'Blue Monk' is an instrumental jazz standard written by pianist Thelonious Monk, that has become one of his most enduring tunes. First recorded by him on September 22, 1954 for release on Prestige.
Lyrics were added later by Abbey LINCOLN:
Going alone, life is your own, but the cost sometimes is dear Being complete, knowing defeat, keeping on from year to year It takes some doing, Monkery's the blues you hear, keepin' on from year to year Life is a school, 'less you're a fool, but the learning brings you pain Knowing at once, you're just a dunce, trial and error, loss and gain It takes some doing, Monkery's a slow, slow train, trial and error, loss and gain
Finding your one place in the sun, doesn't come the easy way Shallow or deep, nothing is cheap, measured by the dues you pay It takes some doing, Monkery's a blue highway, measured by the dues you pay
Recordings exist by Abbey Lincoln (1961), Jeanne Lee w/ Ran Blake, Karin Krog & Dexter Gordon, Nannie Pores, Christine Correa w/ Ran Blake, Roseanna Vitro & Kevin Mahogany, Karrin Allyson, Roberta Donnay, Deborah Latz, etc.
'Hi-Fly' is an instrumental jazz composition written by pianist Randy Weston inspired by his experience of being 6 feet 8 inches tall, "and how the ground looks different to you than everybody else". Since first being recorded in July 1958 on 'New Faces at Newport,' the song appears on several other albums by Weston.
Lyrics were added later by Jon HENDRICKS:
Old ways seem to have passed them by These days, life is in Hi-Fly
People walking 'round, livin' in a daze High above the ground, with their snooty/crazy ways Put the people down, acting phoney while they fly high
[All around the town, actin' silly while they fly high]
[High falutin' crowds with their foreign cars
Livin' in the clouds, shootin' for the stars
They can never see, life the way it oughta be]
In their fancy clothes, with their corny jokes
Looking down their nose, at the common folks They can never see, life the way it ought to be
Old ways seem to have passed them by These days, life is in Hi-Fly
Everybody's hip, every kind of sound
Comes from every lip, everybody's down
'bout too really flip, acting phoney/dippy while they fly high
[while they try livin' in Hi-Fly]
Recordings exist by Lambert-Hendricks-Ross (1961), Mel Tormé, Karin Krog/Archie Shepp, Ben Sidran, Soesja Citroen, Jenny Evans, Abbey Lincoln, Dena DeRose, Deborah Latz, etc.
'Social Call' is an instrumental jazz composition written by Gigi Gryce and first recorded on May 26, 1955 by Art Farmer Quintet featuring Gryce on alto sax to be released on Prestige. Lyrics were added slightly later by Jon HENDRICKS: Happened to pass your doorway, gave you a buzz, that's all Lately I thought lots about you, so I thought I'd pay a social call
Do you recall the old days, we used to have a ball Not that I'm lonesome without you, I just thought I'd pay a social call
I'd lie and say things are just swell But to tell the truth, I haven't been too well
If you should try to kiss me, I promise I won't stall Maybe we'll get back together, starting from this Incidental, elemental, simple social call
Recordings exist by Gigi Gryce Orchestra ft Ernestine Anderson (1955), Earl Coleman, Jon Hendricks, Betty Carter, Karrin Allyson, Sherri Roberts, Rebecca Kilgore, Agneta Engström, Sid Eden, Mitzi Zilka, Leora Cashe, Dianne Reeves, Elena Welch, Monica Borrfors, Cécile McLoren Salvant, Marianne Solivan, Oksana Ferenchuk, Anna Lauvergnac, Jerry Costanzo, Champian Fulton, Rosswell Rudd & Heather Masse, etc.
'Billie's Bounce' is a jazz composition written in 1945 by saxophonist Charlie Parker in dedication of Billy Shaw by the Yardbird. It was first recorded by Charlie Parker and His Ree Boppers in November 1945 and released the next year on Savoy.
Lyrics were added much later by Eddie JEFFERSON:
I've overlooked so many things, through the years Through my tears, through the years, then I went and opened my eyes You were my idea, heaven with open arms Now that I've found myself this once, I think that it is best We build our little nest, hear the rest, yes it's best
I won't stop and think of the things I really couldn't do until I met you. Please mama, listen to my plea, understand my love and you will find it true, love. I want you to know just how I feel right from the start and hope that you feel the same. I've never had the slighest doubt and hope I never will, I pray our love will blossom with each thrill, I hope you feel the same, please baby don't let me linger. Open up your soul when you open up your arms for me alone Then I know I'll find a way to make it plain, I love you.
