xxix. HOLIDAY, Billie: Let's Call the Whole Thing Off

xxix. HOLIDAY, Billie (1915-1959)

Let's Call the Whole Thing Off (1937)
Teddy Wilson, piano
Lester Young, tenor saxophone
(2:39)

Written by George and Ira Gershwin for the film Shall We Dance.

Fred & Ginger's version. Be sure to watch them dancing on roller skates!

xxviii. DOLPHY, Eric: Aggression

xxviii. DOLPHY, Eric (1928-1964)

Aggression (1961)
Eric, bass clarinet
Booker Little, trumpet
Mal Waldron, piano
Richard Davis, bass
Ed Blackwell, drums
(17:17)

July 16, 1961. The Five Spot.

The tune is by Little. It sounds just like its title, aggressive, but controlled.

After a 22-bar vamp, the head is played in unison by Little and Dolphy, except for the last note of each phrase, where Eric lands on a funny note.

The B section is a bit plaintive, slightly tender. The A section flows back into the initial vamp until

Booker's solo -- which literally jumps out at you and wails. The intensity never lets up. Blackwell punctuates, Waldron fills and the excitement never flags.

Eric takes over and simply flies. He runs and jumps and screams with his bass clarinet. You'll never hear another bass clarinetist quite like Eric again.

Waldron takes his time beginning his solo. Rhythmic, rapid flowing phrases overtake each other, as Davis and Blackwell listen carefully, keeping up with Mal's changing ideas.

Davis plays a mostly walking solo, with only Blackwell accompanying.

Little and Dolphy then trade fours for a bit, leading to an inventive Blackwell solo.

Vamp, head and out.

A great great masterpiece.

xxvii. METHENY, Pat: And Then I Knew

xxvii. METHENY, Pat (1954-       )

And Then I Knew (1996)
Pat, guitars
Lyle Mays, keyboards
Steve Rodby, bass
Paul Wertico, drums
David Blamires, vocals
Mark Ledford, vocals, trumpet
Luis Conte, percussion
(7:52)

From We Live Here.

Vamp / Pat plays over it (A) / Lyle plays synth in a (B) section, so heartfelt and beautiful / Pat plays over a new chord structure (C) / back to (A) / Blamires enters with wordless vocals / one more (A) ... and at 6:28 Blamires adds a chromatic vocal line; add Ledford's off-beat trumpet and the band takes it all powered-up to the finish fade.

xxvi. ZAPPA, Frank: RDNZL

xxvi. ZAPPA, Frank (1940-1993)

RDNZL (1978)
FZ, guitar
George Duke, keyboards
James Youman, bass
Ruth Underwood, percussion, synth
Chester Thompson, drums
(8:15)

From Studio Tan.

Some folks spend hours and hours trying to figure out what it means.

One of Frank's greatest compositions, it just keeps morphing into new sections. Long brilliant solos by FZ and Duke.

xxv. MEHLDAU, Brad: Highway Rider

xxv. MEHLDAU, Brad (1970-       )

Highway Rider (2010)
BH, piano
Larry Grenadier, bass
Matt Chamberlain, drums
(7:45)

From Highway Rider.

Mehldau is a dazzling pianist who is as virtuostic as he is subtle and sublime. This track is an example of quiet trio synergy which bubbles and builds into something quite remarkable.

xxiv. WILCO: Radio Cure

xxiv. WILCO

Radio Cure (2002)
(5:08)

From Yankee Hotel Foxtrot.

The album Warner Bros. bought twice!

WILCO's made some great albums -- but none of them seem to top this one.

A masterpiece for the ages.

xxiii. ABERCROMBIE, John: Timeless

xxiii. ABERCROMBIE, John (1944-2017)

Timeless (1975)
JA, guitar
Jan Hammer, keyboards
Jack DeJohnette, drums
(12:03)

From Timeless.

Definitely a 3 A.M. track.

Peaceful, deep, thoughtful, penetrating, graceful and absolutely beautiful music.

xxii. NASS EL GHIWANE: Youm Malqak

xxii. NASS EL GHIWANE

Youm Malqak (2007)
(7:33)

Discovered this band by way of Ahmed El Maanouni's documentary Trances, which was included in The Criterion Collection's first volume of the World Cinema Foundation films.

xxi. GANGER, Ted: I Do What I Can

xxi. GANGER, Ted

I Do What I Can (2011)
TG, piano, voice
(3:56)

From Late Early Songs.

