics like The Deacon and To You. In 1965, he co-founded the Thad Jones/Mel Lewis Orchestra, establishing it as a premier big band through legendary Village Vanguard performances. Moving to Denmark in 1979, he revitalized the Danish Radio Big Band and formed Eclipse. He briefly led the Count Basie Orchestra before health issues forced his return to Copenhagen, where he passed away in 1986. 

Thad Jones’ most famous composition, “A Child Is Born” (1969) is a jazz ballad later given lyrics by Alec Wilder. Its 30-bar form in 3/4 time features lyrical phrasing and rich harmonies. A staple of jazz repertoire, the tune has been recorded by artists like Tony Bennett,  Bill Evans, and Dianne Reeves, embodying Jones’ melodic brilliance and harmonic depth.

Thad Jones and Mel Lewis 

Dianne Reeves

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(61) “Cherry Pink And Apple Blossom White” and Pérez Prado 

Pérez Prado (1916–1989), known as "The King of the Mambo," was a Cuban bandleader, pianist, and composer who popularized mambo music worldwide in the 1950s. He blended Cuban danzón with energetic brass arrangements and syncopated rhythms, creating hits like Mambo No. 5 and Qué Rico el Mambo. Moving to Mexico in 1949, he signed with RCA Victor, where he found success with Cherry Pink and Apple Blossom White (1953). Featuring trumpeter Billy Regis, the instrumental topped the U.S. charts for 10 weeks in 1955 and became a defining mambo classic. Originally a French song (Cerisiers Roses et Pommiers Blancs), Cherry Pink and Apple Blossom White is a 32-bar AABA tune, commonly played as a mambo or boogaloo. Its melody follows a question-and-answer structure, with a memorable call-and-response phrasing. Harmonically, the song follows a simple ii-V-I progression in Eb major, with smooth voice leading and a connecting diminished chord. Pérez Prado’s innovative brass arrangements and rhythmic drive cemented the song’s lasting appeal. Though his popularity declined in the 1960s, his contributions to Latin music endure, influencing salsa, Latin jazz, and popular dance music worldwide.

Pérez Prado 

Lou Donaldson 

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(Ep 60) “Cherokee” and Clifford Brown

Standards Rating of 9  Difficulty rating of 7 

Clifford Brown’s rendition of “Cherokee” is one of the defining moments in jazz trumpet history, showcasing his virtuosic technique, impeccable articulation, and deep harmonic understanding. Originally composed by Ray Noble in 1938, “Cherokee” became a bebop staple due to its rapid tempo and harmonic structure. Brown’s version, recorded with Max Roach and released in 1955, is particularly notable for its blistering speed and precision as he navigates the tune’s shifting ii-V-I progressions with remarkable fluidity. His solo on the track is a masterclass in phrasing, blending bebop’s intricate lines with a warm, lyrical tone that set him apart from his contemporaries. Despite his tragically short career, Brown’s influence on jazz remains profound. His compositions, including “Joy Spring” and “Daahoud,” are jazz standards, and his approach to trumpet playing—clean, expressive, and technically flawless—became a model for future generations. Clifford Brown helped shape the hard bop movement, emphasizing both sophistication and accessibility. His untimely death in a car crash at just 25 robbed the jazz world of one of its brightest talents, but his recordings continue to inspire and define the essence of bebop and modern jazz.

Clifford Brown and Max Roach 

Bud Powell Trio 

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Steve Bryant is a fantastic jazz guitarist who lives and works near the New Jersey shore. His band, RED 123, showcases his masterful compositions and dynamic guitar playing. But beyond performing, Steve is also a dedicated educator, sharing his deep musical knowledge with the next generation. His journey began on French horn before discovering guitar in middle school—a passion that soon became an obsession. Jazz lessons with Vinny Corrao refined his technique, leading to six years in the Navy band. Then came rock and roll—tours, hotel rooms, and thousands of hours of dedication. All of these experiences—discipline, artistry, and life itself—have shaped Steve into the polished musician he is today. His music tells that story, blending skill with soul. Listen to RED 123, and you’ll hear his mastery and journey.

Website: https://red123music.com/home

New Townhttps://open.spotify.com/album/2nalE8WWE2xOjVk4hyihkP?si=T3lirZy-QH220-LGWaz6IA

59- “Chelsea Bridge” and Billy Strayhorn

Standards Rating 7, Difficult Rating 7 

Billy Strayhorn (1915–1967) was a brilliant jazz composer, pianist, and arranger whose work with Duke Ellington shaped the orchestra’s sound. Born in Dayton, Ohio, and raised in Pittsburgh, he studied classical music before transitioning to jazz. His compositions, including “Take the ‘A’ Trai,”  “Lush Life,” and “Chelsea Bridge,”  showcased his mastery of harmony and orchestration. As an openly gay Black man, Strayhorn faced societal challenges but remained a resilient artist and civil rights advocate."Chelsea Bridge," recorded in 1941, reflects Strayhorn’s impressionistic style, inspired by Debussy and Ravel. Its lush harmonies, chromatic movement, and unconventional modulations create a dreamlike atmosphere. The piece features Ben Webster’s warm tenor sax and prioritizes mood and color over rhythm, distinguishing it from typical big band works. Later interpretations, such as Joe Henderson’s 1968 rendition, highlight its adaptability. Strayhorn’s legacy endures through his sophisticated, genre-defying compositions.

