Like Miles Davis, Vol. 1, this set features arrangements in the order that they were recorded. (Vol. 2 contains the second Blue Note session, while Vol. 1 focused on the first and third.) This 1953 date was the most inspired, overtly beboppish of Davis' three Blue Note sessions -- an ambitious showcase for modern jazz's greatest composers (J.J. Johnson, Ray Brown, Bud Powell, Jimmy Heath, Walter Fuller, and Dizzy Gillespie), and a remarkable rhythm section (drummer Art Blakey, bassist Percy Heath, and the obscure pianist Gil Coggins). A dynamic front line of Davis, trombonist J.J. Johnson, and the bassist's brother Jimmy Heath on tenor saxophone, gives each tune big-band weight and texture.

...his solo and arrangement on "Tempus Fugit" are simply transcendent



Blue Rodo a la Turk

"Blue Rondo à la Turk" is a jazz standard composition by Dave Brubeck. It appeared on the album Time Out in 1959. It is written in 9/8 and 4/4. It was originally composed by the Dave Brubeck Quartet with Dave Brubeck at piano, Paul Desmond at alto saxophone, Eugene Wright at bass, and Joe Morello at drums.


Number 98 Woody Herman SISTER SADIE 1963

Listen to Sammy blow on this one...blows my mind!!

"Sister Sadie" is a jazz standard written in 1959 by Horace Silver, and first recorded for his 1959 Blue Note album, Blowin' the Blues Away.

Salvatore Nistico (2 April 1938, Syracuse, New York state – 3 March 1991, Berne, Switzerland) was an American jazz tenor saxophonist.
Associated for many years with Woody Herman's Herd, Nistico played in the 1962-65 group, considered one of the Herman's best lineups, alongside Phil Wilson, Bill Chase, Nat Pierce and Jake Hanna.

Sister Sadie

Number 97 Count Basie EVERY TUB 1938

Basie returned to New York for an extended engagement at the small club the Famous Door in 1938 that really established the band as a success. "Stop Beatin' Round the Mulberry Bush," with Rushing on vocals, became a Top Ten hit in the fall of 1938. Basie spent the first half of 1939 in Chicago, meanwhile switching from Decca to Columbia Records, then went to the West Coast in the fall. He spent the early '40s touring extensively, but after the U.S. entry into World War II in December 1941 and the onset of the recording ban in August 1942, his travel was restricted. While on the West Coast, he and the band appeared in five films, all released within a matter of months in 1943: Hit Parade of 1943, Reveille with Beverly, Stage Door Canteen, Top Man, and Crazy House.

One of the band's masterpieces with Lester's solo and the riffing sax section the last minute! Buck Clayton adds some elongated accentuations.

Every Tub 1938 by Count Basie and Eddie Durham

Number 96... Lee Konitz TAUTOLOGY 1949

In rhetoric, a tautology is a logical argument constructed in such a way, generally by repeating the same concept or assertion using different phrasing or terminology, that the proposition as stated is logically irrefutable, while obscuring the lack of evidence or valid reasoning supporting the stated conclusion.

Subconscious-Lee is a jazz album by Lee Konitz although a few tracks were issued on 78rpm under Lennie Tristano's name. It was recorded in 1949 and 1950, and released on the Prestige label (originally as PRLP 7004 in 12" LP format in 1955[2] as followed in the OJC reissue).


Number 95... Martha Tilton LOCH LOMOND

Martha Tilton (November 14, 1915 – December 8, 2006 was an American popular singer during America's swing era and traditional pop period. She is best known for her 1939 recording of "And the Angels Sing" with Benny Goodman.

"There are those who would say that Martha Tilton wasn't a jazz singer at all. But swing-era fans won't have any doubts, remembering her for a rocking version of "Loch Lomond" at Benny Goodman's 1938 Carnegie Hall concert."

Loch Lomond 1938 (Live)

Number 94   Sarah Vaughan   Prelude to a Kiss

Prelude to a Kiss


"Prelude to a Kiss" is a 1938 song composed by Duke Ellington with lyrics by Irving Gordon and Irving Mills

Outside of jazz musicians and historians, Prelude to a Kiss remains one of the lesser known Ellington songs. Prominent jazz historian,Gunther Schuller, described Prelude to a Kiss as "One of Ellington's finest ballads, although too sophisticated in its weaving melody and chromatic harmonies to gain wide public acceptance."

