Sir Miles Dewey DavisIII
10.”So What”
As you watch or listen to Davis perform songs like this you can see and hear the passion that he has for his craft. The song starts off fairly sparse in arrangement but it truly grabs you as Davis cuts loose on the trumpet.
9.”Blue in Green”
This is from the Davis album kind of blue which was released in 1959. It is a mellow piece that has a lot of underlying hurt and passion in the notes.
8.”Milestones”
This is the title cut off on one of his 1959 albums. The song is full of bounce and energy and very well orchestrated.
7.”Freddie Freeloader”
This is mellow Davis jazz at its best. The song is simple and yet complex in some of its passages. The musicianship, as always is grand.
6.”Autumn Leaves”
Coming in at slightly over 10 minutes long, this is considered an epic song. It features Davis, Hank Jones and Art Blakey. It is a song that has many movements and moves and breathes almost like a person as it winds its way around the melody.
5.”Bye Bye Blackbird”
This is a jazz standard. Davis gives the song his own special signature treatment and leaves the listener satisfied but ready for more. The song is one his better and better known works simply because the song has been done by many artists and has been a hit with many of the versions.
4.”Nature Boy”
This is a song that true Davis fans will enjoy. It is some of his best work and yet a song that is often forgotten by all but his most hard core fans because it is so rare.
3.”It Never Entered my Mind”
This is an entry into the Davis top 10 songs list that will easily get stuck in your head. It has a very haunting melody and is full of emotion. You can feel the pain that the trumpeter is playing.
2.”Smoke gets in your Eyes”
This has become a standard that is immediately associated with Davis. The sultry piano and trumpet paired together are very sexy and make a nice lovers song. This is one of those Davis tunes that people never get tired of hearing over and over again.
1.”Stella by Starlight”
This is one of the Davis songs that people consider to be one of his best. It s at the top of his top 10 songs list because it is one that almost everyone is going to recognize whether they are fans of the genre of jazz or not.
As you watch or listen to Davis perform songs like this you can see and hear the passion that he has for his craft. The song starts off fairly sparse in arrangement but it truly grabs you as Davis cuts loose on the trumpet.
9.”Blue in Green”
This is from the Davis album kind of blue which was released in 1959. It is a mellow piece that has a lot of underlying hurt and passion in the notes.
8.”Milestones”
This is the title cut off on one of his 1959 albums. The song is full of bounce and energy and very well orchestrated.
7.”Freddie Freeloader”
This is mellow Davis jazz at its best. The song is simple and yet complex in some of its passages. The musicianship, as always is grand.
6.”Autumn Leaves”
Coming in at slightly over 10 minutes long, this is considered an epic song. It features Davis, Hank Jones and Art Blakey. It is a song that has many movements and moves and breathes almost like a person as it winds its way around the melody.
5.”Bye Bye Blackbird”
This is a jazz standard. Davis gives the song his own special signature treatment and leaves the listener satisfied but ready for more. The song is one his better and better known works simply because the song has been done by many artists and has been a hit with many of the versions.
4.”Nature Boy”
This is a song that true Davis fans will enjoy. It is some of his best work and yet a song that is often forgotten by all but his most hard core fans because it is so rare.
3.”It Never Entered my Mind”
This is an entry into the Davis top 10 songs list that will easily get stuck in your head. It has a very haunting melody and is full of emotion. You can feel the pain that the trumpeter is playing.
2.”Smoke gets in your Eyes”
This has become a standard that is immediately associated with Davis. The sultry piano and trumpet paired together are very sexy and make a nice lovers song. This is one of those Davis tunes that people never get tired of hearing over and over again.
1.”Stella by Starlight”
This is one of the Davis songs that people consider to be one of his best. It s at the top of his top 10 songs list because it is one that almost everyone is going to recognize whether they are fans of the genre of jazz or not.
John William Coltrane
1 ) “‘Round Midnight” (from ‘Round About Midnight by Miles Davis, 1956)
Of the approximately 50 zillion possibilities to represent the Miles-and-Coltrane partnership, I chose this one to represent Coltrane partly because I love his passionate solo here and partly because of the remarkable contrast between these two lead voices.
2 ) “Monk’s Mood” (from Thelonious Himself by Thelonious Monk, 1957)
I’m embarrassed to say I don’t remember the precise circumstances of first hearing this performance, a solo-to-duo-to-trio performance with Monk, Coltrane and bassist Wilbur Ware. I do know, however, that it blew my mind. As with Coltrane’s recording of his own “Naima” two years later, he does not solo here, so his contribution rests entirely on the spirit with which he imbues the melody. When I was a freshman in college, I used to put this track on endless repeat to absorb the warmth and beauty of Coltrane’s playing, and I still find it remarkable that someone so renowned for improvisational brilliance could have such an impact through the interpretation of a melody.
3 ) “Time Was” (from Coltrane, 1957)
Though I’m a devotee of Coltrane’s work for the Impulse! label, I have a real fondness for his early work as a bandleader on Prestige. This track is from ‘Trane’s first session as a leader, and I pick it among many possibilities due to my fond memories of Kenny Barron (who, if I’m not mistaken, had been brought to this session by his brother, Bill) teaching this tune to me and, in the process, turning me on to this particular recording.
4 ) “Moment’s Notice” (from Blue Train, 1957)
2 years before “Giant Steps,” Coltrane was well on his way to establishing his mastery over difficult and fast-moving chord progressions. And boy does he tear this one apart! Bonus points for the great band, including Coltrane’s hard-swinging fellow Miles Davis employees, Paul Chambers and “Philly” Joe Jones, as well as still-teenaged Lee Morgan, contributing a brilliant trumpet solo.
5 ) “My Favorite Things” (from My Favorite Things, 1960)
When I first heard about this Coltrane fellow as a high school sophomore with a vague interest in jazz, I went out and got an Atlantic Records 2-LP compilation, and listened first to the 2 songs I’d heard about. The first was “Giant Steps,” which I didn’t initially get or particularly like. The next was “My Favorite Things,” and that was one of the distinct moments in my life when my ears opened in unprecedented ways. McCoy Tyner’s chords, Elvin Jones’ fiery drumming and Coltrane’s passionate soprano immediately entered a deep place in my consciousness and never left.
6 ) “Chasin’ the Trane” (from Coltrane Live at the Village Vanguard, 1961)
It took a while after my first listen to develop the attention span to hear 16 minutes of ‘Trane blowing the blues away at a bright tempo in a pianoless trio with Reggie Workman and Elvin Jones. This is one case where I credit the critics – they said this was important stuff, so I kept trying and now love this as an example of his authoritative and inventive work on up-tempo tunes during this pivotal period of development.
7 ) “After the Rain” (from Impressions, 1963)
The Coltrane “spiritual ballad,” a characteristic facet of his oeuvre, took a little while to grow on me. You know, being young and energetic and all. In any case, it was actually Kate (not yet my girlfriend, much less wife) who turned me on to this stellar example and once I got into it I could hear all the stuff that moved me in “Monk’s Mood” and then some. This song also features the drumming of Elvin’s “suber-sub,” Roy Haynes (although as a rubato tune, this is not as dramatic as other examples could be). Likewise, Jimmy Garrison’s sonic contributions to Coltrane’s work are on good display here.
8 ) “Your Lady” (from Live at Birdland, 1963)
This is the song that displaced “Monk’s Mood” on mega-repeat when I was 19. Nearly 20 years later, I still can’t entirely put my finger on what it is that is so moving about this song (a modal waltz with ‘Trane on soprano), but there is something in Coltrane’s passion and melodicism that hits me in the deepest part of my soul, something I’ve spent this whole time trying to figure out how to evoke on the piano. On a more mundane level, note that this song wasn’t actually recorded live nor at Birdland (nor was “Alabama” from the same album). Let’s not split hairs, just dig the music.
