![Clifford Brown (1955) [SMOKE GETS IN YOUR EYES] @JGCHistory](https://i.ytimg.com/vi/wvN5hiqKNGI/maxresdefault.jpg)
Uploaded December 2021 | Updated September 2026, 2 weeks ago
From the album 'Clifford Brown with Strings', recorded on January 19, 1955 in New York.
The JGC History series features specifically curated playlists to help trace the lineage of some of the most influential jazz compositions of all time.
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Some notes about the composition as found on
jazzguitarcomprehensive.com
Composer: Jerome Kern
Lyricist: Otto Harbach
Year: 1933
Origin: First introduced in the 1933 musical Roberta.
Style: Almost always performed as a ballad.
Form: A-A-B-A (32 Bars) [8-8-8-8]
Key: Most commonly played in Eb Major.
Harmony/Overview: The harmony of this composition is very functional. The first two bars of the A section begin with the very common progression of IMaj7 - bIIIdim7 - IImi7 - V7. Bars 3-4 tend to see a variety of interpretations; I - III7b13 - IVMaj7 is often used, and I - Iaug/III - IVMaj7 is also very common harmonization. A standard III - VI - II - V is then used to return back to the tonic to repeat the initial theme once more. The B section takes place in bVI Maj, beginning on IMaj7 of the newly tonicized key. VI7 can be used in the 2nd bar, although it is sometimes omitted. Either a III - VI - II - V or a prolonged II - V is then used to return back to IMaj7. In the 6th bar, a II - V is then used to return back to the original key of the song.
Recordings: This song has been recorded over 565 times to date. It was originally conceived as incidental music for the musical Show Boat, although it was cut from the production. After getting scrapped from yet another production, this time a musical by NBC, Otto Harbach suggested that after some slight alterations the song would work as a vocal feature for their 1933 musical Roberta. The first recording comes from Gertrude Niesen in 1933. Many notable jazz musicians began to perform and record it soon after from the likes of Paul Whiteman, Teddy Wilson, Benny Goodman, and Glen Miller to name a few. It slowly began to find its way into the repertoire of many of the leading jazz instrumentalists and vocalists of the day, and it continues to be an especially popular standard.
JGC Top Picks:
Thelonious Monk, Solo 1954, 1954
Clifford Brown, Clifford Brown With Strings, 1955
Cannonball Adderley, African Waltz, 1961
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#CliffordBrown #Jazz #SmokeGetsInYourEyes
From the album 'Clifford Brown with Strings', recorded on January 19, 1955 in New York.
The JGC History series features specifically curated playlists to help trace the lineage of some of the most influential jazz compositions of all time.
Join me on Patreon for Lead Sheets, Play-Alongs, Transcriptions, Lessons and much more:
patreon.com/jazzguitarcomprehensive
Some notes about the composition as found on
jazzguitarcomprehensive.com
Composer: Jerome Kern
Lyricist: Otto Harbach
Year: 1933
Origin: First introduced in the 1933 musical Roberta.
Style: Almost always performed as a ballad.
Form: A-A-B-A (32 Bars) [8-8-8-8]
Key: Most commonly played in Eb Major.
Harmony/Overview: The harmony of this composition is very functional. The first two bars of the A section begin with the very common progression of IMaj7 - bIIIdim7 - IImi7 - V7. Bars 3-4 tend to see a variety of interpretations; I - III7b13 - IVMaj7 is often used, and I - Iaug/III - IVMaj7 is also very common harmonization. A standard III - VI - II - V is then used to return back to the tonic to repeat the initial theme once more. The B section takes place in bVI Maj, beginning on IMaj7 of the newly tonicized key. VI7 can be used in the 2nd bar, although it is sometimes omitted. Either a III - VI - II - V or a prolonged II - V is then used to return back to IMaj7. In the 6th bar, a II - V is then used to return back to the original key of the song.