I thought of you, dear, You're the only one I've wanted since I have met you And I need you every moment, mama, stay by my side. I know we're meant to find true love, dear I vow you'll never leave me once I have you. I'll never know the song the bluebird sings when he's lonely. Well... it'll have to be, can't you see, I did used to wander, You can love me, tell me...do ya? For it is true, dear, there's no other but ya. Then I went and said it all over again, The way you made me love you, it's a sin ...but what can I do?
Recordings exist by Eddie Jefferson w/ James Moody Orch (1956), Julie Christensen, Jeff Baker, Nancy Kelly, etc.
'I'm in the Mood for Love' is a 1935 pop standard written by Jimmy McHugh & Dorothy Fields. Jazz saxophonist James Moody's instrumental recording of 1949 inspired jazz singer Eddie Jefferson to write lyrics to his improvised sax solo, a practice known as vocalese.
Lyrics were added by Eddie JEFFERSON as 'Moody's Mood for Love':
There I go, there I go, there I go, there I go Pretty baby, you are the soul who snaps my control Such a funny thing but every time you're near me I never can behave You give me a smile and then I'm wrapped up in your magic There's music all around me, crazy music,
Music that keeps calling me, so very close to you, turns me your slave
Come and do with me any little thing you want to
Anything baby, just let me get next to you Am I insane or do I really see heaven in your eyes? Bright as stars that shine up above you in the clear blue skies How I worry about you, just can't live my life without you Baby come here, don't have no fear Oh, is there a wonder why, I'm really feeling in the mood for love? So tell me why stop to think about this weather, my dear?
This little dream might fade away There I go talking out of my head again, oh baby Won't you come and put our two hearts together? That would make me strong and brave Oh when we are one, I'm not afraid, I'm not afraid If there's a cloud up above us, go on and let it rain I'm sure our love together will endure a hurricane Oh my baby, won't you please let me love you And give a relief from this awful misery?
What is all this talk about loving me, my sweet I am not afraid, not anymore, not like before, don't you understand me? Now baby, please pull yourself together, do it soon My soul's on fire, come on and take me I'll be what you make me, my darling, my dear/sweet
Oh baby, you make me feel so good, let me take you by the hand Come let us visit out there in that new promised land Maybe there we can find a good place to use a loving state of mind I'm so tired of being without and never knowing what love's about
James Moody, you can come on in, man And you can blow now if you want to, we're through.
Recordings exist by King Pleasure & Blossom Dearie w/ John Teacho & Band (1952), Eddie Jefferson w/ James Moody, Georgie Fame, Esther Phillips, Genya Ravan, Aretha Franklin, George Benson ft Patti Austin, Karin Krog, Richard 'Dimples' Fields ft Patrice Rushen, Mark Murphy, Lilian Terry w/ Dizzy Gillespie, Chuck Brown & The Soul Searchers, Mina, Sheena Easton, Van Morrison, Quincy Jones ft Brian McKnight, Rachelle Ferrell, Take 6 and James Moody, Lydia van Dam Group, Alexia Vassiliou, Bill Laswell, Amy Winehouse, Queen Latifah, Elliott Yamin, Smokey Robinson, Valeria Terruso, Maria Markesini, Cécile McLoren Salvant, Theo Croker ft Dee Dee Bridgewater, Angelica Matveeva, Roger Cicero Jazz Experience, etc.
'Waltz for Debby' is a jazz standard composed by Bill Evans. It was first recorded on Evans's 1956 album 'New Jazz Conceptions' as a short solo piece. The song title refers to Evans' niece.
Lyrics were first added in Swedish as 'Monicas Vals' by Beppe Wolgers in 1963.
The next year, English lyrics were written by Gene LEES:
In her own sweet world,
populated by dolls and clowns and a prince and a big purple bear, lives my favorite girl, unaware of the worried frowns that we weary grown-ups all wear
In the sun, she dances to silent music, songs that are spun of gold, somewhere in her own little head
One day all too soon,
she'll grow up and she'll leave her dolls and her prince and her silly old bear when she goes they will cry, as they whisper "Goodbye" They will miss her, I fear, but then so will I
Recordings exist by Tony Bennett (1964), Rita Reys w/ Pim Jacobs Trio, Johnny Hartman, Sarah Vaughan, Tony Bennett w/ Bill Evans, Dominic Alldis, The Real Group, Joe Coughlin, Tierney Sutton, Ligia Piro, Dina Blade, Al Jarreau, Joanna Eden Trio, Eliane Elias, Kenichiro Nishihara ft Maia Hirasawa, Francesca Tandoi Trio, Paul Jost, etc.