Number 93

Maynard Ferguson EL DOPA

From the 1970 album, M.F. Horn. The was a come back album of sorts for Ferguson with his English band after a number of years out of sight. MacArthur Park is probably the best know cover of the album, but “L Dopa” has the more big band sound.


Number 92 Clifford Brown JOY SPRING

Clifford Brown & Max Roach is a 1955 album by influential jazz musicians Clifford Brown and Max Roach as part of the Clifford Brown and Max Roach Quintet, described by The New York Times as "perhaps the definitive bop group until Mr. Brown's fatal automobile accident in 1956". The album was critically well received and includes several notable tracks, including two that have since become jazz standards. The album was inducted into the Grammy Hall of Fame in 1999. It is included in Jazz: A Critic's Guide to the 100 Most Important Recordings at #34, where it is described by New York Times jazz critic Ben Ratliff as "one of the strongest studio albums up to that time".

Number 91 Charlie Parker 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" is a contrafact – a newly created melody written over the chord progression of another song, in this case the standard "How High the Moon". It remains one of the most popular and frequently performed bebop tunes. Jazz vocalists scatting on "How High the Moon" (notably Ella Fitzgerald) often quote the melody of "Ornithology" (and vice versa).

Ornithology Take 1

Ornithology take 3

Ornithology Take 4

Ornithology Live Performances On Savoy 1947 

Number 90

Stan Kenton THE SPIDER and THE FLY

June Christy's Somewhere There's Music collects some of her rarer recordings with Stan Kenton, including "Willow, Weep for Me," "I Got It Bad," "September Song," and "How High the Moon." The album's 24 tracks trace her development from an ingénue into one of the leading songstresses of the '50s.

This was chosen because it was the first ever 78 recording that i played from my Dad's collection... and I loved it!!

The Spider and the Fly

Number 89

Miles Davis with Red Garland... I SEE YOUR FACE BEFORE ME

I See Your Face Before Me is a popular song composed by Arthur Schwartz, with lyrics by Howard Dietz. It was introduced by Evelyn Laye and Adele Dixon in the 1937 Broadway musical Between the Devil.

William "Red" Garland (May 13, 1923 – April 23, 1984) was an American modern jazz pianist. Known for his work as a bandleader and during the 1950s with Miles Davis, Garland helped popularize the block chord style of piano playing.

I See Your Face Before Me

Number 88


Words & Music by Jack Segal & Marvin Fisher, 1946
Previously recorded by Mel Torme, 1956, and by Nat "King" Cole, 1957.

Melvin Howard Tormé was born in Chicago, Illinois, to immigrant Russian Jewish parents, whose surname had been Torma. A child prodigy, he first sang professionally at age 4 with the Coon-Sanders Orchestra, singing "You're Driving Me Crazy" at Chicago's Blackhawk restaurant.

When Sunny Gets Blue

Number 87

Jack Sheldon BLUES

Featuring: Jack Sheldon (tp), Zoot Sims (ts), Joe Maini (as), Walter Norris, Kenny Drew (p), Ralph Peña, Bob Whitlock, Leroy Vinnegar (b), Lawrence Marable, Gene Gammage (d)

Trumpeter Jack Sheldon’s debut on record was undeniable proof that he had established himself among the most promising young talents of his era. He had an exciting conception, warm tone, and an earthier sound than his peer, Chet Baker. On the quartet session here, Sheldon is backed by the trio of the articulate, fleet, swinging pianist Walter Norris, who composed three of the originals included. Norris is also the pianist on the first quintet sides, with Sheldon’s fine horn and Zoot Sims’ hard-swinging tenor. In the final quintet here, the main assets include the fire and drive of pianist Kenny Drew and the Bird-influenced saxophonist Joe Maini.


Number 86

Red Rodney STAR EYES

Presented in the deep south as "Albino Red" when playing with Bird.

Born in Philadelphia, PA, he became a professional musician at 15, working in the mid-1940s for Jerry Wald, Jimmy Dorsey, Georgie Auld, Elliott Lawrence, Benny Goodman, and Les Brown. He was inspired by hearing Dizzy Gillespie and Charlie Parker to change his style to bebop, moving on to play with Claude Thornhill, Gene Krupa, and Woody Herman. In 1949 he accepted an invitation from Charlie Parker to join his quintet. As the only white member of the group he was billed as Albino Red when playing in the racially segregated southern United States. In 1950 he joined the Charlie Ventura band. He also recorded extensively.