Recordings: This song has been recorded over 565 times to date. It was originally conceived as incidental music for the musical Show Boat, although it was cut from the production. After getting scrapped from yet another production, this time a musical by NBC, Otto Harbach suggested that after some slight alterations the song would work as a vocal feature for their 1933 musical Roberta. The first recording comes from Gertrude Niesen in 1933. Many notable jazz musicians began to perform and record it soon after from the likes of Paul Whiteman, Teddy Wilson, Benny Goodman, and Glen Miller to name a few. It slowly began to find its way into the repertoire of many of the leading jazz instrumentalists and vocalists of the day, and it continues to be an especially popular standard.
JGC Top Picks:
Thelonious Monk, Solo 1954, 1954
Clifford Brown, Clifford Brown With Strings, 1955
Cannonball Adderley, African Waltz, 1961
Please consider supporting this channel through a donation,
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The World's Premier Site for Jazz Guitar Education and Beyond
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DISCLAIMER: This video has been uploaded for educational purposes and is protected under fair-use. This channel will never be monetized and any ads are run solely on behalf of the rightful copyright owner.
#CliffordBrown #Jazz #SmokeGetsInYourEyes
![Clifford Brown (1955) [SMOKE GETS IN YOUR EYES]](https://i.ytimg.com/vi/wvN5hiqKNGI/mqdefault.jpg "Clifford Brown (1955) [SMOKE GETS IN YOUR EYES]
From the album Clifford Brown with Strings, recorded on January 19, 1955 in New York.
The JGC History series features specifically curated playlists to help trace the lineage of some of the most influential jazz compositions of all time.
Join me on Patreon for Lead Sheets, Play-Alongs, Transcriptions, Lessons and much more:
https://www.patreon.com/jazzguitarcomprehensive
Some notes about the composition as found on
https://www.jazzguitarcomprehensive.com/
Composer: Jerome Kern
Lyricist: Otto Harbach
Year: 1933
Origin: First introduced in the 1933 musical Roberta.
Style: Almost always performed as a ballad.
Form: A-A-B-A (32 Bars) [8-8-8-8]
Key: Most commonly played in Eb Major.
Harmony/Overview: The harmony of this composition is very functional. The first two bars of the A section begin with the very common progression of IMaj7 - bIIIdim7 - IImi7 - V7. Bars 3-4 tend to see a variety of interpretations; I - III7b13 - IVMaj7 is often used, and I - Iaug/III - IVMaj7 is also very common harmonization. A standard III - VI - II - V is then used to return back to the tonic to repeat the initial theme once more. The B section takes place in bVI Maj, beginning on IMaj7 of the newly tonicized key. VI7 can be used in the 2nd bar, although it is sometimes omitted. Either a III - VI - II - V or a prolonged II - V is then used to return back to IMaj7. In the 6th bar, a II - V is then used to return back to the original key of the song.
Recordings: This song has been recorded over 565 times to date. It was originally conceived as incidental music for the musical Show Boat, although it was cut from the production. After getting scrapped from yet another production, this time a musical by NBC, Otto Harbach suggested that after some slight alterations the song would work as a vocal feature for their 1933 musical Roberta. The first recording comes from Gertrude Niesen in 1933. Many notable jazz musicians began to perform and record it soon after from the likes of Paul Whiteman, Teddy Wilson, Benny Goodman, and Glen Miller to name a few. It slowly began to find its way into the repertoire of many of the leading jazz instrumentalists and vocalists of the day, and it continues to be an especially popular standard.
JGC Top Picks:
Thelonious Monk, Solo 1954, 1954
Clifford Brown, Clifford Brown With Strings, 1955
Cannonball Adderley, African Waltz, 1961
Please consider supporting this channel through a donation,
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DISCLAIMER: This video has been uploaded for educational purposes and is protected under fair-use. This channel will never be monetized and any ads are run solely on behalf of the rightful copyright owner.