9 ) “Resolution” (from A Love Supreme, 1964)
As I told my students (and as I’ve written before in this blog post), my first experience with Coltrane’s A Love Supreme album left me bewildered and repelled. Time passed and when I was ready, there it was, the most emotionally and spiritual intense recorded album I have ever heard. If I had to pick one track, the 2nd movement (of 4) would probably be the one, but hopefully I never have to pick just one.
10 ) “Naima” (from At the Village Vanguard Again, 1966)
It took me longer to get into the Rasheid Ali/Pharoah Sanders/Alice Coltrane era of Coltrane’s band, but I am officially a convert. Compared to the “classic quartet,” the soloing is raunchier and the pulse is much more fluid. This track was my first exposure to this incarnation of the group – for various reasons (including the scorn of some people I quite respected), I thought I wasn’t supposed to like it. But in spite of my preconceptions the sweeping intensity drew me in. Much of this probably can be attributed to Coltrane’s ability, even as the music got further “out,” to inject spirituality and lyricism into his playing.
Of the approximately 50 zillion possibilities to represent the Miles-and-Coltrane partnership, I chose this one to represent Coltrane partly because I love his passionate solo here and partly because of the remarkable contrast between these two lead voices.
2 ) “Monk’s Mood” (from Thelonious Himself by Thelonious Monk, 1957)
I’m embarrassed to say I don’t remember the precise circumstances of first hearing this performance, a solo-to-duo-to-trio performance with Monk, Coltrane and bassist Wilbur Ware. I do know, however, that it blew my mind. As with Coltrane’s recording of his own “Naima” two years later, he does not solo here, so his contribution rests entirely on the spirit with which he imbues the melody. When I was a freshman in college, I used to put this track on endless repeat to absorb the warmth and beauty of Coltrane’s playing, and I still find it remarkable that someone so renowned for improvisational brilliance could have such an impact through the interpretation of a melody.
3 ) “Time Was” (from Coltrane, 1957)
Though I’m a devotee of Coltrane’s work for the Impulse! label, I have a real fondness for his early work as a bandleader on Prestige. This track is from ‘Trane’s first session as a leader, and I pick it among many possibilities due to my fond memories of Kenny Barron (who, if I’m not mistaken, had been brought to this session by his brother, Bill) teaching this tune to me and, in the process, turning me on to this particular recording.
4 ) “Moment’s Notice” (from Blue Train, 1957)
2 years before “Giant Steps,” Coltrane was well on his way to establishing his mastery over difficult and fast-moving chord progressions. And boy does he tear this one apart! Bonus points for the great band, including Coltrane’s hard-swinging fellow Miles Davis employees, Paul Chambers and “Philly” Joe Jones, as well as still-teenaged Lee Morgan, contributing a brilliant trumpet solo.
5 ) “My Favorite Things” (from My Favorite Things, 1960)
When I first heard about this Coltrane fellow as a high school sophomore with a vague interest in jazz, I went out and got an Atlantic Records 2-LP compilation, and listened first to the 2 songs I’d heard about. The first was “Giant Steps,” which I didn’t initially get or particularly like. The next was “My Favorite Things,” and that was one of the distinct moments in my life when my ears opened in unprecedented ways. McCoy Tyner’s chords, Elvin Jones’ fiery drumming and Coltrane’s passionate soprano immediately entered a deep place in my consciousness and never left.
6 ) “Chasin’ the Trane” (from Coltrane Live at the Village Vanguard, 1961)
It took a while after my first listen to develop the attention span to hear 16 minutes of ‘Trane blowing the blues away at a bright tempo in a pianoless trio with Reggie Workman and Elvin Jones. This is one case where I credit the critics – they said this was important stuff, so I kept trying and now love this as an example of his authoritative and inventive work on up-tempo tunes during this pivotal period of development.
7 ) “After the Rain” (from Impressions, 1963)
The Coltrane “spiritual ballad,” a characteristic facet of his oeuvre, took a little while to grow on me. You know, being young and energetic and all. In any case, it was actually Kate (not yet my girlfriend, much less wife) who turned me on to this stellar example and once I got into it I could hear all the stuff that moved me in “Monk’s Mood” and then some. This song also features the drumming of Elvin’s “suber-sub,” Roy Haynes (although as a rubato tune, this is not as dramatic as other examples could be). Likewise, Jimmy Garrison’s sonic contributions to Coltrane’s work are on good display here.
8 ) “Your Lady” (from Live at Birdland, 1963)
This is the song that displaced “Monk’s Mood” on mega-repeat when I was 19. Nearly 20 years later, I still can’t entirely put my finger on what it is that is so moving about this song (a modal waltz with ‘Trane on soprano), but there is something in Coltrane’s passion and melodicism that hits me in the deepest part of my soul, something I’ve spent this whole time trying to figure out how to evoke on the piano. On a more mundane level, note that this song wasn’t actually recorded live nor at Birdland (nor was “Alabama” from the same album). Let’s not split hairs, just dig the music.
9 ) “Resolution” (from A Love Supreme, 1964)
As I told my students (and as I’ve written before in this blog post), my first experience with Coltrane’s A Love Supreme album left me bewildered and repelled. Time passed and when I was ready, there it was, the most emotionally and spiritual intense recorded album I have ever heard. If I had to pick one track, the 2nd movement (of 4) would probably be the one, but hopefully I never have to pick just one.
10 ) “Naima” (from At the Village Vanguard Again, 1966)
It took me longer to get into the Rasheid Ali/Pharoah Sanders/Alice Coltrane era of Coltrane’s band, but I am officially a convert. Compared to the “classic quartet,” the soloing is raunchier and the pulse is much more fluid. This track was my first exposure to this incarnation of the group – for various reasons (including the scorn of some people I quite respected), I thought I wasn’t supposed to like it. But in spite of my preconceptions the sweeping intensity drew me in. Much of this probably can be attributed to Coltrane’s ability, even as the music got further “out,” to inject spirituality and lyricism into his playing.
Edward Kennedy"duke" Ellington
1 ) “Black and Tan Fantasy,” 1927 (Duke Ellington and his Washingtonians)
Considering that his generally agreed-upon “peak years” were more than a decade away, still, this is some rather sophisticated music! And soulful too, especially with Bubber Miley’s famous wah-wah trumpet playing. This won a virtual coin-flip with the era’s other landmark example of this, “East St. Louis Toodle-Oo” (note, from the mouth of Phil Schaap: correct pronunciation = “toddle-oh”).
2 ) “Tiger Rag,” 1929 (Duke Ellington and the Jungle Band)
Dr. Lewis Porter turned my coat to this in graduate school (as part of the lineage of the tune from the Original Dixieland Jazz Band through the sophistication of Art Tatum in 1933 and on to Charlie Parker and others after that). Featuring so many of his longtime featured soloists (Barney Bigard, Harry Carney, Johnny Hodges and on and on) this stands as probably my favorite Duke arrangement of a work from outside his own pen or those of his inner circle members.
3 ) “Rockin’ In Rhythm,“ 1931 (The Harlem Footwarmers)
Rockin’ indeed. The refinement of Ellington’s swing feel can be heard vividly here (amidst some great soloing by Barney Bigard and Tricky Sam Nanton); as much credit as Jimmy Blanton deservedly gets for holding down the band’s bottom end a few years later, Wellman Braud was no slouch either, as we can hear with his infectious hook-up with longtime drummer Sonny Greer.
4 ) “Solitude,” 1934 (Duke Ellington Orchestra)
Duke had already composed numerous significant ballads by this point, but to my ears this marks a breakthrough in the level of gentle lyricism at a time when even ballads were still typically rather upbeat.
