![]() Trumpets, trumpets, trumpets: Tommy Dorsey’s “Well, Git It!".Floating over 4/4 swing in a long-meter subdivision of three: Billie Holiday’s "Getting Some Fun Out of Life”.Uncommon psychological complexity while maintaining a lyrical intention: Ornette Coleman’s “Peace”.Insightful integration of the blues with disparate elements: Dave Brubeck’s “Blue Rondo à la Turk”.Making a horn sound exactly like someone singing: "Tricky Sam" Nanton on Duke Ellington’s “Chloe (Song of the Swamp)”.Sounds of protest and affirmation: Louis Armstrong’s “Black and Blue” (1929), Billie Holiday’s “Strange Fruit” (1939), Duke Ellington’s “Jump for Joy” (1941), Charles Mingus’s “Original Faubus Fables” (1959), Max Roach’s “Driva Man” (1960), Max Roach’s “Triptych: Prayer/Protest/Peace” (1960), Dave Brubeck’s“The Real Ambassadors” (1961), John Coltrane’s “Alabama” (1963), Nina Simone’s “Mississippi Goddam” (1964), Rahsaan Roland Kirk’s “Clickety Clack” (1973), Betty Carter’s “Bridges" (1992).Deep, deep groove of the Americas: Tito Rodriguez’s “Como mi ritmo no hay dos”.Otherworldly display of flat-footed improvisational skills: Stan Getz’s “I’m Late, I’m Late” from Focus, Louis Armstrong (second cornet) on “King Oliver’s Snake Rag”.Textbook study of thematic development in a long-form composition transforming a very basic four note motif into modal jazz, original counterpoint, and a beautiful ballad, while still swinging the whole time: Duke Ellington’s “The Tattooed Bride”.Audience clearly enjoying themselves: Cannonball Adderley Quintet’s “Mercy, Mercy, Mercy”.Extremely sophisticated, yet lyrical melody/harmony combination: Wayne Shorter’s “Infant Eyes,” Duke Ellington’s“Creole Blues,” Billy Strayhorn’s “Lush Life,” Thelonious Monk’s“Ask Me Now,” Bill Evans’s “Very Early,” Horace Silver’s “Peace,” Hermeto Pascoal’s “Farol que nos guía todo,” Chick Corea’s“Humpty Dumpty”.Supreme ambassador through effusive, ebullient, infectious playing: Errol Garner’s “Nightconcert”.The Sweetest of Sweet / The Hottest of Hot: Paul Whiteman’s“Whispering,” Jean Goldkette’s “My Pretty Girl”.Destination: Soul: Oliver Nelson’s “Stolen Moments,” Herbie Hancock’s “Tell Me a Bedtime Story,” Duke Ellington’s “Blues in Orbit,” Ben Webster and "Sweets" Edison’s “Better Go”.Textbook genius Improvisation: Charlie Parker’s “Embraceable You,” Thelonious Monk’s “Sophisticated Lady,” John Coltrane’s“Crescent”.Super imaginative integration of European, African, American and Hispanic elements: Machito’s “Kenya,” Duke Ellington’s“Afro-Bossa”.A boogaloo church shuffle in a funky 7 – damn!: Eddie Harris’s“1974 Blues”.Profound insight into the true meaning and nature of jazz across time, space and cultural misconceptions: Django Reinhardt’s “Minor Swing”.As a player: “Night Life” As a composer/arranger: “Walkin’ & Swingin‘” As a mentor: “In the Land of Oo-Bla-Dee” (Dizzy Gillespie’s recording) Composing range: “Scorpio” Manifestation of genius and an unparalleled set of unique achievements (playing, composing, arranging, mentoring): Mary Lou Williams.Disarmingly honest and soulful melody: Charles Mingus’s“Goodbye Pork Pie Hat,” Marcus Roberts’s “Spiritual Awakening”. ![]()
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