#CliffordBrown #Jazz #SmokeGetsInYourEyes")
![Glen Miller w/ Ray Eberle (1940) [THE NEARNESS OF YOU]](https://i.ytimg.com/vi/xOqG9Eeq9mw/mqdefault.jpg "Glen Miller w/ Ray Eberle (1940) [THE NEARNESS OF YOU]
Glenn Miller & his Orchestra performing The Nearness of You, with vocal by Ray Eberle. Recorded on April 28, 1940 in New York.
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Some notes about the composition as found on
https://www.jazzguitarcomprehensive.com/
Composer: Hoagy Carmichael
Lyricist: Ned Washington
Year: 1938
Origin: Debuted in the 1938 film Romance in the Dark.
Style: Almost always performed as a ballad.
Form: A1-A2-B-A3 (32 Bars) [8-8-8-8]
Verse: 8 Bars
Seldom included in performances, Sarah Vaughans 1941 recording features it.
Key: Most commonly played in F Major.
Harmony/Overview: The harmony of this composition is very functional, and for the most part remains entirely diatonic. The A sections begin on IMaj7 before a II - V leads to IVMaj7 - IVdim7. A III - VI - II - V is then used, and each section ends slightly differently. A1 uses yet another III -VI - II - V to return to the tonic, while both A2 and A3 remain on IMaj7 for the final 2 bars. The bridge is also extremely conventional, beginning with a II - V of IMaj7 before a II - V of IVMaj7, and a IIImi7b5 - VI7 is then used to set-up a momentary stay on II7 before a final II - V returns to the main theme.
Recordings: This song has been recorded over 660 times to date. It debuted in the 1938 film Romance In the Dark, and was first recorded by Chuck Bullock in 1940. The tune slowly began to enter the repertoire on the leading jazz musicians of the day in the late 1940s, and many notable recordings were made from the likes of Sarah Vaughan, Charlie Parker, Gerry Mulligan, and Louis Armstrong to name a few.
JGC Top Picks:
Warne Marsh, A Ballad Album, 1983
Roy Hargrove, Family, 1995
Michael Brecker and James Taylor, Nearness of You: The Ballad Book, 2000
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#GlenMiller #HoagyCarmichael #TheNearnessOfYou")
![Clifford Brown (1954) [DAAHOUD]](https://i.ytimg.com/vi/xQPH1XZXjsA/mqdefault.jpg "Clifford Brown (1954) [DAAHOUD]
From the album Jazz Immortal, featuring Clifford Brown - trumpet, Stu Williamson - valve trombone, Zoot Sims - tenor saxophone, Bob Gordon - baritone saxophone, Russ Freeman - piano, Joe Mondrago - bass, Shelly Manne - drums, and Jack Montrose - arrangements. Recorded on July 12, 1954 in Los Angeles, California.
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Some notes about the composition as found on
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Composer: Clifford Brown
Year: 1954
Origin: First recorded on the album Clifford Brown & Max Roach.
Style: Swing, typically played at up tempos.
Form: A-A-B-A (32 Bars) [8-8-8-8]
On the original recording from Clifford Brown & Max Roach, the final A section of the head includes an additional 4 bars. In practice this arrangement is oftentimes used, although it is also common to simply treat the final A section as another 8 bar section. During the head there are also several orchestrated shots that feature slightly different harmony than in the solo sections.
Coda: A brief 3 bar drum break is included before one final passage ends the performance.
Key: Eb Major
Harmony/Overview: The harmony of this composition is very bop-oriented, revolving mainly around various II - Vs. While this composition is in a Major key it leans heavily on the tonic minor; the initial melody spells out a IminMaj7 sound and the harmony also resolves to Imi in the 5th bar. The A sections begin with a II - V of bVII which leads to a II - V of bVIMaj7. A II - V then resolves to the tonic minor before a bVI7 - V7 turnaround finally resolves to the tonic Major. The bridge is very conventional, consisting of just a II - V of IVMaj7 before a II - V of bIIIMaj7. The melody as heard on the original recording also features a two-part horn arrangement that is commonly used in performances.