In 1958 he left jazz because of diminishing opportunities, lack of acceptance as a white bebop trumpeter, and problems with the police about his drug addiction. He continued to work in other musical fields. Although he continued to be paid well, he supported his drug habit through theft and fraud, eventually spending 27 months in prison.


Number 85

You and the Night and the Music

Stan Getz & Bill Evans is an album by jazz saxophonist Stan Getz and pianist Bill Evans recorded in 1964 for the Verve label but not released until the 1970s

You and the Night and the Music

"You and the Night and the Music" is a popular song composed by Arthur Schwartz with lyrics by Howard Dietz.

Number 84

Lester Young with the Oscar Peterson Trio... I CAN'T GET STARTED

I Can't Get Started

I Can't Get Started.. with false start

Lester Young with the Oscar Peterson Trio is a 1952 studio album by Lester Young, accompanied by the Oscar Peterson Quartet, although the title incorrectly states the band is a trio. The music on this album was originally released as three separate albums, Lester Young with the Oscar Peterson Trio, Vol. 1 (1954), Lester Young with the Oscar Peterson Trio, Vol. 2 (1955), and The Pres-Ident Plays with Oscar Peterson (1955). It was collated for this 1997 reissue by Verve Records. The first eight tracks were released together for the first time in 1955, as Norgran MGN 1054.

Number 83

John Coltrane and Johnny Hartman



Although it is often reported that Coltrane and Hartman had known each other since their days playing with Dizzy Gillespie's band in the late 1940s, the truth is that their time in the band never overlapped. Coltrane might have heard Hartman sing at a 1950 Apollo Theater performance at which they shared the stage. Hartman is the only vocalist with whom the saxophonist would record as a leader. Initially when producer Bob Thiele approached Hartman with Coltrane's request that the two record together Hartman was hesitant as he did not consider himself a jazz singer and did not think he and Coltrane would complement one another musically. However, Thiele encouraged Hartman to go see Coltrane perform at Birdland in New York to see if something could be worked out. Hartman did so, and after the club closed he, Coltrane and Coltrane's pianist, McCoy Tyner, went over some songs together. On March 7, 1963, Coltrane and Hartman had decided on 10 songs for the record album, but en route to the studio they heard Nat King Cole on the radio performing "Lush Life", and Hartman immediately decided that song had to be included in their album. The legendary compilation was made that same day at the Van Gelder Studio in Englewood Cliffs, New Jersey.

Number 82

Woody Herman... BLUES IN THE NIGHT (Alan Broadnebent arrangement from 1971)


"Blues in the Night" is a popular blues song which has become a pop standard and is generally considered to be part of the Great American Songbook. The music was written by Harold Arlen, the lyrics by Johnny Mercer, for a 1941 film begun with the working title Hot Nocturne, but finally released as Blues in the Night. The song is sung in the film by William Gillespie.

Woody Herman and his Orchestra (vocal: Woody Herman) (recorded September 10, 1941, released by Decca Records as catalog number 4030B, with the flip side “This Time the Dream's on Me” and as catalog number 25194, with the flip side “Laughing Boy Blues”; re-recorded May 7, 1947, released by Columbia Records as catalog number 37858, with the flip side “Blue Prelude”

Number 81

Chet Baker... ALMOST BLUE

Almost Blue


"Almost Blue" is a song by Elvis Costello that appears on the 1982 album Imperial Bedroom by Elvis Costello and the Attractions. It is said to be inspired by Chet Baker's version of the song "The Thrill Is Gone". Baker closed the circle by recording the song for Let's Get Lost (1988), a Bruce Weber documentary film about Baker's life. Baker also performed the song at concerts and it was recorded for his live album Chet Baker in Tokyo (recorded 1987, released posthumously 1988).

Number 80


I Can't Believe that You're In Love With Me


From the age of 7, Andrea developed musically at the Municipal School of Music of Sant Andreu, a neighborhood of Barcelona, becoming the school's lead trumpet player and later, saxophonist.

In 2007, at only twelve years of age, she began to collaborate with the Sant Andreu Jazz Band, led by music teacher and musician, Joan Chamorro. She has participated in numerous concerts in the Catalan jazz circuit. Owing to her precocity, numerous media outlets have interviewed her or have written reviews of her musical activity. Her voice has been compared to that of Norah Jones.