'Ruby, My Dear' is a jazz ballad composed by Thelonious Monk. It was named after Rubie Richardson, Monk's first love and his older sister Marion's best friend. It was first recorded by him on October 24, 1947 for Blue Note Records.
Lyrics were added much later by Sally Swisher* as 'Dear Ruby':
Ruby, my dear, hold back that tear I know he's gone, your love has flown, you're all alone
Oh, I know you cry, there's no reply Pain lingers on, it doesn't go, cos you'll say so
One day, he came to you and made the music play in his way You said you'd rather die than say goodbye
But there'll come a day, though he's away You'll sing his song, you'll carry on, Ruby, my dear
Recordings exist by Carmen McRae (1988), Mette Rongved w/ Janne Persson, Denise Jannah, T.S. Monk ft. Kevin Mahogany, Melissa Walker, Philip Bailey, etc.
*Alternative lyric set as sung by Lina Nyberg (1993) & Letizia Onorati (2016), goes: ""we'll find a way, Ruby my dear, we'll make each day, I'll help you see, what life can be, etc"
'A Night in Tunisia' is an instrumental jazz standard written by Dizzy Gillespie in and around 1941/42 while he was playing with the Benny Carter Band. Frank Paparelli got co-writer credit in compensation for some unrelated transcription work, but he actually had nothing to do with the song. Gillespie himself called it 'Interlude', under which title it is sometimes recorded.
Lyrics added by Chaka KHAN & Arif MARDIN as 'And the Melody Still Lingers On': A long time ago in the forties, Dizzy and Bird gave us this song They called it "A Night in Tunisia" and the melody still lingers on It was new and very strange, blew the squares right off the stage Few could play along, but the melody still lingers on Max and Miles to name just two, together they grew The music was young and strong and the melody still lingers on They paved the way for generations from Coltrane to Stevie No one could stop the winds of change, without them where'd we be? The duke and the pres were there before, the past you can't ignore The torch is lit, we'll keep the flame and the melody remains the same
Recordings exist by Chaka Khan (1981), Bajazzo ft Pascal von Wroblewsky, Coco d'Or, etc.
'A Night in Tunisia' is an instrumental jazz standard written by Dizzy Gillespie in and around 1941/42 while he was playing with the Benny Carter Band. Frank Paparelli got co-writer credit in compensation for some unrelated transcription work, but he actually had nothing to do with the song. Gillespie himself called it 'Interlude', under which title it is sometimes recorded. Lyrics were added by Jon HENDRICKS*: The moon is the same moon above you, aglow with its cool evening light But shining at night in Tunisia, never does it shine so bright The stars are aglow in the heavens, but only the wise understand That shining at night in Tunisia, they guide you through the desert sand Words fail, to tell a tale too exotic to be told Each night's a deeper night in a world, ages old The cares of the day seem to vanish, the ending of day brings release Each wonderful night in Tunisia, where the nights are filled with peace Recordings exist by Ella Fitzgerald (1961), Ada Lee, June Christy, Rio Nido, Mina, Lou Lanza, Ron Kaplan, Paula West, Victor Fields, Kimiko Itoh, Bonnie J. Jensen, Eileen Howard, Joanna Eden Trio, Judy Niemack, Anna Nygren, Miriam Aïda, Harold Sanditen, etc.
* In 1985 Hendricks wrote a second set of lyrics as 'Another Night in Tunesia', recorded by Bobby McFerrin & The Manhattan Transfer.
'A Night in Tunisia' is an instrumental jazz standard written by Dizzy Gillespie in and around 1941/42 while he was playing with the Benny Carter Band. Frank Paparelli got co-writer credit in compensation for some unrelated transcription work, but he actually had nothing to do with the song. Gillespie himself called it 'Interlude', under which title it is sometimes recorded. Lyrics were soon added by Raymond LEVEEN as 'Interlude':
I lived in a dream for a moment, we loved in a moonlight solitude When I never knew at the moment, love was just an interlude
I thrill as your arms would unfold me, a kiss of surrender set the mood Then heaven fell down when you told me, love was a passin' interlude
The magic, was unsurpassed, too good to last The magic, my heart once knew, was drenched/dressed in blue
The shadow of night all around me, I walk in a moonlight solitude When I thought romance really found me, love was just an interlude
Recordings exist by Sarah Vaughan (1945), Anita O'Day, Jamie Cullum, Ann Hampton Callaway, etc.