I went gaga over this song when I first heard it, and when Ted sent me the lead sheet, I had to proclaim:

We have here a modern 21st-century Franz Schubert!

xx. ELLINGTON, Duke: Lady of the Lavender Mist

xx. ELLINGTON, Duke (1899-1974)

Lady of the Lavender Mist (1948)
(3:16)

Foxtrot it says on the label. What else can you say, but:

Sir Duke!

xix. ERSKINE, Peter: Esperança

xix. ERSKINE, Peter (1954-       )

Esperança (2011)
Peter, drums
Vardan Ovsepian, keyboards
Damian Erskine, bass
(4:09)

From Joy Luck.

Somewhere in the middle of this tune, the rhythm changes to FIVE (subdivided 4+6) ... intimate, spectacularly shiny music.

xviii. CHICAGO: To Be Free

xviii. CHICAGO

To Be Free (1970)
Robert Lamm, vocals, keyboards
Terry Kath, vocals, guitar
Peter Cetera, vocals, bass
Daniel Seraphine, drums
Lee Loughnane: trumpet, vocals
James Pankow, trombone
Walter Parazaider, woodwinds, vocals
(1:14)

From Chicago II.

A short, but satisfying James Pankow tune.

xvii. VAI, Steve: Final Guitar Solo

xvii. VAI, Steve (1960-       )

Final Guitar Solo (2002)
Steve, everything but drums
Chris Frazier, drums
(1:35)

From The Elusive Light and Sound Vol. 1.

From Bill & Ted's Bogus Journey (1991).

Beautiful shredding.

xvi. SPALDING, Esperanza: Wild is the Wind

xvi. SPALDING, Esperanza (1984-       )

Wild is the Wind (2010)
ES, acoustic bass, voice
Leo Genovese, keyboards
Terri Lyne Carrington, drums
Quintino Cinalli, percussion
Entcho Todarav, violin
Lois Martin, viola
David Eggar, cello
(5:37)

from Chamber Music Society.

ES covers an oldie here -- the title song from the eponymous 1957 film, originally sung by Johnny Mathis and also covered by Nina Simone and David Bowie.

xv. SIMON, Paul: You're Kind

xv. SIMON, Paul (1941-       )

You're Kind (1975)
Paul, vocals, acoustic guitar
Hugh McCracken, acoustic guitar
Joe Beck, electric guitar
Tony Levin, bass
Steve Gadd, drums
(3:20)

From Still Crazy After All These Years.

A love song which morphs into a break-up song. So cute, so smooth ...

xiv. MA, Yo-Yo and McFERRIN, Bobby: Hush Little Baby

xiv. MA, Yo-Yo (1955-       ) and McFERRIN, Bobby (1950-       )

Hush Little Baby (trad.)
Yo-Yo Ma, cello
Bobby McFerrin, vocals
(2:36)

From Hush.

Traditional lullaby energized with rich ideas and gorgeous playing and singing ...

xiii. COLLIER, Jacob: Moon River

xiii. COLLIER, Jacob (1994-       )

Moon River (2019)
Jacob Collier, vocals
(8:50)

From Djesse Vol. 2

Composed by Henry Mancini and Johnny Mercer in 1960, 34 years before Jacob was born.

Since there are no clunky, well-tempered instruments to get in the way, Collier uses microtonal modulation in his vocals. The Grammy-winning arrangement is already legendary for its extraordinary production.

The video is gorgeous from start (sung by a 144-part choir) to finish.

xii. McCARTNEY, Paul: Mamunia

xii. McCARTNEY, Paul (1942-       ) and Wings

Mamunia (1973)
Paul, lead vocals, guitar, bass
Linda, backing vocals, keyboards
Denny Laine, backing vocals, guitar
(4:50)

From Band on the Run.

Mamounia means "safe haven" in Arabic.

Typical McCartney simplicity; a lovely song.

xi. DAVIS, Miles: Jean Pierre

xi. DAVIS, Miles (1926-1991)

Jean Pierre (1982)
Miles, trumpet, keyboards
Bill Evans, soprano and tenor saxophones
Mike Stern, electric guitar
Marcus Miller, bass
Al Foster, drums
Mino Cinelu, percussion
(10:41)

From the live album We Want Miles.