5 ) “Ko-Ko,” 1940 (Duke Ellington Orchestra)
This whole list could have EASILY been comprised solely of tracks from the so-called “Blanton-Webster” era of the Ellington Orchestra. Indeed, it pains me to leave out “Cotton Tail,” “Harlem Airshaft” and easily 20 others. For both textural depth and maximizing the uniqueness of the solo voices available to him (in this case Juan Tizol, Tricky Sam Nanton and Jimmy Blanton) this is the “desert island” choice.
6 ) “Reflections In D” from Piano Reflections, 1953 (duet with Wendell Marshall)
My first in-depth exposure to Duke the pianist (outside the context of his Orchestra) came through this record. From the gnarly swing of “Janet” to the aching lyricism of “Melancholia,” this whole album is a gem, but I have a particular soft spot for this soothing, harmonically and melodically rich composition.
7 ) “Part IV a.k.a. Come Sunday” from Black, Brown and Beige, 1958 (Duke Ellington Orchestra with Mahalia Jackson)
The spiritual side of Ellington (the composer and the man) is well-documented and that too could easily get its own Top 10 list. This track (partnered with its instrumental counterpart from the same album, featuring Ray Nance’s violin) was assigned to me by my teacher George Raccio to learn and transcribe when I was 17, and it has been etched in my brain ever since. This may give me a soft spot for the track, but I think that the power of the composition and of Mahalia Jackson’s voice would lead most people to the same reverent conclusion nonetheless.
8 ) “Fleurette Africaine (African Flower)” from Money Jungle, 1962 (trio with Charles Mingus, Max Roach)
This was recorded less than 2 weeks before Ellington’s celebrated collaboration with John Coltrane, and collective these two albums demonstrate Duke’s funky piano and era-bending versatility. This haunting piece is probably my favorite new composition from the final 15 (maybe 20?) years of Duke’s life and shows a wonderful balance of restraint and edginess.
9 ) “Isfahan” from Far East Suite, 1966 (Duke Ellington Orchestra)
How liberally should Billy Strayhorn be represented on a list like this? I don’t know how to answer that question – in the end, there were certainly dozens of top-shelf choices for that and I narrowed it down to this one (in a toss-up with “Star-Crossed Lovers” from the Such Sweet Thunder project a decade prior) among a trove of achingly gorgeous Strayhorn ballads featuring the lead voice of Johnny Hodges on alto.
10 ) “Blues for New Orleans” from New Orleans Suite, 1970 (Duke Ellington Orchestra)
This whole album shows that Duke still “had it” as a writer, even after Strayhorn’s passing. This track in particular also shows how gritty the band could get, featuring quite possibly the nastiest Johnny Hodges I have ever heard, plus some soulful organ by Wild Bill Davis.
Considering that his generally agreed-upon “peak years” were more than a decade away, still, this is some rather sophisticated music! And soulful too, especially with Bubber Miley’s famous wah-wah trumpet playing. This won a virtual coin-flip with the era’s other landmark example of this, “East St. Louis Toodle-Oo” (note, from the mouth of Phil Schaap: correct pronunciation = “toddle-oh”).
2 ) “Tiger Rag,” 1929 (Duke Ellington and the Jungle Band)
Dr. Lewis Porter turned my coat to this in graduate school (as part of the lineage of the tune from the Original Dixieland Jazz Band through the sophistication of Art Tatum in 1933 and on to Charlie Parker and others after that). Featuring so many of his longtime featured soloists (Barney Bigard, Harry Carney, Johnny Hodges and on and on) this stands as probably my favorite Duke arrangement of a work from outside his own pen or those of his inner circle members.
3 ) “Rockin’ In Rhythm,“ 1931 (The Harlem Footwarmers)
Rockin’ indeed. The refinement of Ellington’s swing feel can be heard vividly here (amidst some great soloing by Barney Bigard and Tricky Sam Nanton); as much credit as Jimmy Blanton deservedly gets for holding down the band’s bottom end a few years later, Wellman Braud was no slouch either, as we can hear with his infectious hook-up with longtime drummer Sonny Greer.
4 ) “Solitude,” 1934 (Duke Ellington Orchestra)
Duke had already composed numerous significant ballads by this point, but to my ears this marks a breakthrough in the level of gentle lyricism at a time when even ballads were still typically rather upbeat.
5 ) “Ko-Ko,” 1940 (Duke Ellington Orchestra)
This whole list could have EASILY been comprised solely of tracks from the so-called “Blanton-Webster” era of the Ellington Orchestra. Indeed, it pains me to leave out “Cotton Tail,” “Harlem Airshaft” and easily 20 others. For both textural depth and maximizing the uniqueness of the solo voices available to him (in this case Juan Tizol, Tricky Sam Nanton and Jimmy Blanton) this is the “desert island” choice.
6 ) “Reflections In D” from Piano Reflections, 1953 (duet with Wendell Marshall)
My first in-depth exposure to Duke the pianist (outside the context of his Orchestra) came through this record. From the gnarly swing of “Janet” to the aching lyricism of “Melancholia,” this whole album is a gem, but I have a particular soft spot for this soothing, harmonically and melodically rich composition.
7 ) “Part IV a.k.a. Come Sunday” from Black, Brown and Beige, 1958 (Duke Ellington Orchestra with Mahalia Jackson)
The spiritual side of Ellington (the composer and the man) is well-documented and that too could easily get its own Top 10 list. This track (partnered with its instrumental counterpart from the same album, featuring Ray Nance’s violin) was assigned to me by my teacher George Raccio to learn and transcribe when I was 17, and it has been etched in my brain ever since. This may give me a soft spot for the track, but I think that the power of the composition and of Mahalia Jackson’s voice would lead most people to the same reverent conclusion nonetheless.
8 ) “Fleurette Africaine (African Flower)” from Money Jungle, 1962 (trio with Charles Mingus, Max Roach)
This was recorded less than 2 weeks before Ellington’s celebrated collaboration with John Coltrane, and collective these two albums demonstrate Duke’s funky piano and era-bending versatility. This haunting piece is probably my favorite new composition from the final 15 (maybe 20?) years of Duke’s life and shows a wonderful balance of restraint and edginess.
9 ) “Isfahan” from Far East Suite, 1966 (Duke Ellington Orchestra)
How liberally should Billy Strayhorn be represented on a list like this? I don’t know how to answer that question – in the end, there were certainly dozens of top-shelf choices for that and I narrowed it down to this one (in a toss-up with “Star-Crossed Lovers” from the Such Sweet Thunder project a decade prior) among a trove of achingly gorgeous Strayhorn ballads featuring the lead voice of Johnny Hodges on alto.
10 ) “Blues for New Orleans” from New Orleans Suite, 1970 (Duke Ellington Orchestra)
This whole album shows that Duke still “had it” as a writer, even after Strayhorn’s passing. This track in particular also shows how gritty the band could get, featuring quite possibly the nastiest Johnny Hodges I have ever heard, plus some soulful organ by Wild Bill Davis.
Louis Armstrong
10.”Nobody Knows the Trouble I’ve Seen”This is a song that was born by the slaves in the southern United States. It was officially published in 1867 and is considered a spiritual number. It has been recorded by many artists.
9.”C’est si Bon”
This is an old French song that Armstrong and his various bands used to enjoy performing. It is an easy to listen to number that most true fans never tire of listening to. The title translates to “It’s so good.”
8.”Ain’t Misbehaving”
This is an old standard from way back which Armstrong took in and made personal. There have been many recordings before and after his version but his is a great version to sit back and listen to.
7.”Georgia on my Mind”
Most people recall the version that was made famous by Ray Charles. Yet it is impressive how the Armstrong version stacks nicely side by side with that version.
6.”You’ll never walk Alone”
This is one of the songs from Armstrong’s career that true fans of his music never tire of hearing. It has a great melody and the arrangement is stellar.