'Straight No Chaser' is a jazz standard composed by pianist Thelonious Monk. It was first recorded by his quintet feat. Art Blakey, Sahib Shihab, Al McKibbon and Milt Jackson in July 1951 for release on Blue Note. Lyrics were much later added by Leon THOMAS*: Came to this town, I started movin' around I came to get straight, I had to get straight, no time to wait God knows I had to make haste Do things a movin', no time for doodlin' I used to wonder how when ev'rything seemed profound Within my head, I had to get straight
It's straighten up time, no time for chasin' around Tryin' to keep up, I gotta keep up, you wanna know why Because they're waiting in line I'm in a hurry, no time to worry You see to me it really matters what comes It really does and so, I'm chasin' it straight
Recordings exist by Leon Thomas w/ Oliver Nelson (1970), Rachel Gould w/ Chet Baker, Molly Holm, etc.
*Alternative lyric set by Ben Sidran ("You Better look out, you better look where you leap") *Alternative lyric set by Gene McDaniels ("I went to a bar, I didn't have to go far") *Alternative lyric set by Sally Swisher (see: 'Get It Straight')
'Straight No Chaser' is a jazz standard composed by pianist Thelonious Monk. It was first recorded by his quintet feat. Art Blakey, Sahib Shihab, Al McKibbon and Milt Jackson in July 1951 for release on Blue Note.
Lyrics were much later added by Sally SWISHER as 'Get It Straight':
Well Monk set it straight It's not a time when you wait You gotta be on, you gotta be strong The time is here, so trust your life to your ear Don't wait for no one, they'll have to grow on Because the homeland is the place where it happens And there's no one who can help you to straight No, no, no, no... This Monk had a way Of being out of his day, ahead of his time Not in the same rhyme with other guys He was uncommonly wise He knew the answer, that time's a dancer He knew you can't back up the moment And take it with you, on the road, So now is the time, yeah... Recordings exist by Carmen McRae (1990), Kate McGarry, Kristin Korb, Karrin Allyson, Andy Bey, Jamie Davis, etc.
*Alternative lyric set by Ben Sidran ("You Better look out, you better look where you leap") *Alternative lyric set by Gene McDaniels ("I went to a bar, I didn't have to go far") *Alternative lyric set by Leon Thomas (see: 'Straight No Chaser')
'Up Jumped Spring' is a jazz tune written in waltz time by trumpeter Freddie Hubbard. It was first recorded by Art Blakey's Jazz Messengers in March 1962 for release on the United Artists album '3 Blind Mice'. Lyrics were added much later by Abbey LINCOLN*: I was out promenadin' and high hopes was fadin' That dreams never really come true When up jumped Springtime, I got a look at you All at once it was heady, a gaze long and steady Made sounds of the patter grow dim And up jumped Springtime and love came on in Now my heart wants to cheer, Life's sweet promise is here And love is a lov-er-ly thing And we're sweethearts together, like bird and the feather Our love is as free as the wind 'Cause up jumped Springtime, so hello, my friend Recordings exist by Abbey Lincoln ft Stan Getz (1991), Marit Sandvik, Anne Ducros, Linda Purl, Maggie Green, Carolyn Graye w/ Jessica Williams, Maddy Winer w/ Cyrus Chestnut, Virginie Teychené, Miranda Sage, etc.
*Alt. lyric set by Ben Sidran: "Without a word of warning, the blues came this morning, and I laid down..."
??? - Mieko Hirota on 1973 album 'Jazz Time' Columbia / Master Sonic NCB 7022
??? - Cassandra Wilson on 1985 album 'Newyorker in a Sentimental Mood' JAL - Jar 11
'Ask Me Now' is a 1951 instrumental jazz standard written by pianist Thelonious Monk.
Lyrics were added much later by Jon HENDRICKS as 'How I Wish':
Once you said you loved me, placed no one above me Prayed for me to make that vow What dumb thing did I say, so busy being blasé How I wish you'd ask me now I was vain and blind then, prone to be unkind then Wish they'd turn back time somehow Then I was audacious, I ignored what was precious How I wish you'd ask me now I thought then I'd always be, all footloose and fancy free How could I have been so blind What I once made light of, turns out to be true love Once my ego ruled me, flattered me and fooled me More times than the laws allow You asked me could I care, my attention was elsewhere How I wish you'd ask me now
Recordings exist by Carmen McRae (1988), Maria Anadon, Karrin Allyson, Giacomo Gates, Jeffery Smith & Dianne Reeves, Donna Byrne, Rachel Brand, Reija Lang Trio, etc.