Recordings: This song has been recorded over 85 times to date. It was first recorded on the album Clifford Brown & Max Roach in 1954, and Brown would also record another rendition of the tune just a week later on the album Jazz Immortal. It remains as one of Clifford Browns most popular compositions and it has been recorded by many notable jazz musicians from the likes of Phineas Newborn Jr., Oscar Peterson, and Red Garland to name a few.
JGC Top Picks:
Phineas Newborn Jr., Here Is Phineas, 1956
Arturo Sandoval, I Remember Clifford, 1992
Yotam Silberstein, Resonance, 2010
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#CliffordBrown #Daahoud #Jazz")
![John Coltrane (1957) FIRST RECORDING [STRAIGHT STREET]](https://i.ytimg.com/vi/xfLPPi7l6Ck/mqdefault.jpg "John Coltrane (1957) FIRST RECORDING [STRAIGHT STREET]
The first recording of Straight Street, from the album Coltrane. Featuring John Coltrane – tenor saxophone, Johnnie Splawn – trumpet, Sahib Shihab – baritone saxophone, Mal Waldron – piano, Paul Chambers – bass, and Albert Tootie Heath – drums. Recorded at Van Gelder Studio in Hackensack, New Jersey on May 31, 1957.
Check out a Play-Along of this recording here!
https://www.youtube.com/watch?v=gf8qCrHx8xw
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Some notes about the composition as found on
https://www.jazzguitarcomprehensive.com/
Composer: John Coltrane
Year: 1957
Origin: Introduced on the album Coltrane.
Style: Swing, usually played at an up tempo.
Form: A-A-B-A (48 Bars) [12-12-12-12]
The head arrangement features many orchestrated shots throughout, and also changes to a 6/8 Afro Cuban groove for the duration of the bridge. The 3 part horn arrangement heard on the original recording from the 1957 album Coltrane is also often used in performances.
Key: Eb minor
Harmony/Overview: The changes of this composition are very bop oriented, and encapsulate the musical stylings of John Coltrane very well in his post-bop era of musical development which would span from the late 1950s - early 1960s. The A sections begin by descending II - Vs in whole-steps before reaching the tonic minor. The remainder of the tune continues with various II - Vs, changing key centers frequently.
Recordings: Not Coltranes most widely known composition, it has only been recorded around 30 times to date. The first and only time John Coltrane would record the piece would be on his debut album as a leader entitled Coltrane in 1957. Many notable musicians have recorded it since then however from the likes of Kenny Garrett, Harold Mabern, and Eric Alexander to name a few.
JGC Top Picks:
Kenny Garrett, African Exchange Student, 1990
Eric Alexander, Solid!, 1998
Vincent Herring, Simple Pleasure, 2001
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#JohnColtrane #StraightStreet #Jazz")
![Thelonious Monk (1958) [IN WALKED BUD]](https://i.ytimg.com/vi/y78UkKUBZ4c/mqdefault.jpg "Thelonious Monk (1958) [IN WALKED BUD]
From the album Misterioso, featuring Ahmed Abdul-Malik – bass, Johnny Griffin – tenor saxophone, Roy Haynes – drums, and Thelonious Monk – piano. Recorded live at the Five Spot Café in New York on August 7, 1958.
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Some notes about the composition as found on
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Composer: Thelonious Monk
Year: 1947
Origin: First recorded in 1947 for Blue Note Records.
Style: Swing, usually played at a medium up tempo.
Form: A-A-B-A (32 Bars) [8-8-8-8]
Key: Ab Major
Harmony/Overview: The harmony of this composition is very conventional, especially in comparison to many of Thelonious Monks other compositions. The A sections begin on the relative minor and feature the minor cliché of mi - miMaj7 - mi7 before a II7 - V7 leads to the tonic Major. A I - VI - II - V turnaround is then used to generate movement back to the tonic before a minor II - V leads to the relative minor once again. The B section consists of only two chords and moves from IVmi to bVI7 of VImi. The 3rd and 4th bars of the bridge also feature a counter-melody that is almost always played.