5.”When You’re Smiling”
This song was recorded many times since it was written. Armstrong’s version was even used in 2010 in the commercials for the Apple I-Phone 4. This is proof that a great song is timeless.
4.”When the Saints go Marching In”
This is another standard Armstrong song. Since he came from “The Big Easy” and this was a popular song there. It is only right that it was a big part of his career.
3.”Jeepers Creepers”
This is an old scat standard tune from way back in the day/ “Jeepers Creepers, where’s you get those peepers.” It’s all in the eyes as they say.
2.”Hello Dolly”
This song is from the Broadway musical and Armstrong did his own lively rendition of the tune. It is up-tempo and you can hear his early jazz influences on his version of the song. It became a signature song for him. The Armstrong version of the song was brought into the Grammy Hall of Fame in the year 2001.
1.”What A Wonderful World”
If you mention his name and ask which song the person you are speaking with most associates with Armstrong, it is likely to be this one. It was his most popular song ever and even today you find it in movies and even occasionally on the radio.
9.”C’est si Bon”
This is an old French song that Armstrong and his various bands used to enjoy performing. It is an easy to listen to number that most true fans never tire of listening to. The title translates to “It’s so good.”
8.”Ain’t Misbehaving”
This is an old standard from way back which Armstrong took in and made personal. There have been many recordings before and after his version but his is a great version to sit back and listen to.
7.”Georgia on my Mind”
Most people recall the version that was made famous by Ray Charles. Yet it is impressive how the Armstrong version stacks nicely side by side with that version.
6.”You’ll never walk Alone”
This is one of the songs from Armstrong’s career that true fans of his music never tire of hearing. It has a great melody and the arrangement is stellar.
5.”When You’re Smiling”
This song was recorded many times since it was written. Armstrong’s version was even used in 2010 in the commercials for the Apple I-Phone 4. This is proof that a great song is timeless.
4.”When the Saints go Marching In”
This is another standard Armstrong song. Since he came from “The Big Easy” and this was a popular song there. It is only right that it was a big part of his career.
3.”Jeepers Creepers”
This is an old scat standard tune from way back in the day/ “Jeepers Creepers, where’s you get those peepers.” It’s all in the eyes as they say.
2.”Hello Dolly”
This song is from the Broadway musical and Armstrong did his own lively rendition of the tune. It is up-tempo and you can hear his early jazz influences on his version of the song. It became a signature song for him. The Armstrong version of the song was brought into the Grammy Hall of Fame in the year 2001.
1.”What A Wonderful World”
If you mention his name and ask which song the person you are speaking with most associates with Armstrong, it is likely to be this one. It was his most popular song ever and even today you find it in movies and even occasionally on the radio.
Eleanora Fagan
10. “I’ll Be Seeing You”
Though Holiday recorded many versions of this classic song over her careers, perhaps her most heartfelt recording of it is the one she did live at Carnegie Hall in 1956. Just three years before she died, her voice is audibly weaker and rougher than previous recordings she’d done of the song in the late-1940s. Though the song bore special cultural significance for soldiers going off to World War II, this late version comes off much more personal to Holiday, as if she knew her health were rapidly deteriorating. As she sings “I’ll be seeing you / In all the familiar places,” it’s almost as if she knew she was going to have an indelible impact, and that her contributions would be revisited again and again after her death.
9. “Billie’s Blues (I Love My Man)”
Written by Holiday herself, “Billie’s Blues” (also just known as “I Love My Man”) had to make this list. With lyrics like, “I’ve been your slave / ever since I’ve been your babe / but before I’ll be your dog / I’ll see you in your grave,” listeners finally get to hear a little of what’s on Lady Day’s mind. She’s no longer the star-struck lover or the lonely girl, but finally, the strong, defiant woman who’s done putting up with the men who’ve done her wrong. “Billie’s Blues” highlights Holiday’s spunk, making it such a memorable listen. The best recording of it is the slower, more sorrowful version she did with Eddie Heywood & His Orchestra in 1944.
8. “The Very Thought of You”
Billie Holiday released her version this popular Ray Noble song in 1938. Even early in her career, Holiday’s youthful voice shows range and flexibility on this track. Her delivery of the naively romantic lyrics feels especially authentic and you can tell she believes the lyrics she’s singing because the song doesn’t quite have the tinge of sadness of the love songs of her later years.
7. “Them There Eyes”
In contrast to all of her slow, lonely ballads—which she’s undoubtedly the master of—Holiday’s version of “Them There Eyes” is cheery and flirtatious. Her playful delivery of, “I’m fallin’ / No stallin’ / In a great big way for you,” surely left plenty of gentlemen in the audience weak in the knees. The 1949 recording of the song with Sy Oliver & His Orchestra is the notable version: her voice weaves in and out of surprising, punctuated trumpets, eventually building to an all-out call and response between her and the band. Also, this is perhaps Billie’s most danceable recording, so get your swing dancing shoes and pop this one on the record player.
6. “You’re My Thrill”
There’s something magical about Holiday’s voice in conjunction with the orchestra on this track. Conducted by Gordon Jenkins, the orchestra balances out her subtle singing with dramatic string crescendos and woodwind lines. This 1946 version of “You’re My Thrill” sticks out as one of the most unique recordings that the singer ever did—a definite diversion from fronting jazz bands of the day, or crooning in intimate quartets. The slight change of sound (some have called it more “commercial”) can be attributed to her recording on Decca Records from 1944 to 1950, and their desire to market Holiday beyond jazz.
5. “Lover Man”
This track has the pained echoes of Billie Holiday’s troubled love life. In 1941, Holiday married James Monroe, a violent playboy who abused her and was said to have only married her to ride on her lucrative coattails. It was Monroe that introduced Holiday to opium. Later, after her marriage tanked, another no-good musician she was seeing, Joe Guy, got her hooked on heroin. Thus, this song seems to parallel her own struggle to find a true “lover man” who treats her right. Though she recorded the song several times over her career, it’s this live version from 1958, only a year before her death, is particularly haunting.
4. “Easy Livin’”
This is an earlier recording of Holiday’s from 1937, when she was not the star out front, but part of the band. In fact, Holiday was tapped to sing vocals in front of Teddy Wilson and his Orchestra for this session, which included Buck Clayton on trumpet, Buster Bailey on clarinet, Lester Young on tenor sax, Freddie Green on guitar, Walter Page on bass, Jo Jones on drums, and Wilson himself piano. Wilson’s strident lines drive this track, along with the guitar playing of Green (who later became a permanent member of the Count Basie Orchestra). Holiday’s spacious vocals, however, float over the top of their playing, creating a mood straight out of a 1920s speakeasy.
3. “Blue Moon”
One of the most important tracks off Billie Holiday Sings is this 1952 version of “Blue Moon.” This song is usually associated with Audrey Hepburn in Breakfast at Tiffany’s, but actually, the song was around decades before the film, being passed between vocalists of the day. “Blue Moon” is from the famous songwriting pair Rodgers and Hart, and Holiday does justice to the levity that seems pervasive in their musicals. She also takes some tasty liberties with the melody that work especially well when paired with her coquettish delivery.
2. “Solitude”
Holiday recorded this track several times over her career, for Columbia, Commodore, and Decca Records. Later it also appeared on a 1952 Clef Records reissue that was named after the song. A Duke Ellington original, Holiday’s version is recorded with heavy-weight jazzers—pianist Oscar Petersen and bassist Ray Brown, with an intro the great guitarist Barney Kessel. Many other singers have recorded this track, from Ella Fitzgerald to Etta James, but this song seems inextricably connected with Billie, whose minimalist phrasing and moody vocal timbre seemed to do it justice.