'Turn Out the Stars' is a 1966 jazz instrumental composed by pianist Bill Evans.
Lyrics were added later by Gene LEES:
Turn out the stars, turn out the stars Let eternal darkness hide me, if I can't have you beside me Put out their fires, their endless splendour Only reminds me of your tenderness
Stop the oceans roar, don't let the rivers run Let me hear no more, the wondrous music of a skylark in the sun Let it be done
Turn out the stars, turn out the stars Shut off their light, stop every comet in its magic lonely flight Let there be night, turn out the stars
Recordings exist by Meredith d'Ambrosio (1988), Madeline Eastman, Dominic Alldis, Luca Lapenna, Karen Gallinger, Tierney Sutton, Tina May, The Kelsey Jillette Group, Down 4 The Count, Joan Diaz Trio ft. Silvia Pérez, Karrin Allyson, Liane Carroll ft. Kirk Whalum, Emily McEwan, Johanna Schneider Quartet, Giorgia Sallustio, etc.
'All Blues' is a 1959 instrumental jazz standard written by Miles Davis. It was first recorded by him on April 22, 1959 and released on his classic album 'Kind of Blue' for Blue Note. Lyrics were added later by Oscar BROWN Jr:
The sea, the sky and you and I. Sea and sky and you and I, we are all blues, All shades, all hues... yeah, we are all blues. Some blues are sad and some blues are glad. Dark and sad, oh, bright and glad, we are all blues. All shades, all hues... yeah, we are all blues. Recordings exist by Oscar Brown Jr (1962), Karin Krog, Rachel Gould, Ernestine Anderson, Dee Dee Bridgewater, Kitty Margolis, Kevin Mahogany, Lina Nyberg Quintet, Vox One, Fay Victor, Maggie Green, Cynthia Felton, Karin Ottelohe, etc.
'Shiny Stockings' is a 1955 jazz piece written by tenor saxophonist Frank Foster as a member of the Count Basie Orchestra, making the first recording on January 4, 1956 for release on Verve Records.
Lyrics were added later by Ella FITZGERALD:
Those silk shiny stockings that I wear when I'm with you I wear cause you told me that you dig that crazy hue Do we think of romance, when we go to a dance? Oh no! You take a glance, at those shiny stockings
Then came along some chick with great big stockings too When you changed your mind about me, why I never knew I guess I'll have to find, a new, a new kind A (new) guy who digs my shiny stockings too!
Recordings exist by Ella & Basie (1963), Sarah Vaughan, Karin Krog & Dexter Gordon, Kimiko Kasai, June Katz, Laura Garam, Ewa Bem, Mind Games, Virginie Teychené, etc.
'Shiny Stockings' is a 1955 jazz piece written by tenor saxophonist Frank Foster as a member of the Count Basie Orchestra, making the first recording on January 4, 1956 for release on Verve Records.
Lyrics were added later by Jon HENDRICKS:
I walk with my baby and I know in nothin' flat She's got something mellow, lots of fellows whistle at When we go for a walk, I know, soon as we're out With no shadow of doubt, she's got, lots to be proud of.
I'm hip, I'm lucky to have, someone/a woman so endowed; A girl, half as lovely would make lots of fellows proud I'm crazy 'bout all of her charms, but one's really a ball: I love those shiny stockings most/best of all.
Every man will eyeball if/whatever he can But one thing all men dig is a real shapely leg Oh really, oh really, oh really, oh really, oh really, oh really, oh really
Oh yeah, what do they think of that, where to they think we're at? A woman has got to pretty up and tend to business Make sure she's catchin' an eye! The fellows all get to diggin' but they never know what they're diggin' about A woman has really got to wail at always lookin' her very best She must be up to par without fail Otherwise, her old man's eyes will start to wonder And is it any wonder?
