John Coltrane Quartet at Birdland - Afro Blue (1963)

Personnel: John Coltrane (soprano sax), McCoy Tyner (piano), Jimmy Garrison (bass), Elvin Jones (drums)

from the album 'COLTRANE LIVE AT BIRDLAND' (Impulse! Records)

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Barry White Greatest Hits 2020 - Best Songs Of Barry White 2020
Barry White Greatest Hits 2020 - Best Songs Of Barry White 2020
Barry White Greatest Hits 2020 - Best Songs Of Barry White 2020
Link: https://youtu.be/Re_f1UOWyNg
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John Coltrane and Johnny Hartman - Autumn Serenade

Off Eddie Harris’ Live at the Moonwalker stream/download here: https://smarturl.it/LiveAtTheMoonwalker

For more on Eddie Harris, visit:
Website: http://eddieharris.com/
Facebook: https://www.facebook.com/EddieHarrisOfficial
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Moody Mood For Love (Fields-Moody-Jefferson) by King Pleasure, with Blossom Dearie and Teacho & Band (sometimes reissued only with the title “I’m In The Mood For Love”).

This vocalese treatment of James Moody’s 1949 improvisation to the 1935 standard “I’m In The Mood For Love,” with lyrics by Eddie Jefferson, spent four months on Billboard’s singles charts, peaking at #2 on the R&B rankings. For Moody's instrumental version, listen here: https://youtu.be/vi9Xv7XO8AY

King Pleasure’s real name of Clarence Beeks will be familiar to fans of the Eddie Murphy-Dan Aykroyd comedy film “Trading Places,” as it was the name that director John Landis gave to the villain character played by Paul Gleason, purportedly in tribute to the jazz artist.

THE 1952 HITS ARCHIVE - here in one place, a good-quality library of original-release-version best-sellers and songs that made an impact that were either released or enjoyed a major chunk of their popularity within the calendar year 1952 (some were recorded in 1951).

Ref: Cosby Show .
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The three* MusicProf channels are home to The HITS ARCHIVES, YouTube’s most comprehensive collection of U.S. ‘popular music’ recordings from 1925 thru 1975. Discover thousands of original hit versions, conveniently arranged in year-by-year playlists and sorted alphabetically in your choice of either song title or artist name. Simply visit this channel’s home page (here: https://www.youtube.com/@the78prof72 ), scroll down the rows of playlist categories, choose a favorite year, click on “view full playlist,” and then pick out the songs that you want to hear. Enjoy the music!

* The78Prof The45Prof AnotherProf

Dizzy Gillespie and his Orchestra performing "Night in Tunisia", featuring Dizzy Gillespie - trumpet, Don Byas - tenor saxophone, Milt Jackson - vibraphone, Al Haig - piano, Bill DeArango - guitar, Ray Brown - bass, and J.C. Heard - drums . Recorded February 22, 1946 in New York.

For lead sheets complete with introductory verses, lyrics, and accurate chord changes, visit
https://www.jazzguitarcomprehensive.com/

The JGC History series features specifically curated playlists to help trace the lineage of some of the most influential jazz compositions of all time.

Some notes about the composition from the JGC Real Book,

Composer: Dizzy Gillespie

Year: 1942

Origin: Introduced by Sarah Vaughan in 1944 as "Interlude".

Style: A combination of straight and swing feels, typically played at brighter tempos.

Form: A-A-B-A (32 Bars) [8-8-8-8]
The A sections are played straight with the exception of the final 2 bars, while the B section is swung. This arrangement commonly used for the head only with the solo section entirely swung.

Intro: The bassline that moves from bII7 - Imi6 is usually used to begin the performance, and there is also a counter-melody that goes along with it.

Send-off: After the head in a 12 bar send-off is used to lead into the solos. This is then followed by a solo break which is commonly 4 bars long. It is typically only used the first time around, although it is sometimes used to introduce every new soloist. This section is played entirely swung.

Shout Chorus: After all the melodic soloists are finished a shout chorus is sometimes included. The shout played during the A sections while the B section is left open to the drummer. Sonny rollins offers a concise interpretation of this arrangement on his recording from A Night at the Village Vanguard.

Key: D minor

Harmony/Overview: The harmony of this composition is mainly functional. The main theme revolves around the constant arrival of bII7 - Imi, which is essentially V7alt - Imi (tri-tone substitution). The bridge is identical to that of "Alone Together", taking place in the relative Major and moving from II - V of II before a II - V - I.

Recordings: This song has been recorded over 400 times to date and is a widely popular standard. The first recording comes from Sarah Vaughan in 1944 and was originally entitled "Interlude", featuring lyrics written by Sarah Vaughan and Anita O'Day. One of the earliest instrumental recordings of Dizzy Gillespie performing the piece comes a 1945 session with Boyd Raeburn and his Orchestra. Dizzy would later record and perform this piece many times throughout his career, leaving several particularly legendary recordings behind.

JGC Top Picks:
Sonny Rollins, A Night at the Village Vanguard, 1957
McCoy Tyner, Today and Tomorrow, 1963
Dave Liebman, Besame Mucho and Other Latin Jazz Standards, 1993

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An impresario in the broadest and most creative sense of the word, Quincy Jones' career has encompassed the roles of composer, record producer, artist, film producer, arranger, conductor, instrumentalist, TV producer, record company executive, magazine founder and multi-media entrepreneur. As a master inventor of musical hybrids, he has shuffled pop, soul, hip-hop, jazz, classical, African and Brazilian music into many dazzling fusions, traversing virtually every medium, including records, live performance, movies and television.
Celebrating more than 50 years performing and being involved in music, Quincy's creative magic has spanned over six decades, beginning with the music of the post-swing era and continuing through today's high-technology, international multi-media hybrids. In the mid-50′s, he was the first popular conductor-arranger to record with a Fender bass. His theme from the hit TV series Ironside was the first synthesizer-based pop theme song. As the first black composer to be embraced by the Hollywood establishment in the 60′s, he helped refresh movie music with badly needed infusions of jazz and soul. His landmark 1989 album, Back On The Block--named "Album Of The Year" at the 1990 Grammy Awards-- brought such legends as Dizzy Gillespie, Ella Fitzgerald, Sarah Vaughan and Miles Davis together with Ice T, Big Daddy Kane and Melle Mel to create the first fusion of the be bop and hip hop musical traditions; while his 1993 recording of the critically acclaimed Miles and Quincy Live At Montreux, featured Quincy conducting Miles Davis' live performance of the historic Gil Evans arrangements from the Miles Ahead, Porgy and Bess and Sketches of Spain sessions, garnered a Grammy Award for Best Large Jazz Ensemble Performance. As producer and conductor of the historic "We Are The World" recording (the best-selling single of all time) and Michael Jackson's multi-platinum solo albums, Off The Wall, Bad and Thriller (the best selling album of all time, with over 46 million copies sold), Quincy Jones stands as one of the most successful and admired creative artist/executives in the entertainment world.