1. “Strange Fruit”
This track has to be at the top of the list; it’s that influential. One of the first racism protest songs to be recorded in popular music, 1939’s “Strange Fruit” is based off a poem written by Abel Meeropol. Holiday sang the song for the first time at Café Society in Greenwich Village, which was the first integrated nightclub in New York City. With the song’s blatant indictment of racism in the American South, it’s said that Holiday was afraid of retaliation every time she sang the song. Not to mention, no record label would touch it. Eventually, Milt Gabler put the track out on Commodore records after Holiday’s a cappella performance of it brought him to tears. Despite being aware of the danger of singing a song like this as black woman, Holiday sings “Strange Fruit” with unwavering bravery and intention, her emotive voice bolstering its timeless meaning.
Though Holiday recorded many versions of this classic song over her careers, perhaps her most heartfelt recording of it is the one she did live at Carnegie Hall in 1956. Just three years before she died, her voice is audibly weaker and rougher than previous recordings she’d done of the song in the late-1940s. Though the song bore special cultural significance for soldiers going off to World War II, this late version comes off much more personal to Holiday, as if she knew her health were rapidly deteriorating. As she sings “I’ll be seeing you / In all the familiar places,” it’s almost as if she knew she was going to have an indelible impact, and that her contributions would be revisited again and again after her death.
9. “Billie’s Blues (I Love My Man)”
Written by Holiday herself, “Billie’s Blues” (also just known as “I Love My Man”) had to make this list. With lyrics like, “I’ve been your slave / ever since I’ve been your babe / but before I’ll be your dog / I’ll see you in your grave,” listeners finally get to hear a little of what’s on Lady Day’s mind. She’s no longer the star-struck lover or the lonely girl, but finally, the strong, defiant woman who’s done putting up with the men who’ve done her wrong. “Billie’s Blues” highlights Holiday’s spunk, making it such a memorable listen. The best recording of it is the slower, more sorrowful version she did with Eddie Heywood & His Orchestra in 1944.
8. “The Very Thought of You”
Billie Holiday released her version this popular Ray Noble song in 1938. Even early in her career, Holiday’s youthful voice shows range and flexibility on this track. Her delivery of the naively romantic lyrics feels especially authentic and you can tell she believes the lyrics she’s singing because the song doesn’t quite have the tinge of sadness of the love songs of her later years.
7. “Them There Eyes”
In contrast to all of her slow, lonely ballads—which she’s undoubtedly the master of—Holiday’s version of “Them There Eyes” is cheery and flirtatious. Her playful delivery of, “I’m fallin’ / No stallin’ / In a great big way for you,” surely left plenty of gentlemen in the audience weak in the knees. The 1949 recording of the song with Sy Oliver & His Orchestra is the notable version: her voice weaves in and out of surprising, punctuated trumpets, eventually building to an all-out call and response between her and the band. Also, this is perhaps Billie’s most danceable recording, so get your swing dancing shoes and pop this one on the record player.
6. “You’re My Thrill”
There’s something magical about Holiday’s voice in conjunction with the orchestra on this track. Conducted by Gordon Jenkins, the orchestra balances out her subtle singing with dramatic string crescendos and woodwind lines. This 1946 version of “You’re My Thrill” sticks out as one of the most unique recordings that the singer ever did—a definite diversion from fronting jazz bands of the day, or crooning in intimate quartets. The slight change of sound (some have called it more “commercial”) can be attributed to her recording on Decca Records from 1944 to 1950, and their desire to market Holiday beyond jazz.
5. “Lover Man”
This track has the pained echoes of Billie Holiday’s troubled love life. In 1941, Holiday married James Monroe, a violent playboy who abused her and was said to have only married her to ride on her lucrative coattails. It was Monroe that introduced Holiday to opium. Later, after her marriage tanked, another no-good musician she was seeing, Joe Guy, got her hooked on heroin. Thus, this song seems to parallel her own struggle to find a true “lover man” who treats her right. Though she recorded the song several times over her career, it’s this live version from 1958, only a year before her death, is particularly haunting.
4. “Easy Livin’”
This is an earlier recording of Holiday’s from 1937, when she was not the star out front, but part of the band. In fact, Holiday was tapped to sing vocals in front of Teddy Wilson and his Orchestra for this session, which included Buck Clayton on trumpet, Buster Bailey on clarinet, Lester Young on tenor sax, Freddie Green on guitar, Walter Page on bass, Jo Jones on drums, and Wilson himself piano. Wilson’s strident lines drive this track, along with the guitar playing of Green (who later became a permanent member of the Count Basie Orchestra). Holiday’s spacious vocals, however, float over the top of their playing, creating a mood straight out of a 1920s speakeasy.
3. “Blue Moon”
One of the most important tracks off Billie Holiday Sings is this 1952 version of “Blue Moon.” This song is usually associated with Audrey Hepburn in Breakfast at Tiffany’s, but actually, the song was around decades before the film, being passed between vocalists of the day. “Blue Moon” is from the famous songwriting pair Rodgers and Hart, and Holiday does justice to the levity that seems pervasive in their musicals. She also takes some tasty liberties with the melody that work especially well when paired with her coquettish delivery.
2. “Solitude”
Holiday recorded this track several times over her career, for Columbia, Commodore, and Decca Records. Later it also appeared on a 1952 Clef Records reissue that was named after the song. A Duke Ellington original, Holiday’s version is recorded with heavy-weight jazzers—pianist Oscar Petersen and bassist Ray Brown, with an intro the great guitarist Barney Kessel. Many other singers have recorded this track, from Ella Fitzgerald to Etta James, but this song seems inextricably connected with Billie, whose minimalist phrasing and moody vocal timbre seemed to do it justice.
1. “Strange Fruit”
This track has to be at the top of the list; it’s that influential. One of the first racism protest songs to be recorded in popular music, 1939’s “Strange Fruit” is based off a poem written by Abel Meeropol. Holiday sang the song for the first time at Café Society in Greenwich Village, which was the first integrated nightclub in New York City. With the song’s blatant indictment of racism in the American South, it’s said that Holiday was afraid of retaliation every time she sang the song. Not to mention, no record label would touch it. Eventually, Milt Gabler put the track out on Commodore records after Holiday’s a cappella performance of it brought him to tears. Despite being aware of the danger of singing a song like this as black woman, Holiday sings “Strange Fruit” with unwavering bravery and intention, her emotive voice bolstering its timeless meaning.
Charles "charlie" Parker Jr
10. "Billie's Bounce""Billie's Bounce" (also known as "Bill's Bounce") is a jazz composition written in 1945 by Charlie Parker in the form of a 12 bar F blues. It was dedicated to Billy Shaw by the Yardbird. The original recording by Charlie Parker and His Re-Boppers was inducted into the Grammy Hall of Fame in 2002.
9. "Ornithology"
"Ornithology” is a jazz standard by bebop alto saxophonist Charlie Parker and trumpeter Benny Harris. Its title is a reference to Parker's nickname, "Bird" (ornithology means the study of birds). The Charlie Parker Septet made the first recording of the tune on March 28, 1946 on the Dial label, and it was inducted into the Grammy Hall of Fame in 1989. "Ornithology remains one of the most popular and frequently performed bebop tunes.
8. "Salt Peanuts"
"Salt Peanuts" is a bebop tune reportedly composed by Dizzy Gillespie in 1942, credited "with the collaboration of" bebop drummer Kenny Clarke. It is also cited as Charlie Parker's.
7. "Hot House"
"Hot House" is a bebop standard, composed by American jazz musician Tadd Dameron in 1945. The most famous and referred to recording of the tune is by Charlie Parker and Dizzy Gillespie on the May 1953 live concert recording entitled Jazz at Massey Hall.
6. "Lullaby of Birdland"
"Lullaby of Birdland" is a 1952 popular song with music by George Shearing and lyrics by George David Weiss under the pseudonym "B. Y. Forster." The song has become a jazz standard. The title refers to Charlie "Bird" Parker and the Birdland jazz club named after him.