Recordings: This song has been recorded over 160 times to date. It was first recorded by Thelonious Monk in 1947 on a session for Blue Note Records. He would record and perform it many times throughout his career, with a particularly legendary rendition from the album Misterioso in 1958.
JGC Top Picks:
Thelonious Monk, Misterioso, 1958
Joshua Redman & Brad Mehldau, Nearness, 2016
Ari Hoenig, NY Standard, 2018
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#TheloniousMonk #JohnnyGriffin #InWalkedBud")
![Earl Hines w/ Billy Eckstine (1942) [SKYLARK]](https://i.ytimg.com/vi/y8983BT2ZL8/mqdefault.jpg "Earl Hines w/ Billy Eckstine (1942) [SKYLARK]
Earl Hines and his Orchestra performing Skylark with Billy Eckstine on vocal. Recorded on March 19, 1942 in New York. Featuring Truck Parham - bass; Leroy Harris, Scoops Carey - clarinet, alto saxophone; Rudy Taylor - drums; Clifton Best - guitar; Earl Hines - piano; Budd Johnson, Robert Crowder, William Randall - tenor saxophone; George Hunt, Gerald Valentine, Joe McLewis - trombone; Harry Jackson, Jesse Miller, Maurice McConnell - trumpet; and George Dixon - trumpet, alto saxophone.
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Some notes about the composition as found on
https://www.jazzguitarcomprehensive.com/
Composer: Hoagy Carmichael
Lyricist: Johnny Mercer
Year: 1941
Origin: First recorded by Gene Krupa and his Orchestra in 1941.
Style: Ballad
Form: A1-A2-B-A3 (32 Bars) [8-8-8-8]
Key: Most commonly played in Eb Major.
Harmony/Overview: The harmony of this composition is functional. The melody however is rather angular, reminiscent of Carmichaels hugely successful composition Star Dust. While the harmonic structure of the piece remains consistent among various interpretations, there are many alternate changes and reharmonizations that are commonly used throughout the piece; mostly along the lines of like-function and tri-tone substitution. The A sections begin on IMaj7 and move up diatonically through the key until reaching IVMaj7. They then return to IMaj7 before bV7 (tri-tone substitution of I7) resolves back to IVMaj7, which is then followed by a III - VI which leads to a momentary stay on II7. Each section however ends slightly differently, again with various interpretations using differing turnarounds. The B section takes place in IV Major, and finishes with a brief stay in III Major before returning back to the main theme once again.
Recordings: This song has been recorded over 660 times to date. It was first recorded by Gene Krupa and his Orchestra with Anita ODay on vocals in 1941. Many leading vocalists and orchestras of the day would also make hit recordings of the tune from the likes of Glen Miller, Dinah Shore, Bing Crosby, and Mel Tormé to name a few. It soon after found its way into the repertoire of many other prominent jazz musicians such as Earl Hines, Lee Konitz, and Art Blakey, and it continues to be performed frequently to this day.
JGC Top Picks:
Art Blakey, Caravan, 1962
Paul Desmond, Skylark, 1973
Michael Brecker, Two Blocks From the Edge, 1997
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#EarlHines #BillyEckstine #Skylark")
![Dizzy Gillespie (1946) FIRST RECORDING [ANTHROPOLOGY]](https://i.ytimg.com/vi/yMiZ7XtWvm0/mqdefault.jpg "Dizzy Gillespie (1946) FIRST RECORDING [ANTHROPOLOGY]
The first recording of the Charlie Parker composition Anthropology, featuring Dizzy Gillespie - trumpet, Milt Jackson - vibraphone, Al Haig - piano, Bill DeArango - guitar, Ray Brown - bass, and J.C. Heard - drums. Recorded on February 22, 1946.
The JGC History series features specifically curated playlists to help trace the lineage of some of the most influential jazz compositions of all time.
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Some notes about the composition as found on
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Composer: Charlie Parker
Year: 1946
Origin: First recorded by Dizzy Gillespie 1946.