In 2010, at only 15, she recorded an album of jazz standards as a vocal soloist titled, "Joan Chamorro presents Andrea Motis". Currently she offers concerts under the name "Andrea Motis & Joan Chamorro Group".

Number 79

Singin The Blues - Bix Beiderbecke

Singin' the Blues


With Louis Armstrong and Muggsy Spanier, Beiderbecke was one of the most influential jazz soloists of the 1920s. His turns on "Singin' the Blues" and "I'm Coming, Virginia" (both 1927), in particular, demonstrated an unusual purity of tone and a gift for improvisation. With these two recordings, especially, he helped to invent the jazz ballad style and hinted at what, in the 1950s, would become cool jazz. "In a Mist" (1927), one of a handful of his piano compositions and one of only two he recorded, mixed classical (Impressionist) influences with jazz syncopation.

Number 78

Duke Ellington... Blues for New Orleans

Blues for New Orleans


New Orleans Suite is the eighth studio album by American pianist, composer and bandleader Duke Ellington recorded and released on the Atlantic label in 1970. The album features the final recordings of Johnny Hodges, who died between recording sessions. The album won a Grammy Award for Best Jazz Performance by a Big Band in 1971.

The suite was commissioned by George Wein for the 1970 New Orleans Jazz Festival.

The last recording featuring the legendary Johnny Hodges.

Number 77

BILLIE HOLIDAY... Miss Brown to You

Miss Brown to You


"Miss Brown to You" is a song with music composed by Richard A. Whiting and Ralph Rainger, and lyrics written by Leo Robin. It was first recorded on July 25, 1935 by Billie Holiday accompanied by Teddy Wilson and his orchestra. This version is featured on Lady Day: The Complete Billie Holiday on Columbia 1933–1944. A live favourite, Holiday recorded the song many times, most notably in June, 1949 for the FRS radio broadcast, Just Jazz in Los Angeles with Neal Hefti on trumpet, Herbie Harper on trombone, Herbie Steward on clarinet and tenor saxophone, Jimmy Rowles on piano, Robert "Iggy" Shevak on bass, and Blinkie Garner on drums, at the Storyville Club in Boston on October 31, 1951 accompanied by Buster Harding on piano, John Field on bass, and Marquis Foster on drums, and at the Carnegie Hall, New York City, on November 10, 1956 with Her Orchestra formed by Roy Eldridge on trumpet, Coleman Hawkins on tenor saxophone, Carl Drinkard on piano, Kenny Burrell on guitar, Carson Smith on bass, and Chico Hamilton on drums.

Number 76

SUPERSAX Scrapple From the Apple

Scrapple From the Apple


Supersax was a jazz group created in 1972 by saxophonist Med Flory and bassist Buddy Clark, in tribute to iconic bebop saxophonist Charlie Parker. The group's music consisted of harmonized arrangements of Charlie Parker improvisations played by a saxophone section (2 altos, 2 tenors, and a baritone), rhythm section (bass, piano and drums), and a brass instrument (trombone or trumpet).

Number 75

Stan Kenton - Cuban Fire

Cuban Fire


Cuban Fire! is an album recorded by Stan Kenton and his orchestra in 1956. This has become one of the most influential Latin jazz large-ensemble recordings of all time; it was a first for the Kenton big band in terms of popularity, style, and overall album theme. The LP charted for 4 weeks in Billboard Magazine starting in the September 15, 1956 edition and topped out at #17. The concept of the original 1956 recording centers on the Cuban Fire! suite Kenton had commissioned from composer Johnny Richards. The 1991 CD re-issue is augmented with one extra track from the 1956 sessions and five cuts recorded four years later by the first of Kenton's mellophonium orchestras (1960).

Number 74

Miles Davis...SO WHAT

"So What" is the first track on the 1959 Miles Davis album Kind of Blue.

It is one of the best known examples of modal jazz, set in the Dorian mode and consisting of 16 bars of D Dorian, followed by eight bars of E♭ Dorian and another eight of D Dorian. This AABA structure puts it in the thirty-two-bar format of American popular song.

The piano-and-bass introduction for the piece was written by Gil Evans for Bill Evans (no relation) and Paul Chambers on Kind of Blue.

So What


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