(98) “Donna Lee” an Claude Thornhill

Standards Ratings 7 Difficulty Rating 8

“Donna Lee” is a cornerstone of the bebop repertoire, composed by Miles Davis (though often attributed to Charlie Parker) and first recorded in 1947 by the Charlie Parker Quintet featuring Parker on alto sax and Davis on trumpet. The tune is a whirlwind of rapid-fire eighth notes, angular leaps, and constant harmonic motion over the chord changes of “(Back Home Again in) Indiana.” Its technical demands and unpredictable phrasing make it both a rite of passage and a challenge for jazz musicians. The tune’s spirit can be heard in the influence of Gil Evans and Claude Thornhill’s orchestra and their reworking of the tune. Thornhill’s group, with its cool, impressionistic voicings and advanced harmonies, deeply influenced both Parker and Davis. Evans, who arranged for Thornhill, later became Davis’s collaborator on Birth of the Cool. The contrast between Parker’s version and Thornhills, both recorded in 1947 makes for a cool contrast.

Charlie Parker

Claude Thornhill

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Cuban-American saxophonist, clarinetist, and composer Paquito D’Rivera — a towering figure whose joyful spirit matches his musical brilliance — will be honored as the newest recipient of the Giants of Jazz Award on November 29, 2025 at the South Orange Performing Arts Center. The event will feature an all-star lineup including Eric Alexander, Don Braden, Roberta Gambarini, Jeb Patton, Rufus Reid, Steve Davis, Freddie Hendrix, and Yotam Silberstein.

At 77, D’Rivera remains a symbol of artistic excellence and personal courage. Raised in Havana by a classical saxophonist father, he absorbed everything from Mozart to Benny Goodman and began performing professionally as a child.

After co-founding the groundbreaking Cuban ensembles Orquesta Cubana de Música Moderna and Irakere, he famously defected during a European tour, seeking creative freedom away from Cuba’s political restrictions. His leap of faith came at great personal cost — years without seeing his family — yet it launched an extraordinary international career supported by legends like Dizzy Gillespie.

Still fiercely active, D’Rivera continues to blend classical, jazz, and Latin traditions. His latest album, La Fleur de Cayenne, recorded with the Madrid-New York Connection, showcases his lifelong spirit of innovation.

Giants of Jazz Concert https://www.sopacnow.org/events/giants-of-jazz-2025/

New Album La Fleur de Cayenne, https://open.spotify.com/album/43hycGOSuAa3LkQwDBHelv?si=JnZGFm5-R22vt2TWx6k3vg

Jay Sweet's Cover Article on Paquito D'Rivera https://njjs.org/magazine/

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