Style: Swing, taken at a variety of tempos.
Form: A-A-B-A (32 Bars) [8-8-8-8]
Key: Bb Major
Harmony/Overview: The harmony of this composition is based on the changes to the George Gershwin standard I Got Rhythm. The melody is a sophisticated bebop line that features many of the hallmarks of Charlie Parkers pioneering concept, with lots embellishments and syncopation.
Recordings: This song has been recorded over 120 times to date and is one of the most widely popular rhythm changes head in the repertoire. Dizzy Gillespie was the first to record it in 1946 and Charlie Parker himself would record the tune on multiple occasions throughout his career, with several particular inspired live performances being caught on tape. Many generations of musicians have recorded it since and it continues to be a popular jam session number.
JGC Top Picks:
Elvin Jones, Dear John C., 1965
Tom Cohen, Diggin In, Digging Out, 1999
Ari Hoenig, Inversations, 2006
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#DizzyGillespie #Anthropology #CharlieParker")
![Wes Montgomery (1965) [IF YOU COULD SEE ME NOW]](https://i.ytimg.com/vi/y_p2rizvyDw/mqdefault.jpg "Wes Montgomery (1965) [IF YOU COULD SEE ME NOW]
From the album Smokin at the Half Note, featuring Wes Montgomery – guitar, Wynton Kelly – piano, Paul Chambers – bass, and Jimmy Cobb – drums. Recorded live at the Half Note in New York on June 24, 1965.
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Some notes about the composition as found on
https://www.jazzguitarcomprehensive.com/
Composer: Tadd Dameron
Lyricist: Carl Sigman
Year: 1946
Origin: First recorded by Tadd Dameron and his Orchestra in 1946 alongside Sarah Vaughan.
Style: Ballad
Form: A1-A2-B-A1 (32 Bars) [8-8-8-8]
Key: Most commonly performed in Ab Major.
Harmony/Overview: The harmony of this composition is functional, however in practice many alternate changes are often used. The A sections begin on IMaj7 before moving to IV7, giving the piece a blues like aesthetic. In Bar 4 it is common to return back to IV7 once again, although a II - V of bIII is sometimes used instead. An ingenious reharmonization from Bill Evans begins the second half of bar 3 with Fmin9 (VImi9) and descends in semi-tones down to Dbmi9 (IImi9 in II - V of bIII). The melody and harmony in bar 5 is borrowed from the coda used in Dizzy Gillespies arrangement of Groovin High from his original 1945 recording; this device can also be heard on Miles Davis Four. Finally, instead of simply using a II - V to return back to the tonic in bar 6, a tri-tone substitution is also sometimes added (II - V of I followed by II - V of bV). The bridge takes place in III Major for the first half, and is sometimes preceded with a deceptive cadence of a II - V of IV which instead resolves to the II - V of III which begins the bridge. The B section then finishes off in V Major before returning to the main theme once again.
Recordings: This song has been recorded over 240 times to date. It was first recorded by Tadd Dameron and his Orchestra in 1946 alongside Sarah Vaughan, and he would also later include it on his 1962 album The Magic Touch. It became a widely popular number among vocalists and instrumentalists alike with recordings being made by the likes of Carmen McRae, Chet Baker, and Kenny Burrell to name a few. It continues to be performed frequently to this day and remains an immensely popular ballad in the standard repertoire.
JGC Top Picks:
Gil Evans, Gil Evans & Ten, 1957
Bill Evans, Moon Beams, 1962
Wynton Kelly Trio & Wes Montgomery, Smokin at the Half Note, 1965
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#IfYouCouldSeeMeNow #WesMontgomery #WyntonKelly")
![Larry Young (1966) [SEVEN STEPS TO HEAVEN]](https://i.ytimg.com/vi/yzLC45wqp80/mqdefault.jpg "Larry Young (1966) [SEVEN STEPS TO HEAVEN]
From the album Seven Steps to Heaven, featuring Eddie Gale – trumpet, James Spaulding – alto saxophone, Herbert Morgan – tenor saxophone, and Wilson Moorman III – drums. Recorded on July 28, 1966 at Van Gelder Studio in Englewood Cliffs New Jersey.