Men go for prettines, this I must confess Dig a pretty face, dig a pretty dress, but they like a pretty leg best And that's the reason my/those stockings shine... 'Cause they appeal to these eyes of mine I love it when she says "I'm gonna stick around and love you babe" I'm certain if I can keep her home from roamin' she'll remain
And I'll be wonderin' why a woman that's lookin' as good as her is by my side She's fine: yes, my baby is fine And she's all mine, what a lucky guy am I? I'm prouder than can be, that she only digs me 'Cause anyone can see, she's a real sensation.
Yeah, one thing certain I know, I love her so, and I'll never let her go. I'm crazy 'bout her charms, but one is a really ball: I love those shiny stocking best of all.
Them shiny stockings, Just looking thrills me, that sight fulfills me. My girl stays in fashion, but she'll really arouse my passion, When she wears those shiny stockings she wears.
Them shiny stockings, Just digging gets me, that sight upsets me, Make no bones about them, I'm no good without them, Cause I love those shiny stockings, yes I do. Yes, I love theme shiny stockings really, I do. Yes, I do, surely I do, Yeah!
Recordings exist by Lambert-Hendricks-Bavan (1963), Burton Cummings, The Ritz, Jon Hendricks ft. Michele Hendricks, Jenny Evans w/ Dusko Goykovich, etc.
"Moanin'" is an instrumental jazz standard composed by pianist Bobby Timmons. It was first recorded by Art Blakey's band feat. Timmons on the 1958 album of the same title.
Lyrics were added the next year by Jon HENDRICKS:
Every mornin' find me moanin'
Cuz of all I the trouble I see
Life's a loosing gamble to me
Cares and woes have got me moanin'
Every evenin' find me moanin'
I'm alone and crying the blues
I'm so tired of paying these dues
Ev'rybody knows I'm moanin'
Lord, I spend many a days and nights alone with my grief
Cuz I pray, really and truly pray, somebody will come and bring me relief.
Lord I try, really and truely try to find some relief
Lord I spend plenty of days and nights alone with my grief
But I pray, really and truely pray, to find some relief. Yes Lord.
Recordings exist by Lambert-Hendricks-Ross (1959), Bill Henderson, Mel Tormé, Vikki Carr, Sarah Vaughan, Chris Farlowe, The Peanuts, Peter Lipa, Judy Niemack w/ Cedar Walton Trio, Jeffery Smith, Counterparts, Ron Kaplan, Karrin Allyson, Diane Marino, Regina Belle, Andrea Wolper, Bobby Watson & David Basse & Angela Hagenbach, Jane Stuart, Anita Wardell, etc.
'Stolen Moments' is a jazz standard composed by Oliver Nelson. The piece first appeared as 'The Stolen Moment' on the 1960 album 'Trane Whistle' by Eddie "Lockjaw" Davis, which was largely written and co-arranged by Oliver Nelson. Its first well-known recording was the version on Nelson's own 1961 album, 'The Blues and the Abstract Truth' on Impulse!
Lyrics were added much later by Mark MURPHY:
Stolen moments, stolen moments,
If I told you I love you, pretty baby,
would it make up for what they say?
If I hold you and shield you, darlin',
will you linger awhile today?
If I hold you and hug you, my kissin' won't bug you,
The gossips won't hurt you, I'll never desert you,
And someday will find us,
Where people won't bind us to the hands of time.
I can use more than moments, pretty baby,
and I know where you steal them from.
There are so many things I'll teach you,
and they call me a useless bum.
They just chatter and clatter, and patter and matter,
They titter and twitter, their glitter gets bitter,
but we're here, I steered here, it's weird here,
Those beards, dear, watch the pantomime.
Recordings exist by Mark Murphy (1970), New York Voices, Judy Niemack w/ Jeanfrançois Prins, Ranee Lee, Jenny Evans, Fancie, Julie Christensen, Soil & "Pimp" Sessions ft Jamie Cullum, Bonnie J. Jensen, Gill Manly, Jill Salkin, etc.
'Stolen Moments' is a jazz standard composed by Oliver Nelson. The piece first appeared as 'The Stolen Moment' on the 1960 album 'Trane Whistle' by Eddie "Lockjaw" Davis, which was largely written and co-arranged by Oliver Nelson. Its first well-known recording was the version on Nelson's own 1961 album, 'The Blues and the Abstract Truth' on Impulse!
