Drummer Joe Farnsworth joins host Jay Sweet for their second interview. Farnsworth is a highly respected American jazz drummer known for his impeccable timing, swing, and dynamic style. Born in Massachusetts in 1968, he studied at William Paterson University under legendary drummers like Harold Mabern and Jackie McLean. Farnsworth has played with jazz greats including McCoy Tyner, Benny Golson, Cedar Walton, and Wynton Marsalis. He’s especially known for his long-standing collaboration with saxophonist Eric Alexander. A master of the hard bop tradition, Farnsworth brings both intensity and finesse to every performance. His recordings as a bandleader, such as City of Sounds and The Big Room, showcase his deep musicality.

See Jay's article on Joe Farnsworth in Jersey Jazz Magazine https://njjs.org/magazine/

(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.

Charles Lloyd 

Steve Wilson

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.

Stan Getz 

Chick Corea and Gary Burton 

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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. 

Dexter Gordon 

Sarah Vaughan 

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(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.

Chet Baker 

Frank Sinatra 

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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.

Clifford and Max Roach 

The Trumpet Summit Meets The Oscar Peterson Big Four 

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(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.

Wes Mongomery 

Emily Remler

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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.