Nat King Cole’s interpretation of “Don’t Get Around Much Anymore” marries the song’s refined Ellington roots with Cole’s signature warmth and polish. The tune, originally an instrumental titled “Never No Lament” before lyrics were added, is built on a classic 32-bar AABA structure that balances elegant chromatic motion with a memorable melodic hook. Cole keeps the melody’s graceful contour intact while subtly shaping phrases to enhance the lyric’s quiet humor and bittersweet nostalgia—avoiding emotional excess in favor of poised understatement. His relaxed swing feel, conversational timing, and velvet tone soften the song’s theme of social withdrawal and lost romance, making the sentiment tender rather than bitter. Billy May’s buoyant arrangement surrounds Cole with bright brass punctuation and smooth sax textures, reinforcing the tune’s sophisticated charm. For Cole, the performance represents both his jazz roots—seen in his phrasing and rhythmic ease—and his mastery of popular songcraft, demonstrating why he remains one of the most enduring interpreters of the American songbook

Wolfgang Muthspiel Interview

Austrian guitarist and composer Wolfgang Muthspiel’s new album Tokyo, released on ECM Records in September 2025, captures the refined interplay of his long-standing trio with bassist Scott Colley and drummer Brian Blade. Recorded in Tokyo in October 2024 and produced by ECM founder Manfred Eicher, the record highlights Muthspiel’s composition skills and prowess as a guitarist. His music is a true  balance of lyricism and expressionism. Each track demonstrates the trio’s remarkable equality — a conversation of three master musicians rather than a leader and accompanists. Critics have praised Tokyo for its clarity, warmth, and understated virtuosity, noting how it extends Muthspiel’s exploration of space, tone, and subtle rhythmic dialogue. The result is a brilliant statement from one of contemporary jazz’s most distinctive voices.

Check Out The Album: Tokyo https://open.spotify.com/album/3NFQljNO1NEBEw8qMSGVWY?si=xhfMaeu0T4ePEIOgGjKajA

(96) Don’t Blame Me and Ethel Waters 

“Don’t Blame Me,” written by Jimmy McHugh and Dorothy Fields in 1932, became a popular standard known for its lyrical melody and elegant harmonic motion. Ethel Waters’ 1933 recording, arranged by Victor Young, remains one of the definitive interpretations. Her expressive phrasing, subtle rhythmic control, and spoken introduction elevate the song from a simple love ballad to a deeply personal statement. The arrangement’s double-time instrumental section and Waters’ seamless reentry on the bridge highlight her professionalism and command of musical form. Waters (1896–1977), a trailblazing vocalist and actress, rose from poverty to stardom in the 1920s and 1930s, breaking racial barriers in recording, Broadway, film, and television. Known for her clarity of diction and emotional depth, she influenced later artists like Billie Holiday and Lena Horne. Her rendition of “Don’t Blame Me” exemplifies both her artistry and her role in shaping the expressive language of American popular song.

Ethel Waters 

Thelonious Monk

Jazz Real Book Playlist 

(95) “Domino Biscuit” and Hotel Hello

Steve Swallow’s “Domino Biscuit,” from Hotel Hello (ECM, 1975), is a concise yet characterful duet that epitomizes the minimalist charm of the album. Built on a simple 10-bar form in D♭, the piece unfolds with a brief two-bar introduction and a recurring rhythmic motif of dotted quarter, eighth, and quarter notes. Written in traditional piano score, the melody sits in the bass clef, suggesting Swallow’s intent for pianistic phrasing despite its bass-driven origin. Harmonically, the tune moves gracefully through I–IV–VII–V relationships, with subtle reharmonization on the repeat, maintaining both clarity and curiosity.

As part of Hotel Hello, “Domino Biscuit” captures the essence of Gary Burton and Steve Swallow’s long partnership—intimate, conversational,  and understated. Recorded in 1974, the album’s sound world is quintessential ECM: airy, introspective, and spacious. Across its brief sketches and lyrical duets, it blurs the boundaries between jazz composition and chamber improvisation, achieving quiet brilliance through restraint.

"Domino Biscuit" 

Hotel Hello Album 

The 2026 Gilmore Bell Young Artist Award, accompanied by a $25,000 grant, recognizes two rising stars in jazz piano — Tyler Bullock II and Esteban Castro — both representing the vibrant next generation of the art form. Based in New York City and trained at the Juilliard School, Bullock and Castro share a commitment to honoring jazz’s deep traditions while advancing its creative boundaries. Bullock, a dynamic performer and collaborator with artists like Samara Joy and Dee Dee Bridgewater, channels storytelling and collective improvisation through his modern trio work. Castro, mentored by Fred Hersch, brings prodigious compositional talent and a global performance resume to his explorations of lyricism and innovation. Together, their artistry embodies the spirit of the Bell Award — celebrating youthful mastery, imagination, and a dedication to the living heritage of jazz.