Lyrics were added much later by Gail FISHER as 'Stolen Moments (You Belong to Her)':
How I miss all our stolen little moments
The many times I'm not with you
They are such precious stolen moments
That are meant only for us two
Whenever you're gone and I know you're not here
It's so hard to remember when you disappear
With your face always there, right in front of me dear
But you belong to her, but you belong to her
Why do we have to have stolen moments
Why can't I always have you near
Holding you in my arms forever
When I never have anything
Whenever you're gone and I know you're not here
It's so hard to remember when you disappear
With your face always there, right in front of me dear
But you belong to her
I have heard when you have stolen moments
It is called an affair
I don't want to have just stolen moments
So be mine and I'll always care
Whenever you're gone
And I know you're not here
It's so hard to remember, when you disappear
with your face always there right in front of me, dear
But you belong to her
Recordings exist by Carmen McRae & Betty Carter (1987), Emborg Larsen Quintet, Maria Anadon, etc.
'Sermonette' was composed by Julian Cannonball Adderley and first released on Nat Adderley's 'To the Ivy League from Nat' on Emarcy in 1956 featuring his brother on sax. Lyrics were added slightly later by Jon HENDRICKS:
I heard me a sermonette, have you heard it yet With that soulful message that you won't soon forget It tells about real true love, the kind people lost sight of Through their sinful livin', and scornin' Heaven above It tells you to love one another because each one is your brother Live right 'cause you know you gotta reap just what you sow And so to have no regrets and to find what you're missin' Bow your head and listen to this sermonette It tells you to love one another, you know each one is your brother Live right 'cause you know one day you gotta reap everything you sow And so to have no regret and to find what you're missin' Come on along and listen to this sermonette
Recordings exist by Della Reese (1958), Lambert-Hendricks-Ross, Delta Rhythm Boys, Earl Grant, Billie Poole, Sarah Vaughan, The Impressions, Salena Jones, Genie Walker, etc.
'Anatomy of a Murder (Main Theme)' is an instrumental composition by Duke Ellington and Billy Strayhorn for the 1959 courtroom crime drama film directed by Otto Preminger. The soundtrack album played by Ellington's Orchestra was released by Columbia Records. Lyrics were added slightly later by Peggy LEE as 'I'm Gonna Go Fishin'': Woke up this morning, wanting to cry, then I remember, yes, I know why, he's a real good one for having his cake I'm gonna go fishing or jump in the lake
Yes, I'm gonna go fishing, that's what I'll do, think about nothing, not even you, catch a real big one, a big speckled trout Snapping in the water, I'll pull him on out
Sweet talking liar, spin me a yarn, tell me a story, big as a barn, don't stop listening, I won't hear you out I'm gonna go fishing and catch me a trout If a man is a liar, a man is a fool, playing for keepers and breaking the rule, he'll be the loser, yet she'll find out I'm gonna go fishing and catch me a trout
Here in the water, look at him shine, there goes a big one, that one is mine, catch up the reel now, I've got the feel now Snapped onto my fly rod, I've got me a trout
Sweet talking liar, you're in for a fall, you tell me a story, you talk to the wall, don't go my way, I'm down the highway I'm gonna go fishing and catch me a trout
Recordings exist by Jane Harvey w/ Don Elliott (1959), Peggy Lee, Mel Tormé, Big Miller w/ Bob Florence, Chris Connor, Ella Fitzgerald w/ Nelson Riddle, Four Freshmen, Annie Ross, Singers Unlimited, Jeanie Bryson, Connie Evingson, Dr. John, Jenny Evans, Maria Muldaur, Lezlie Anders & Buddy Greco, Joe Baker and his Barefoot Brakemen, Carol Welsman, Jessica Pilnäs, Virginie Teychené, etc.
'Little Niles' is a 1956 jazz standard written by pianist Randy Weston in waltz time. It was first recorded by his trio with Cecil Payne in 1956 for his album 'With These Hands...'.
Lyrics were added later by Jon HENDRICKS:
Little Niles, every little boy in one, and so much fun Little Niles, half a man and half a child and when he smiles Like all children everywhere, he's living truth, For truth is part of youth, and when you feel contentment Surround you, you know he’s around you
Little Niles, warms your heart and cheers your day in every way Little Niles, he’s forever on the go and never slow When you hold him close to you, you realize there’s heaven in his eyes You can’t imagine your life without him, you’re so wild about him
There are days when his mischievous ways Make you shout and wear your patience out Still, you know you’ll stand his every whim Just because you see yourself in him
Little Niles, walkin ’round and actin’ tall altho’ he’s small Little Niles, helpless in his childhood woes and infant trials When the play of day is done you hold him tight to warm him through the night And silently you wish time would slow up, so he’d never grow up
Recordings exist by Abbey Lincoln (1958), Lambert-Hendricks-Ross, Mark Murphy, Soesja Citroen, Mette Rongved w/ Janne Persson, Madeleine Thériault w/ Wray Dones, etc.