5. "April in Paris"
"April in Paris" is a song composed by Vernon Duke with lyrics by E. Y. Harburg in 1932 for the Broadway musical Walk a Little Faster. The original 1933 hit was performed by Freddy Martin, and the 1952 remake (inspired by the movie of the same name) was by the Sauter-Finegan Orchestra, whose version made the Cashbox Top 50. It has been performed by many artists, including Charlie Parker.
4. "I Didn't Know What Time It Was"
"I Didn't Know What Time It Was" is a popular song. The music was written by Richard Rodgers and the lyrics by Lorenz Hart for the musical Too Many Girls (1939). Early hit versions included Benny Goodman and Artie Shaw. The Crampton Sisters 1964 revival for the DCP label was a Hot 100 entry. Another version was by Charlie Parker – with Strings in 1950.
3. "If I Should Lose You"
"If I Should Lose You” is a song composed by Ralph Rainger, with lyrics by Leo Robin. It was introduced in the 1936 film Rose of the Rancho. It was covered by Charlie Parker on his album Charlie Parker with Strings in 1950.
2. "Out of Nowhere"
"Out of Nowhere" is a popular song composed by Johnny Green with lyrics by Edward Heyman. It was the first recording by Bing Crosby under his Brunswick Records contract. Charlie Parker recorded a ballad version in 1947.
1. "They Can't Take That Away from Me"
"They Can't Take That Away from Me" is a 1937 song written by George Gershwin and Ira Gershwin and introduced by Fred Astaire in the 1937 film Shall We Dance. A notable recording is by Charlie Parker on his album Charlie Parker with Strings in 1949.
9. "Ornithology"
"Ornithology” is a jazz standard by bebop alto saxophonist Charlie Parker and trumpeter Benny Harris. Its title is a reference to Parker's nickname, "Bird" (ornithology means the study of birds). The Charlie Parker Septet made the first recording of the tune on March 28, 1946 on the Dial label, and it was inducted into the Grammy Hall of Fame in 1989. "Ornithology remains one of the most popular and frequently performed bebop tunes.
8. "Salt Peanuts"
"Salt Peanuts" is a bebop tune reportedly composed by Dizzy Gillespie in 1942, credited "with the collaboration of" bebop drummer Kenny Clarke. It is also cited as Charlie Parker's.
7. "Hot House"
"Hot House" is a bebop standard, composed by American jazz musician Tadd Dameron in 1945. The most famous and referred to recording of the tune is by Charlie Parker and Dizzy Gillespie on the May 1953 live concert recording entitled Jazz at Massey Hall.
6. "Lullaby of Birdland"
"Lullaby of Birdland" is a 1952 popular song with music by George Shearing and lyrics by George David Weiss under the pseudonym "B. Y. Forster." The song has become a jazz standard. The title refers to Charlie "Bird" Parker and the Birdland jazz club named after him.
5. "April in Paris"
"April in Paris" is a song composed by Vernon Duke with lyrics by E. Y. Harburg in 1932 for the Broadway musical Walk a Little Faster. The original 1933 hit was performed by Freddy Martin, and the 1952 remake (inspired by the movie of the same name) was by the Sauter-Finegan Orchestra, whose version made the Cashbox Top 50. It has been performed by many artists, including Charlie Parker.
4. "I Didn't Know What Time It Was"
"I Didn't Know What Time It Was" is a popular song. The music was written by Richard Rodgers and the lyrics by Lorenz Hart for the musical Too Many Girls (1939). Early hit versions included Benny Goodman and Artie Shaw. The Crampton Sisters 1964 revival for the DCP label was a Hot 100 entry. Another version was by Charlie Parker – with Strings in 1950.
3. "If I Should Lose You"
"If I Should Lose You” is a song composed by Ralph Rainger, with lyrics by Leo Robin. It was introduced in the 1936 film Rose of the Rancho. It was covered by Charlie Parker on his album Charlie Parker with Strings in 1950.
2. "Out of Nowhere"
"Out of Nowhere" is a popular song composed by Johnny Green with lyrics by Edward Heyman. It was the first recording by Bing Crosby under his Brunswick Records contract. Charlie Parker recorded a ballad version in 1947.
1. "They Can't Take That Away from Me"
"They Can't Take That Away from Me" is a 1937 song written by George Gershwin and Ira Gershwin and introduced by Fred Astaire in the 1937 film Shall We Dance. A notable recording is by Charlie Parker on his album Charlie Parker with Strings in 1949.
Thelonious Sphere Monk
‘Round MidnightOne of Monk’s most popular compositions, this ballad has been recorded by numerous musicians throughout the years. This clip shows Monk performing live with one of his steady groups, including Charlie Rouse on tenor:
EvidenceBased loosely on the standard “Just You, Just Me,” the title evolved in Monk’s hand from “Just Us,” to “Justice,” finally to “Evidence”:
Ruby My DearThis beautiful ballad, an early composition, continues to live on as a jazz standard:
EpistrophyTaken from the recently discovered Carnegie Hall concert with John Coltrane, this Monk composition was used as a creative tool by many of the pioneers of bebop:
PannonicaNamed after baroness Pannonica “Nica” de Koenigswarter, patron to a number of musicians on the New York Jazz scene during the 1950’s including Charlie Parker among others. Monk had an especially close connection with Nica and penned this tune as a ballad, but it has evolved into a swing tune on this landmark Chick Corea album:
I Mean YouThis composition has been recorded by everyone from Coleman Hawkins to Michael Brecker and McCoy Tyner:
MisteriosoWith a melody built entirely upon the interval of a sixth, this blues head is extremely “Monkish” and encourages a creative approach not typical in your average blues head:
Well You Needn’tProbably the most played of Monk’s compositions, this tune is a great work out for moving between chords that are a half-step apart. (And what about the real changes? Check out this article by Ethan Iverson)
Ask Me NowAnother well know Monk ballad, this tune is part of many musicians’ repertoires:
Think Of OneThe simple melody of this tune is based on a repeated note, but harmonic interest comes by way of Monk’s clever accompaniment:
EvidenceBased loosely on the standard “Just You, Just Me,” the title evolved in Monk’s hand from “Just Us,” to “Justice,” finally to “Evidence”:
Ruby My DearThis beautiful ballad, an early composition, continues to live on as a jazz standard:
EpistrophyTaken from the recently discovered Carnegie Hall concert with John Coltrane, this Monk composition was used as a creative tool by many of the pioneers of bebop:
PannonicaNamed after baroness Pannonica “Nica” de Koenigswarter, patron to a number of musicians on the New York Jazz scene during the 1950’s including Charlie Parker among others. Monk had an especially close connection with Nica and penned this tune as a ballad, but it has evolved into a swing tune on this landmark Chick Corea album:
I Mean YouThis composition has been recorded by everyone from Coleman Hawkins to Michael Brecker and McCoy Tyner:
MisteriosoWith a melody built entirely upon the interval of a sixth, this blues head is extremely “Monkish” and encourages a creative approach not typical in your average blues head:
Well You Needn’tProbably the most played of Monk’s compositions, this tune is a great work out for moving between chords that are a half-step apart. (And what about the real changes? Check out this article by Ethan Iverson)
Ask Me NowAnother well know Monk ballad, this tune is part of many musicians’ repertoires:
Think Of OneThe simple melody of this tune is based on a repeated note, but harmonic interest comes by way of Monk’s clever accompaniment:
Charlie Mingus
Charles Mingus
Mingus Ah Um (1959)
1. Better Git It in Your Soul
2Mingus
The Black Saint and the Sinner Lady (1963)