Duke Ellington 

Joe Henderson 

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58-João Gilberto “Chega de Saude (No More Blues)”

Standards Rating 7 Difficulty Rating 7 

João Gilberto (1931–2019), known as the "father of bossa nova," revolutionized Brazilian music with his innovative guitar techniques and understated vocal style. His 1959 album Chega de Saudade marked the birth of bossa nova, blending samba rhythms with jazz harmony and syncopation. The album’s title track, composed by Antônio Carlos Jobim with lyrics by Vinícius de Moraes, solidified the genre's prominence and showcased Gilberto's signature approach, emphasizing balance and subtlety between voice and guitar.

His collaboration with Stan Getz on the Grammy-winning Getz/Gilberto (1963) introduced bossa nova to global audiences, featuring hits like "The Girl from Ipanema." Known for his perfectionism, Gilberto maintained high standards in his recordings, influencing generations of musicians. "Chega de Saudade," often considered the first recorded bossa nova song, remains a cornerstone of the genre, blending harmonic sophistication, rhythmic syncopation, and poignant saudade, or yearning, that defines Brazilian music.

João Gilberto Version

Carmen McRae Version

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Dave Stryker is a renowned American jazz guitarist with over 25 albums as a leader and collaborations with jazz greats like Stanley Turrentine, Jack McDuff, and Kevin Mahogany. Raised in Omaha, Nebraska, Stryker began playing guitar at ten, initially inspired by The Beatles and later drawn to jazz . By 17, he was performing jazz locally.

After moving to Los Angeles in 1978 and then began working with Jack McDuff, touring with him in 1984–1985. Stryker spent a decade with saxophonist Stanley Turrentine and formed bands with Steve Slagle and Jared Gold. He also worked extensively with singer Kevin Mahogany as a sideman and arranger, performing at Carnegie Hall and internationally. An experienced educator, Stryker has taught at Indiana University, Montclair State, William Paterson University, and Rutgers University, as well as online via ArtistWorks.

For More On Dave Stryker go to: https://www.davestryker.com/

57- “Chelsea Bells” and Steve Swallow 

Steve Swallow, born October 4, 1940, in Fair Lawn, New Jersey, is a pioneering jazz bassist and composer. A key figure in modern jazz, Swallow transitioned from double bass to electric bass in the early 1970s. Renowned for his melodic upper-register solos, played with a copper pick, he has collaborated with icons like Jimmy Giuffre, Gary Burton, Carla Bley, and John Scofield.

Swallow played a pivotal role in the creation of The Real Book during his time teaching at Berklee College of Music (1974–76). This now-iconic jazz fake book includes several of his compositions, such as “Chelsea Bells.” The 17-bar piece “Chelsea Bells” is harmonically adventurous, featuring spacious melodies, suspended chords, and no defined key center. Its ambient nature is showcased in Hotel Hello (1975), where Swallow’s piano work and Gary Burton’s vibraphone create a dreamlike soundscape. Swallow’s contributions to jazz composition and pedagogy remain influential and innovative.

Gary Burton and Steve Swallow Version 

Sergio Corbini & Stefano Franceschini Quintet Version

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John Clayton's GoFundMe

56- “Ceora” and Hank Mobley 

Tenor saxophonist Hank Mobley (1930–1986) was an influential figure in jazz, blending swing, bebop, and post-bop with a warm, lyrical tone. His refined yet assertive style, often overshadowed by contemporaries, earned him recognition as a master of hard bop. Born in Georgia and raised in New Jersey, Mobley began his career in the 1950s, collaborating with legends like Dizzy Gillespie and Art Blakey. His work with Horace Silver and the Jazz Messengers helped define the hard bop sound. Albums like Soul Station (1960) showcased Mobley’s melodic genius and intricate phrasing. "Ceora," a Lee Morgan composition from Cornbread (1967), features Mobley alongside Morgan, Jackie McLean, and Herbie Hancock. This medium bossa nova tune in Ab Major highlights II-V progressions and provides a rich canvas for improvisation. Mobley’s solo on "Ceora" stands out, offering soulful lines and a warm tone that contrasts beautifully with Morgan’s fiery trumpet.

Lee Morgan Version 

Steve Grossman Version 

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55- Captain Marvel and Chick Corea

Standards Rating 4, Difficulty Rating 8

Chick Corea (1941–2021) was a legendary jazz pianist, composer, and innovator whose career spanned over five decades. Known for his genre-defying versatility, Corea contributed significantly to jazz fusion, Latin jazz, and other jazz genres. His work with Miles Davis on groundbreaking albums like In a Silent Way and Bitches Brew helped define the jazz fusion movement. Corea also led iconic projects such as Return to Forever, blending jazz, rock, and Latin influences.

"Captain Marvel," one of Corea's standout compositions, epitomizes his adventurous style. The piece showcases Corea's unique ability to merge tradition with innovation, featuring complex harmonies, shifting rhythms, and bold improvisation. Recorded with luminaries like Stan Getz and Stanley Clarke, the 1975 rendition highlights fiery interplay, while the 1973 Light as a Feather version emphasizes Latin-infused energy. "Captain Marvel" is a testament to Corea's enduring genius and impact on modern jazz.

Stan Getz Version 

Return To Forever Version 

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