(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.

(76) “Crystal Silence” and the album Chick Corea & Gary Burton- Crystal Silence

Standard Rating 4 and Difficulty Rating 7 

Crystal Silence, the iconic 1973 duet album by Chick Corea and Gary Burton, introduced a new sonic language in jazz—intimate, spacious, and emotionally nuanced. Defined by its minimalist textures and chamber-like interplay, the album helped shape the signature ECM sound: pristine, contemplative, and harmonically rich. At its heart lies the title track, “Crystal Silence,” a 41-bar ballad that exemplifies Corea’s lyrical sophistication and harmonic invention. With its slow tempo, subtle rubato, and haunting chord voicings, the piece unfolds in floating, asymmetric phrases. Burton’s shimmering vibraphone and Corea’s resonant piano lines intertwine with extraordinary sensitivity, creating a meditative soundscape. The tune’s form, full of surprising harmonic turns and suspended resolutions, invites deep introspection. Together, the song and album represent a landmark in modern jazz, expanding the expressive potential of the duet format and highlighting the deep artistic connection between two masters at the peak of their creative powers.

Corea and Burton 

Grisman and Taylor 

Full Album: Crystal Silence 

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Pasquale Grasso, an Italian-born jazz guitarist, is celebrated for his virtuosic technique and deep bebop roots. Grasso has captivated jazz audiences worldwide by blending intricate harmonies with a clean, classic tone. Legendary guitarist Pat Metheny praised him in Vintage Guitar magazine, stating, “The best guitar player I’ve heard in my entire life is floating around now, Pasquale Grasso.” This acclaim reflects Grasso’s artistry, showcased on his trio album Fervency (Sony Music Masterworks), which features bassist Ari Roland and drummer Keith Balla. A protégé of Barry Harris, Grasso developed perfect pitch and began playing by ear at a young age. George Benson, Charlie Christian, and Bud Powell influenced him, and he refined his craft in Italy before relocating to New York at the age of 19. In addition to solo work, he collaborates with Grammy-winning vocalist Samara Joy. Named DownBeat’s 2024 Rising Star Guitarist of the Year, Grasso continues to shape modern jazz with reverence for its traditions.

(75) “Crescent” and Jimmy Garrison

Standard Rating 4 and Difficulty Rating 7 

Bassist Jimmy Garrison was a key figure in 1960s jazz, best known for his work with John Coltrane’s classic quartet from 1962 to 1967. His firm tone, solid rhythm, and blues-inflected modal playing anchored the group, especially on landmark albums like A Love Supreme and Live at Birdland. Garrison’s innovative techniques, including extended unaccompanied solos, helped shape the quartet’s spiritual and modal sound. The 1964 track “Crescent” highlights the quartet’s exceptional interplay. It opens with Coltrane’s expressive tenor sax over Tyner’s delicate piano, supported by Garrison’s steady bass and Jones’s dynamic drumming. The simple, hymn-like melody unfolds over ii–V progressions enriched with altered chords and modal tensions, creating a contemplative atmosphere. The solo section features modal improvisation and unexpected harmonic shifts, foreshadowing the quartet’s later spiritual works. This piece exemplifies Garrison’s role as the group’s grounding force and Coltrane’s evolving compositional style, later echoed in Tyner’s solo piano rendition of “Crescent.”

John Coltrane

McCoy Tyner 

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(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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