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Some notes about the composition as found on
https://www.jazzguitarcomprehensive.com/
Composer: Miles Davis, Victor Feldman
Year: 1963
Origin: Introduced on the album Seven Steps to Heaven.
Style: Swing, often played at very fast tempos.
Form: A-A-B-A (32 Bars) [8-8-8-8]
The intro vamp of I13 - bVII13 is also used as a send-off between soloists, as well as an outro.
Key: F Major
Harmony/Overview: The harmony of this composition is functional. The A sections of the solo sections begin on IMaj7 before a minor II - V of VI leads to a II - V of V. A final II - V then returns to the tonic. The bridge begins on VMaj7 and uses II - Vs to ascend tonal centers up in minor 3rds; C - Eb - Gb. The head features many orchestrated shots and uses slightly different harmony than the solos, although still remains for the most part diatonic.
Recordings: This song has been recorded over 90 times to date. It was first introduced on the 1963 Miles Davis album Seven Steps to Heaven, and he would also record it live the following year on the album Four & More. It continues to be one of Miles Davis most popular compositions and remains as a jam session mainstay.
JGC Top Picks:
Miles Davis, Four & More, 1964
Lonnie Smith, Live at Club Mozambique, 1970
Ray Brown Trio, Seven Steps to Heaven, 1995
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#LarryYoung #SevenStepsToHeaven #Jazz")
![Miles Davis (1956) [DEAR OLD STOCKHOLM]](https://i.ytimg.com/vi/zOSYygfWQT8/mqdefault.jpg "Miles Davis (1956) [DEAR OLD STOCKHOLM]
From the album Round About Midnight, featuring Miles Davis – trumpet, John Coltrane – tenor saxophone, Red Garland – piano, Paul Chambers – bass, and Philly Joe Jones – drums. Recorded on at Columbia studios in New York City on June 5, 1956.
Check out a Play-Along featuring this exact arrangement!
https://www.youtube.com/watch?v=E-K_syv6Xec&list=PL7DAmzxt2r-CnAPt6MnFUDzylmn1SYAs9&index=2
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Some notes about the composition as found on
https://www.jazzguitarcomprehensive.com/
Composer: Swedish Traditional
Origin: First recorded in 1916 by Joel Mossberg.
Style: Most commonly played as a medium up swing.
Form: A1-A1-B-A2-C (48 Bars) [12-12-4-6-9]
While the original folk melody is just a two-part theme, Miles Davis arrangement from Round About Midnight has become the standard for how jazz musicians approach this tune.
Key: D minor
Harmony/Overview: The melody of this composition is very simple and folk-oriented, and the harmony that has become common-place when approaching this tune in a jazz context is also very conventional. It is entirely diatonic with the A sections taking place in the relative minor and the B section taking place in Major. Miles Davis arrangement included a vamp in the A sections which revolves around orchestrated shots on Dmi/A - Dmi#5/A, and he also included a V7sus vamp of I at the end of the form.
Recordings: This song has been recorded over 180 times to date. It is a Swedish folk song so the original composer is unknown, however Anders Fryxell and Fredrik August Dahlgren are credited to be the Swedish lyricists. The first recording comes from Joel Mossberg in 1916 as Värmlandsvisan. Stan Getz was the first jazz musician to adapt this composition to a jazz context when he recorded it in 1951. Ultimately, it would be Miles Davis seminal recording from Round About Midnight which solidified its place in the jazz repertoire and helped it to achieve widespread appeal among jazz audiences.