(94) Dolphin Dance and George Coleman 

“Dolphin Dance,” from Herbie Hancock’s 1965 album Maiden Voyage (Blue Note Records), is a luminous example of modern jazz composition. Built on a 38-bar form, the tune flows with modal harmonies, shifting tonal centers, and a lyrical melody unified by rhythmic motifs. Hancock’s use of parallel motion, pedal tones, and deceptive resolutions creates a sound both serene and exploratory—perfectly evoking the imagery of dolphins gliding through water. The piece balances sophistication with accessibility, making it a staple for improvisers and one of Hancock’s most frequently interpreted works. 

George Coleman, the tenor saxophonist on the recording, brings a warm, articulate voice that bridges hard bop and modal jazz. Born in Memphis in 1935, Coleman’s career included pivotal collaborations with Miles Davis, Max Roach, and Elvin Jones. His solo on “Dolphin Dance” reflects both intellectual precision and blues-rooted depth, embodying his role as a vital link between post-bop tradition and modern innovation.

Marc Johnson, a distinguished American jazz bassist, rose to prominence in the late 1970s as a member of Bill Evans’ final trio. Renowned for his warm tone, lyrical phrasing, and rhythmic sensitivity, he has led groups such as Bass Desires and collaborated with Eliane Elias, Joe Lovano, and Pat Metheny. His 2025 ECM release Tramonto, recorded live in 2002 with pianist John Taylor and drummer Joey Baron, captures the trio’s elegant interplay and Johnson’s expressive solo work. The album, issued posthumously for Taylor, preserves a vital moment of creative synergy and reaffirms Johnson’s stature as a master of modern jazz bass.

(93) “Dolores” and Tony Williams 

Standard Rating 5 Difficulty Rating 6

“Dolores,” from Miles Smiles (1967), is a brisk, harmonically shifting Wayne Shorter composition that showcases the daring interplay of Miles Davis’s Second Great Quintet. Built on a 38-bar form (A–Interlude–B–Interlude–A), the tune moves fluidly through changing tonal centers and unexpected ii–V progressions, challenging soloists with its constant motion and ambiguity. The melody, light yet intricate, features Shorter’s characteristic use of upper extensions and rhythmic displacement. In performance, Miles delivers a fiery, angular solo, while Shorter and Herbie Hancock expand on the tune’s open texture, supported by Ron Carter’s grounding bass and Tony Williams’s explosive, responsive drumming. Tony Williams (1945–1997), the group’s rhythmic engine, redefined jazz drumming by treating the kit as a equal conversational instrument. His restless polyrhythms, dynamic control, and fearless interaction drove the quintet’s sound, influencing generations of drummers. “Dolores” exemplifies his balance of fire, freedom, and precision within modern jazz innovation.

Miles Davis 

VSOP

Spotify

(92) “Doin’ The Pig” and Bill Goodwin 

Standards Rating 1 Difficulty Rating 8 

“Doin’ the Pig,” composed by Steve Swallow and featured on Gary Burton’s Throb (1969), is a bold and funky example of early jazz fusion that blends jazz sophistication with rock’s rhythmic drive. The tune’s structure—divided into four sections (A, B, C, and D)—creates a constantly shifting landscape of rhythmic tension and release. The melody is jagged and syncopated, full of wide leaps and rests that give it an unpredictable, almost playful edge. Beneath that, Bill Goodwin’s drumming locks tightly with Swallow’s electric bass, generating a deep, propulsive groove that grounds the tune’s complex harmonic motion. His crisp ride cymbal patterns and subtle snare accents provide both momentum and space for the solos that follow. As the ensemble builds intensity, Goodwin adapts seamlessly, moving from understated swing phrasing to rock-inflected power. The result is a vibrant, forward-looking track that captures Throb’s adventurous fusion spirit and highlights Goodwin’s rhythmic mastery.

Gary Burton 

Spotify Playlist

Spyro Gyra, led by saxophonist and composer Jay Beckenstein, has been blending jazz, R&B, Latin, and Caribbean influences for over 50 years, creating an instantly recognizable sound that has earned them fans worldwide. Known for radio hits like "Morning Dance," "Shaker Song," and "Catching the Sun," the band continues to make their music fresh and accessible while showcasing top-tier musicianship. Much of their longevity comes from Beckenstein’s leadership style, which balances authority with collaboration, allowing every member to contribute creatively. From their beginnings in Buffalo clubs to platinum-selling albums and global tours, Spyro Gyra has remained a force in contemporary jazz. Audiences still respond with standing ovations, a testament to the energy and joy the group brings to every performance. As part of WBGO’s All That Jazz series, Spyro Gyra will bring their dynamic sound to the Union County Performing Arts Center in New Jersey on November 1.