Call it Miles Late Period. This is not Kind of Blue.

He was in a delicate condition when he recorded his first live performance in over six years.

Rehearsals were mostly jam sessions, though technical preparations were meticulous and included the development of a wireless system for Davis's trumpet. The younger band members were somewhat disconcerted by the looseness of the rehearsals (Stern especially was worried), but this organization, with no music written down beyond basic song structures, was exactly what Miles wanted.

x. HARRISON, George: Hear Me Lord

x. HARRISON, George (1943-2001)

Hear Me Lord (1970)
Harrison, vocals, guitar
Eric Clapton, guitar
Gary Wright, piano
Bobby Whitlock, organ
Billy Preston, keyboards
Carl Radle, bass
Jim Gordon, drums
Jim Price, trumpet, horn arrangement
Bobby Keys, saxophone
(5:49)

From All Things Must Pass, a triple-album!

During the 1969 "Let it Be" sessions, George tried to get Paul and John interested in playing this song, to no avail. It's no wonder George had so many songs stored up and ready to record.

Harrison biographer Simon Leng describes this song as "slow-cooking, gospel rock."

ix. THE BEACH BOYS: You Still Believe In Me

ix. THE BEACH BOYS

You Still Believe In Me (1966)
(2:37)

Pet Sounds.

Composed by Brian Wilson (this is really his album, his brothers contributed harmony) and Tony Asher, who plucks piano strings in the intro (simulating a harpsichord), this song moved Paul McCartney to write:

"I love that melody. That kills me, that melody ... that's my favorite, I think. The way that's arranged, where it goes away very quietly. I was in the car, the other night, and I was telling the kids, saying, 'wait, wait, here it comes.' And then it comes back, and it's so beautiful right at the end, comes surging back in these multi-colored harmonies. Sends shivers up my spine. That's one of my favorite tracks."

viii. SIMON, Paul: The Rhythm of the Saints

viii. SIMON, Paul (1941-       )

The Rhythm of the Saints (1990)
Simon, vocals
Kofi Electrik, guitar
Vincent Nguini, guitar
Tommy Bilson-Ogoe, guitar
Armando Macedo, guitar
Armand Sabal-Lecco, bass
Joao Severo da Silva, accordion
Naná Vasconcelos, percussion
(4:12)

From Rhythm of the Saints.

Four years after Graceland, Paul was ready to release yet another masterpiece:

If I have weaknesses
Don't let them blind me
Or camouflage all I am wary of
I could be sailing on seizures of laughter
Or crawling out from under the heel of love

Do my prayers remain unanswered
Like a beggar at your sleeve
Olodumare is smiling in heaven
Smiling in heaven I do believe

vii. MARTIN, Joe: Once Before

vii. MARTIN, Joe (1970-       )

Once Before (2009)
Joe Martin, bass
Chris Potter, tenor saxophone
Brad Mehldau, piano
Marcus Gilmore, drums
(7:15)

A simple melody provides plenty of room for Potter, Mehldau and Martin to go to town.

Superb artistry all around.

vi. DAVIS, Miles: Blues for Pablo

vi. DAVIS, Miles (1926-1991)

Blues for Pablo (1957)
Miles, flugelhorn
Bernie Glow, lead trumpet
Ernie Royal, trumpet
Louis Mucci, trumpet
Taft Jordan, trumpet
John Carisi, trumpet
Frank Rehak, trombone
Jimmy Cleveland, trombone
Joe Bennett, trombone
Tom Mitchell, bass trombone
Willie Ruff, French horn
Tony Miranda, French horn
Jim Buffington, French horn
Bill Barber, tuba
Lee Konitz, also saxophone
Danny Bank, bass clarinet
Romeo Penque, flute, clarinet
Sid Cooper, flute, clarinet
Paul Chambers, bass
Art Taylor, drums
Wynton Kelly, piano
(5:21)

From Miles Ahead.

Miles was unhappy with the original cover art.

"Why'd you put that white bitch on there?" he reportedly asked George Avakian. The second cover was subsequently used for reissues.

Gil Evans (who wrote this track) was the arranger and conductor for these sessions. The large ensemble gives Miles a perfect, slightly angular, background to solo with his mellow flugelhorn.

