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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54- McCoy Tyner and "Central Park West"

McCoy Tyner (1938–2020) was a groundbreaking jazz pianist known for his work with John Coltrane’s iconic quartet. Tyner's open fourth voicings and modal harmonies became a cornerstone of the group's sound on albums like A Love Supreme and My Favorite Things. After leaving Coltrane, Tyner forged a solo career, creating classics like The Real McCoy while drawing on African and Eastern influences. "Central Park West," from Coltrane's Coltrane's Sound (1964), is a serene ballad showcasing Coltrane's soprano saxophone and Tyner’s impressionistic piano work. The piece employs "Coltrane changes," a harmonic framework that cycles through specific key centers, adding complexity to the 10-bar form. Coltrane’s understated melody allows Tyner to shine, delivering a nuanced solo with rich voicings and fluid phrasing, complemented by Elvin Jones's delicate brushwork and Steve Davis’s steady bass.

John Coltrane Version 

Lakecia Benjamin's Version 

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53-“Can’t Help Lovin’ Dat Man” and Teddy Wilson 

Standards Rating 7 Difficulty Rating 6 

Teddy Wilson (1912–1986) was a groundbreaking jazz pianist who was celebrated for his elegant swing-era style and role in racial integration in jazz. Born in Texas and classically trained in Alabama, Wilson worked with Louis Armstrong and Benny Carter before joining Benny Goodman in 1935. As part of Goodman’s racially integrated ensemble, alongside drummer Gene Krupa and later Lionel Hampton, Wilson helped redefine jazz, highlighted by the historic 1938 Carnegie Hall concert. As a bandleader, he recorded prolifically with iconic vocalists like Billie Holiday and Ella Fitzgerald, offering nuanced accompaniment that enhanced their performances without overpowering them.

"Can’t Help Lovin’ Dat Man," a classic ballad from Show Boat (1927), blends themes of enduring love with bluesy melodies and a 32-bar AABA form. Kern’s use of diminished seventh chords and harmonic shifts to Ab major and F minor enriches its emotional depth, making it a timeless standard in jazz and musical theater. Wilson’s 1937 recording of Jerome Kern’s "Can’t Help Lovin’ Dat Man," featuring Billie Holiday, exemplifies his sophisticated piano artistry. Holiday’s emotive delivery is supported by an all-star ensemble, including Buck Clayton (trumpet) and Vido Musso (tenor sax). Wilson’s light touch and harmonic depth create a rich interplay, shining in his accompaniment and solo passages.

Billie Holiday Version 

Oscar Peterson Version 

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Donald Vega, a celebrated jazz pianist and composer from Nicaragua, continues to captivate audiences with his musical brilliance. His latest album, As I Travel, has garnered a Grammy nomination for Best Latin Jazz Album, showcasing his original compositions. Vega’s meticulous approach shines through, blending intricate grooves with masterful arrangements that offer structure and creative freedom to his ensemble, featuring John Patitucci, Lewis Nash, and Luisito Quintero.  In addition, Vega recently released All Is Merry and Bright, a festive Christmas album recorded with Clovis Nicolas and Pete Van Nostrand. This project, born from spontaneity and inspired by jazz greats, highlights Vega’s ability to reimagine timeless classics with fresh, vibrant interpretations.

52-“Call Me Irresponsible” and Bobby Darin 

Standards Rating 7 Difficulty Rating 6 

Bobby Darin’s rendition of "Call Me Irresponsible" exemplifies his ability to blend charm and sophistication with a vocal style that transitions seamlessly between crooning and swing. Written by Jimmy Van Heusen with lyrics by Sammy Cahn, the song earned an Academy Award in 1964 for Papa’s Delicate Condition. Darin’s 1964 recording, arranged by Richard Wess, highlights his versatility as an interpreter of the Great American Songbook. Backed by a lush swing ensemble, Darin’s phrasing captures the song’s self-deprecating yet endearing tone, conveying vulnerability while maintaining romantic confidence. Darin’s interpretation adds dynamic shifts that build intensity before resolving into a subdued conclusion, showcasing his ability to bring nuance to a standard. “Call Me Irresponsible” solidified its place in the jazz and pop repertoire with iconic recordings by artists like Frank Sinatra and Jack Jones. However, Darin’s version stands out for its technical precision and emotive delivery balance, underscoring his lasting legacy in American music.

Bobby Darin Version 

Frank Sinatra Version

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51-“Call Me” and Nancy Wilson 

Nancy Wilson (1937–2018) was an acclaimed American jazz and pop singer known for her smooth voice, exceptional phrasing, and ability to blend genres. Born in Ohio, she began her career early, hosting a TV show at 15. Her breakthrough came in 1959 when she signed with Capitol Records, leading to her debut album, Like in Love. Her collaboration with Cannonball Adderley on their 1961 album solidified her as a premier jazz vocalist. Wilson's biggest hit, “(You Don’t Know) How Glad I Am,” earned a Grammy in 1965, exemplifying her ability to merge jazz, soul, and pop. Over her career, she released over 70 albums and won three Grammys, among other honors. 

Wilson recorded “Call Me” for her 1966 album A Touch of Today. The jazz standard, written by Tony Hatch, gained fame from Chris Montez’s bossa nova-inspired 1966 hit. Wilson’s rendition is vibrant and funk-inflected, showcasing her precise delivery, though the arrangement leans toward overproduction. In contrast, Brazilian pianist Eliane Elias’s version on Dreamer (2004) embraces a slower Latin jazz style with lush instrumentation, highlighting its melodic elegance. Through its adaptability, “Call Me” remains a favorite among jazz and pop audiences, illustrating Wilson's skill in reinterpreting standards.

Spotify Playlist 

Nancy Wilson Version 

Elaine Elias