JGC Top Picks:
Paul Chambers, Bass on Top, 1957
Bud Powell, Bud Powell in Paris, 1963
John Coltrane, Dear Old Stockholm, 1965
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#MilesDavis #DearOldStockholm #Jazz")
![Buddy Rich (1960) [CHEEK TO CHEEK]](https://i.ytimg.com/vi/zcjczswDSMc/mqdefault.jpg "Buddy Rich (1960) [CHEEK TO CHEEK]
From the album Playtime, featuring Buddy Rich - drums, Sam Most - flute, Don Goldie - trumpet, Wilbur Wynne - guitar, Johnny Morris - piano, and Mike Mainieri - vibraphone. Recorded in October of 1960.
The JGC History series features specifically curated playlists to help trace the lineage of some of the most influential jazz compositions of all time.
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Some notes about the composition as found on
https://www.jazzguitarcomprehensive.com/
Composer: Irving Berlin
Year: 1935
Origin: Introduced by Fred Astaire in the 1935 film Top Hat.
Style: Swing, taken at a wide variety of tempos.
Form: A-A-B-C-A (72 Bars) [16-16-16-8-16]
Key: Most commonly played in C Major.
Harmony/Overview: The harmony of this composition is functional. The A sections are centered mainly around a I - VI - II - V, and oftentimes many variations thereof are used. In the 5th bar the harmony inches upwards through IMaj7 - IImi7 - bIIIdim7 - IIImi7 before arriving at bVII7#11. A II7 - V7 of V then leads to V7 - IImi7 - IIImi7 - IV7 before arriving once again at bVII7#11. A V of II is then used to set-up the final II - V which returns back to the tonic to conclude the section. The B section cycles through a II - V - I - VI in the home key. The C section begins in the parallel minor, and it is very common to precede the bVI7 which follows with a IImi7 as in a II - V of bII. A minor II - V in the home key then concludes the section before setting up the tonic once more for the final A section.
Recordings: This song has been recorded over 445 times to date. It was first recorded by Leo Reisman and his Orchestra with Fred Astaire on vocals in June of 1935, and Astaire would also introduce it later that year in the the Musical Comedy film Top Hat. It would become a popular number amongst jazz musicians, with recordings coming from Teddy Wilson, Red Norvo, Oscar Peterson, and Buddy DeFranco to name a few. It has also become an especially popular number among vocalists.
JGC Top Picks:
Red Mitchell, Presenting Red Mitchell, 1957
Madeline Eastman, Mad About Madeline!, 1991
Stephen Scott, The Enja Heritage Collection: Vision Quest, 1998
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#BuddyRich #CheekToCheek #Jazz")
![Stephen Scott (1991) [PENT-UP HOUSE]](https://i.ytimg.com/vi/zrbQHt7WFvo/mqdefault.jpg "Stephen Scott (1991) [PENT-UP HOUSE]
From the album Something to Consider, featuring Christian McBride - bass, Jeff Tain Watts - drums, Stephen Scott - piano, and Joe Henderson - tenor saxophone. Recorded on March 18, 1991.
The JGC History series features specifically curated playlists to help trace the lineage of some of the most influential jazz compositions of all time.
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Some notes about the composition as found on
https://www.jazzguitarcomprehensive.com/
Composer: Sonny Rollins
Year: 1956
Origin: Introduced on the album Sonny Rollins Plus 4.
Style: Swing, usually played at a medium-up tempo.
Form: A-B (16 Bars) [8-8]
The head is typically played twice on the way in and out.
Key: G Major
Harmony/Overview: The harmony of this composition is very conventional, being made up entirely of II - Vs. The first 8 bars are centered entirely around a II - V - I, and the B section continues with a II -V of IV, then a II - V of bIII before returning back to the main theme once again. The head features an arrangement that revolves around 3 beat figures (dotted quarter notes) and the entire band often catches the orchestrated shots.
Recordings: This song has been recorded over 75 times to date. It was first recorded in 1956 for the album Sonny Rollins Plus 4. It has since been recorded by many of the greats and has taken many modern interpretations since.
JGC Top Picks:
Stephen Scott, Something to Consider, 1991
Jochen Rueckert, Introduction, 1998
Ari Hoenig, NY Standard, 2018
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#StephenScott #PentUpHouse #Jazz")