A classic.

v. ZAPPA, Frank: It Must Be a Camel

v. ZAPPA, Frank (1940-1993)

It Must Be a Camel (1969)
FZ, guitar
Ian Underwood, keyboards, woodwinds
Max Bennett, bass
John Guerin, drums
Jean-Luc Ponty, violin
(5:17)

From 1969's Hot Rats.

Zappa does something incredibly inventive at 2:21 -- the start of the guitar solo. We've been in 3/4 and it this point, it appears he's just double-timed it into 3/8 -- but count it out! Zappa continues to play in three, but the rhythm section is grooving away in 4/4. A few bars later, it becomes evident.

This piece is complex, filled with shimmering details, and Ponty's violin adds a warmth to the final bars of this masterpiece.

iv. COLLIER, Jacob: Don't You Worry 'Bout a Thing

iv. COLLIER, Jacob (1994-       )

Don't You Worry 'Bout a Thing (Stevie Wonder) (2013)
Jacob Collier, all vocals and instruments
(6:07)

One of the first videos to pop up and blow people's minds was this Stevie Wonder classic. There is -- and never has been -- anyone like Jacob Collier in the history of music.

A child prodigy who taught himself how to play virtually every musical instrument (with the possible exception of the higher strings (he plays upright bass incredibly well) and brass [although I wouldn't be surprised]), this video begins with Jacob singing six-part harmony, his cute 18-year-old face popping out of six different quadrants of the screen. (his bass voice in bottom center and top soprano voice is top center.)

He has often spoken about his admiration for Wonder, and here he composes an arrangement which is unique and awesome.

Vocal pyramid.

iii. CAPTAIN BEEFHEART: Moonlight on Vermont

iii. CAPTAIN BEEFHEART (Don Van Vliet) (1941-2010)

Moonlight on Vermont (1969)
Captain Beefheart, vocals
Drumbo (John French), drums
Antennae Jimmy Semens (Jeff Cotton), guitar
Zoot Horn Rollo (Bill Harkleroad), guitar
Rockette Morton (Mark Boston), bass
The Mascara Snake (Victor Hayden), bass clarinet
(3:59)

Van Vliet met Frank Zappa during his teenage years in Lancaster, CA., forming a "mutually useful but volatile" relationship that ws productive for both artists over the years.

After being dropped from two separate record companies, Beefheart signed on with Zappa's label in 1969 and recorded the Zappa-produced masterpiece, Trout Mask Replica, from which this track is taken.

ii. SUN RA: Ancient Aethiopia

ii. SUN RA (1914-1993)

Ancient Aethiopia (1959)
Sun Ra, piano, celeste, gong
Hobart Dotson, trumpet
Marshall Allen, alto saxophone, flute
James Spaulding, alto saxophone, flute, percussion
John Gilmore, tenor saxophone, percussion
Bo Bailey, trombone
Pat Patrick, baritone saxophone, flute, percussion
Charles Davis, baritone saxophone, percussion
Ronnie Boykins, bass
William Cochran, drums
(9:17)

Born Herman Blount on May 22, 1914, in Birmingham, Alabama, he was a musical prodigy capable of listening to a big band and then completely transcribing what he had heard ...

In 1936 or 37, he had a deeply religious experience:

"My whole body changed into something else. I could see through myself. And I went up ... I wasn't in human form ... I landed on a planet that I identified as Saturn ... they teleported me and I was down on a stage with them. They wanted to talk with me. They had one little antenna on each ear. A little antenna over each eye. They talked to me. They told me to stop attending college because there was going to be great trouble in schools ... the world was going into complete chaos ... I would speak through music, and the world would listen. That's what they told me."

From the album Jazz in Silhouette.

i. LITTLE, Booker: Man of Words

i. LITTLE, Booker (1938-1961)

Man of Words (1961)
Booker Little, trumpet
Julian Priester, trombone
Eric Dolphy, alto saxophone, bass clarinet, flute
Don Friedman, piano
Ron Carter, bass
Max Roach, drums
(4:54)

Dead at 23 (Uremia), Little managed to create a legacy that is unmatched. His beautiful tone could be aggresive and innovative, or he could play softly and delicately, as here in this piece which is sort of an ostinato.