2. Trio and Group Dancers (Stop! Look! And Sing Songs of Revolutions!)
3Charles Mingus
The Clown (1957)
3. Haitian Fight Song
4Charles Mingus
Let My Children Hear Music (1972)
4. The Shoes of the Fisherman's Wife Are Some Jive Ass Slippers
5Charlie Mingus
Blues & Roots (1960)
5.Moanin'
6Charles Mingus
Mingus Ah Um (1959)
6.Fables of Faubus
7Charlie Mingus
Blues & Roots (1960)
7. Wednesday Night Prayer Meeting
8Charles Mingus
Mingus Mingus Mingus Mingus Mingus (1964)
8. II B.S.
9Charles Mingus
Mingus Ah Um (1959)
9. Goodbye Pork Pie Hat
10Charlie Mingus
Blues & Roots (1960)
10. E's Flat Ah's Flat Too
Mingus Ah Um (1959)
1. Better Git It in Your Soul
2Mingus
The Black Saint and the Sinner Lady (1963)
2. Trio and Group Dancers (Stop! Look! And Sing Songs of Revolutions!)
3Charles Mingus
The Clown (1957)
3. Haitian Fight Song
4Charles Mingus
Let My Children Hear Music (1972)
4. The Shoes of the Fisherman's Wife Are Some Jive Ass Slippers
5Charlie Mingus
Blues & Roots (1960)
5.Moanin'
6Charles Mingus
Mingus Ah Um (1959)
6.Fables of Faubus
7Charlie Mingus
Blues & Roots (1960)
7. Wednesday Night Prayer Meeting
8Charles Mingus
Mingus Mingus Mingus Mingus Mingus (1964)
8. II B.S.
9Charles Mingus
Mingus Ah Um (1959)
9. Goodbye Pork Pie Hat
10Charlie Mingus
Blues & Roots (1960)
10. E's Flat Ah's Flat Too
Ella Jane Fritzgerlad
Misty
Soft, slow and heartbreaking: this oft-recreated hit showed Ella could sing the gentle tunes with as much emotion as the louder, lustier anthems.
Too Marvellous for Words
Part of The Great American Songbook, Ella sung the Johnny Mercer hits with panache and soul. While ʻSkylarkʼ and ʻLauraʼ may be more well-known hits, this big-band ballad is a personal favourite of mine.
The Boy From Ipanema
Arguably better than any version of ʻThe Girl From Ipanemaʼ, and shows just how well Ella could smash bossa nova.
Begin The Beguine

This big-band hit is from the most famous songbook, that of Cole Porter, accompanying such well-known tunes as ʻItʼs De-Lovelyʼ, ʻI Get A Kick Out Of Youʼ and ʻAnything Goesʼ in showing the true power of Ellaʼs mega-voice.
Mack The Knife
If you had no idea what I meant by ʻall the mistakes that suddenly make a hitʼ, listen to this. Listen to how she forgets the words, makes up new ones and drastically improves the song. Lucille Ball once said "Ella's amazing! My daughter says that every time she makes a mistake, it becomes a hit record."
Can’t Buy Me Love
Ella could take songs by her rivals for 60s music fans’ attention - The Beatles - and transform their rock songs into swinging jazz numbers.
Dream A Little Dream Of Me
While plenty of musicians sung with Ella, played with Ella, jived with Ella, the most famous of all was the legendary trumpeter Louis Armstrong, whose inimitable vocals can be heard on their many duets.
Them There Eyes
One of Ellaʼs most famous and successful collaborations was with Count Basie, legendary pianist, composer and bandleader - the 1963 album Ella and Basie!, with arrangements by Quincy Jones, sticks in the mind for giving us wonderful versions of songs like ʻʼDeed I Doʼ, ʻTea for Twoʼ and ʻOn the Sunny Side of the Streetʼ.
Cʼest Magnifique
You know someoneʼs a great singer if listening to their live songs sometimes beats listening to studio-recorded tracks. This beautiful rendition will give you goosebumps, and make you lament the fact that youʼll never get to hear The First Lady of Song live in concert.
Soft, slow and heartbreaking: this oft-recreated hit showed Ella could sing the gentle tunes with as much emotion as the louder, lustier anthems.
Too Marvellous for Words
Part of The Great American Songbook, Ella sung the Johnny Mercer hits with panache and soul. While ʻSkylarkʼ and ʻLauraʼ may be more well-known hits, this big-band ballad is a personal favourite of mine.
The Boy From Ipanema
Arguably better than any version of ʻThe Girl From Ipanemaʼ, and shows just how well Ella could smash bossa nova.
Begin The Beguine

This big-band hit is from the most famous songbook, that of Cole Porter, accompanying such well-known tunes as ʻItʼs De-Lovelyʼ, ʻI Get A Kick Out Of Youʼ and ʻAnything Goesʼ in showing the true power of Ellaʼs mega-voice.
Mack The Knife
If you had no idea what I meant by ʻall the mistakes that suddenly make a hitʼ, listen to this. Listen to how she forgets the words, makes up new ones and drastically improves the song. Lucille Ball once said "Ella's amazing! My daughter says that every time she makes a mistake, it becomes a hit record."
Can’t Buy Me Love
Ella could take songs by her rivals for 60s music fans’ attention - The Beatles - and transform their rock songs into swinging jazz numbers.
Dream A Little Dream Of Me
While plenty of musicians sung with Ella, played with Ella, jived with Ella, the most famous of all was the legendary trumpeter Louis Armstrong, whose inimitable vocals can be heard on their many duets.
Them There Eyes
One of Ellaʼs most famous and successful collaborations was with Count Basie, legendary pianist, composer and bandleader - the 1963 album Ella and Basie!, with arrangements by Quincy Jones, sticks in the mind for giving us wonderful versions of songs like ʻʼDeed I Doʼ, ʻTea for Twoʼ and ʻOn the Sunny Side of the Streetʼ.
Cʼest Magnifique
You know someoneʼs a great singer if listening to their live songs sometimes beats listening to studio-recorded tracks. This beautiful rendition will give you goosebumps, and make you lament the fact that youʼll never get to hear The First Lady of Song live in concert.
Julian Edwin "cannonball" Adderley
1. Mercy, Mercy, Mercy! Live at 'The Club'Mercy, Mercy, Mercy! Live at 'The Club' is a 1966 album by jazz musician Julian "Cannonball" Adderley. It received the Grammy Award for Best Instrumental Jazz Performance – Group or Soloist with Group in 1967. The title track from this album "Hippodelphia” became a surprise hit, reaching No. 11 on the Billboard charts. The title track has been covered numerous times (usually with lyrics added), perhaps most successfully by The Buckinghams in 1967.
The Allmusic review awarded the album 5 stars and stated: "Adderley's irrepressible exuberance was a major part of his popularity, and no document captures that quality as well -- or with such tremendous musical rewards -- as Mercy, Mercy, Mercy." The Penguin Guide to Jazz awarded the album 3 out of 4 stars, stating: "Mercy, Mercy, Mercy” is a hard swinging live album with one of Cannon's hottest outings on 'Sticks.'
2. Cannonball Adderley's Fiddler on the Roof
Cannonball Adderley's Fiddler on the Roof is an album by Adderley released on the Capitol label featuring performances of material from the Broadway musical Fiddler on the Roof by Adderley with Nat Adderley, Charles Lloyd, Joe Zawinul, Sam Jones and Louis Hayes. The Allmusic review by Scott Yanow and Tim Sendra awarded the album 4 stars and states "Cannonball plays near his peak; this is certainly the finest album by this particular sextet".
