(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

Spotify Playlist

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

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.