(63) :Chippie " and Don Cherry

Standard Rating 2 Difficulty Rating 8

Don Cherry (1936–1995) was a groundbreaking jazz trumpeter known for his role in pioneering free jazz alongside Ornette Coleman. Born in Oklahoma City and raised in Los Angeles, Cherry was influenced by Clifford Brown before joining Coleman’s quartet in the late 1950s. His work on The Shape of Jazz to Come (1959) and Free Jazz (1961) helped redefine jazz by embracing spontaneity and rejecting traditional harmonic constraints. Beyond his collaborations with Coleman, Cherry explored world music, blending African, Indian, and Middle Eastern sounds into his work. His group Codona and projects like the Organic Music Society in Sweden exemplified his adventurous approach. Cherry’s impact on jazz remains profound, inspiring generations of musicians.

"Chippie" is a hard-swinging tune from Ornette Coleman’s 1958 album Something Else!!!!, featuring Cherry on cornet. It is structured around a 32-bar AABA form and draws from “I Got Rhythm” chord changes but introduces modern harmonic twists. The angular melody, reminiscent of Charlie Parker, poses challenges with its speed and rhythmic complexity. Cherry’s solo on the recording is fluid and well-connected, staying closer to the harmonic framework than Coleman’s more exploratory approach. The rhythm section, with Walter Norris on piano, Don Payne on double bass, and Billy Higgins on drums, drives the piece with intensity. “Chippie” highlights Cherry’s ability to balance bebop traditions with his evolving avant-garde sensibilities.

Ornette Coleman

Stefano Bollani

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Tal Yahalom, a Brooklyn-based jazz guitarist and composer, is set to release his highly anticipated ensemble-focused album Mirror Image on March 21, 2025, following the singles Hymn for Tomorrow (Feb. 24) and Tri-Tonal (March 10). Known for his intricate compositions and virtuosity, Yahalom brings together a stellar group of musicians, including David Leon (alto saxophone and flute), Ledah Finck (violin), Irene Han (cello), and Rogerio Boccato (percussion), to create a blend of chamber music and jazz that defies traditional boundaries. For more on Mirror Image, check out its official release on Bandcamp, and catch Yahalom live at the album release show on April 10 at Jazz Gallery, NYC.

https://www.talyahalom.com/

(61) “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 Jonen’s 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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