3. The Cannonball Adderley Sextet in New York
The Cannonball Adderley Sextet in New York is a live album recorded at the Village Vanguard and released on the Riverside label featuring performances by Adderley with Nat Adderley, Yusef Lateef, Joe Zawinul, Sam Jones and Louis Hayes. The Allmusic review by Richard S. Ginell awarded the album 4 stars noting "This was the recording debut of the Adderley Sextet, with Cannonball waxing eloquently and swingingly on alto, brother Nat charging ahead on cornet, and the versatile Yusef Lateef (who had joined the band only three weeks earlier) adding a bit of an edge on tenor, flute, and unusually for a jazz wind player, oboe on the odd, dirge-like "Syn-Anthesia." The Penguin Guide to Jazz awarded the album 2½ stars stating "'Bringing in Joe Zawinul and Yusef Lateef energized the band anew". When reissued in 2008 All About Jazz called the album "perhaps the single most indispensable recording by the Adderley Brothers"
4. Money in the Pocket
Money in the Pocket is a live album by jazz saxophonist Cannonball Adderley featuring performances by Adderley with Nat Adderley, Joe Zawinul, Herbie Lewis and Roy McCurdy. Recorded at The Club in Chicago in 1966, it was not released on the Capitol label until 2005. The Allmusic review by Al Campbell awarded the album 4 stars and states "Cannonball Adderley's mega-successful album Mercy, Mercy, Mercy!, released in August of 1966, was supposedly recorded "live" at a venue in Chicago called The Club, but it was actually recorded in the studio of Capitol Records with a specially assembled audience.
5. The Black Messiah
The Black Messiah is a live album recorded at The Troubadour in Los Angeles, California in 1970 featuring performances by Adderley's Quintet with Nat Adderley, George Duke, Walter Booker and Roy McCurdy with guest appearances by Airto Moreira, Mike Deasy, Ernie Watts, Alvin Batiste, and Buck Clarke. After many years of being out of print, The Black Messiah was reissued in 2014 by Real Gone Music; the new 2CD reissue included liner notes by music journalist/blogger Bill Kopp. The Allmusic review by Richard S. Ginell awarded the album 4 stars and stated: "Still immersed in the burgeoning electronic jazz-rock explosion of the times, Cannonball Adderley goes further toward a rapprochement with the rock and soul audiences than ever before on this fascinating, overlooked double album.”
The Allmusic review awarded the album 5 stars and stated: "Adderley's irrepressible exuberance was a major part of his popularity, and no document captures that quality as well -- or with such tremendous musical rewards -- as Mercy, Mercy, Mercy." The Penguin Guide to Jazz awarded the album 3 out of 4 stars, stating: "Mercy, Mercy, Mercy” is a hard swinging live album with one of Cannon's hottest outings on 'Sticks.'
2. Cannonball Adderley's Fiddler on the Roof
Cannonball Adderley's Fiddler on the Roof is an album by Adderley released on the Capitol label featuring performances of material from the Broadway musical Fiddler on the Roof by Adderley with Nat Adderley, Charles Lloyd, Joe Zawinul, Sam Jones and Louis Hayes. The Allmusic review by Scott Yanow and Tim Sendra awarded the album 4 stars and states "Cannonball plays near his peak; this is certainly the finest album by this particular sextet".
3. The Cannonball Adderley Sextet in New York
The Cannonball Adderley Sextet in New York is a live album recorded at the Village Vanguard and released on the Riverside label featuring performances by Adderley with Nat Adderley, Yusef Lateef, Joe Zawinul, Sam Jones and Louis Hayes. The Allmusic review by Richard S. Ginell awarded the album 4 stars noting "This was the recording debut of the Adderley Sextet, with Cannonball waxing eloquently and swingingly on alto, brother Nat charging ahead on cornet, and the versatile Yusef Lateef (who had joined the band only three weeks earlier) adding a bit of an edge on tenor, flute, and unusually for a jazz wind player, oboe on the odd, dirge-like "Syn-Anthesia." The Penguin Guide to Jazz awarded the album 2½ stars stating "'Bringing in Joe Zawinul and Yusef Lateef energized the band anew". When reissued in 2008 All About Jazz called the album "perhaps the single most indispensable recording by the Adderley Brothers"
4. Money in the Pocket
Money in the Pocket is a live album by jazz saxophonist Cannonball Adderley featuring performances by Adderley with Nat Adderley, Joe Zawinul, Herbie Lewis and Roy McCurdy. Recorded at The Club in Chicago in 1966, it was not released on the Capitol label until 2005. The Allmusic review by Al Campbell awarded the album 4 stars and states "Cannonball Adderley's mega-successful album Mercy, Mercy, Mercy!, released in August of 1966, was supposedly recorded "live" at a venue in Chicago called The Club, but it was actually recorded in the studio of Capitol Records with a specially assembled audience.
5. The Black Messiah
The Black Messiah is a live album recorded at The Troubadour in Los Angeles, California in 1970 featuring performances by Adderley's Quintet with Nat Adderley, George Duke, Walter Booker and Roy McCurdy with guest appearances by Airto Moreira, Mike Deasy, Ernie Watts, Alvin Batiste, and Buck Clarke. After many years of being out of print, The Black Messiah was reissued in 2014 by Real Gone Music; the new 2CD reissue included liner notes by music journalist/blogger Bill Kopp. The Allmusic review by Richard S. Ginell awarded the album 4 stars and stated: "Still immersed in the burgeoning electronic jazz-rock explosion of the times, Cannonball Adderley goes further toward a rapprochement with the rock and soul audiences than ever before on this fascinating, overlooked double album.”
David Warren "Dave" Brubeck
1. "Jazz Goes to College" (1954) • This album documents Brubeck's tour across college campuses, which helped make him one of the genre's top names and land him on the cover of Time magazine. The album was part of a line of college-themed offerings (such as" Jazz Goes to Junior College" and "Jazz at the College of the Pacific") that established Brubeck as a hip choice for jazz listeners.
2. "Time Out" (1959) • This is the one we all seemingly can agree on. It's Brubeck's crowning achievement, and clearly ranks as one of the most popular and successful albums in jazz history. The album's use of (then) unusual music time signatures was groundbreaking, and the work also produced the all-time jazz gems "Blue Rondo a la Turk" and "Take Five."
3. "Bernstein Plays Brubeck Plays Bernstein" (1961) • This is a cherished collaboration between the Dave Brubeck Quartet and the New York Philharmonic, conducted by Leonard Bernstein. Side 1 features "Dialogues for Jazz Combo and Orchestra," a four-part suite composed by Brubeck's brother, Howard Brubeck, while Side 2 contains five Bernstein-Stephen Sondheim compositions from "West Side Story."
4. "Time Further Out" (1961) • As the name suggests, this follow-up to "Time Out" is another adventure in wild musical time signatures. The album featured one of Brubeck's best compositions, "Unsquare Dance."
5. "Jazz Impressions of Japan" (1964) • The album is a kind of musical journal of the Dave Brubeck Quartet's tour of Japan. Among the collection's many lovely compositions, the most lasting impression, clearly, comes from "Koto Song."
2. "Time Out" (1959) • This is the one we all seemingly can agree on. It's Brubeck's crowning achievement, and clearly ranks as one of the most popular and successful albums in jazz history. The album's use of (then) unusual music time signatures was groundbreaking, and the work also produced the all-time jazz gems "Blue Rondo a la Turk" and "Take Five."
3. "Bernstein Plays Brubeck Plays Bernstein" (1961) • This is a cherished collaboration between the Dave Brubeck Quartet and the New York Philharmonic, conducted by Leonard Bernstein. Side 1 features "Dialogues for Jazz Combo and Orchestra," a four-part suite composed by Brubeck's brother, Howard Brubeck, while Side 2 contains five Bernstein-Stephen Sondheim compositions from "West Side Story."
4. "Time Further Out" (1961) • As the name suggests, this follow-up to "Time Out" is another adventure in wild musical time signatures. The album featured one of Brubeck's best compositions, "Unsquare Dance."
5. "Jazz Impressions of Japan" (1964) • The album is a kind of musical journal of the Dave Brubeck Quartet's tour of Japan. Among the collection's many lovely compositions, the most lasting impression, clearly, comes from "Koto Song."