'Dat Dere' is a 1960 instrumental jazz standard written by pianist Bobby Timmons and first recorded by him in January 1960 for release on Riverside Records.
Lyrics were added later that year by Oscar BROWN, Jr:
Hey daddy, what that there? and why that under there? And oh daddy oh hey daddy hey look at over there, Hey what they doing there? And where they going there? And daddy can I have that big elephant over there?
Hey who that in my chair? and what’s she doing there? And oh daddy oh hey daddy can I go over there? Hey daddy what’s a square? And where do we get air? And daddy can I have that big elephant over there?
My quizzical kid, man he doesn't want anything here, He’s forever demanding to know who what and why and where, Inquisitive child, and sometimes the questions get wild, Like daddy can I have that big elephant over there?
Don’t wanna comb my hair, and where’s my teddy bear, And oh daddy oh hey look at the cowboy coming there, Hey can I have a pear? Or boots like that to wear And daddy can I have that big elephant over there?
The time will march the years will go, the little fellas gonna grow, I gotta tell him what he needs to know, Help him along, so he’ll know right from wrong, gotta make him strong,
As life’s parade goes trudging by, he’ll need to know some reasons why, I don't have all the answers but I’ll try, Best that I can, gonna help him to plan, so he’ll be a man,
You give a kid your best, and you hope he’ll pass the test, When you finally send him out into the world somewhere, But though he’s grown I’m betting, I never will forget him, Daddy, can I have that big elephant over there?
Hey what they doing there? and how you work that there? And oh daddy oh hey daddy hey what that say up there? Hey daddy what is fair? How come I gotta share? And daddy can I have that big elephant over there?
Recordings exist by Oscar Brown Jr (1960), Sheila Jordan, Mel Tormé, Kimiko Kasai, Carol Kidd, Rickie Lee Jones, Tony Bennett, Pust, Cynthia Felton, Alex & Louise Rogers, etc.
'Bluesette' is an intrumental jazz standard written by Toots Thielemans. It was first recorded by him on June 27, 1963 in Sweden and released in September on Metronome EP 'The Man from the Mountain'. Lyrics were added later by Norman GIMBEL:
Poor little, sad little blue Bluesette, don't you cry, don't you fret, You can bet one lucky day you'll waken, and your blues will be forsaken, One lucky day, lovely love will come your way. [That magic day may just be today]
Long as there's love in your heart to share, dear Bluesette, don't despair Some blue boy is longing/looking just like you, to find a someone to be true to, Two loving arms you can nestle in and stay.
Get set, Bluesette, true love is coming, Your troubled heart soon will be humming.
Pretty little Bluesette, musn't be a mourner, Have you heard the news yet, love is around the corner. Love wrapped in rainbows and tied with pink ribbons To make your your next springtime your gold wedding ring time. So dry your eyes, don't you pout, don't you fret Goody good times are coming, Bluesette Recordings exist by Sarah Vaughan (1964), Miss Vikki Carr, Steve Lawrence, Ray Charles Singers, Sue Raney, Four Tops, King Sisters, Billy Paul, Nicole Croisille, Cleo Laine, Rigmor Gustafsson Quintet, Ann Hampton Callaway, Connie Evingson, Lisa Hindmarsh, Victor Fields, John Vance, Judy Niemack, La Tanya Hall, The Oster-Welker Jazz Alliance, Bonnie J Jensen, The Radha Thomas Ensemble, Miki Purnell, Sofie, etc.
'Birdland' is a jazz-fusion instrumental composition written by keyboardist Joe Zawinul. The piece made its debut on Weather Report’s 1977 studio album, Heavy Weather.
Lyrics were added slightly later by Jon HENDRICKS:
5000 light years from Birdland, but I'm still preachin' the rhythm Long gone uptight years from Birdland and I'm still teachin' it with 'em Years from the land of the Bird and I am still feelin' the spirit 5000 light years from Birdland, but I know people can hear it Bird named it, Bird made it, Bird heard it, then played it Well stated, Birdland, it happened down in Birdland In the middle of that hub, I remember one jazz club Where we went to pat feet, down on 52nd Street Everybody heard that word, that they named it after Bird Where the rhythm swooped and swirled, the jazz corner of the world And the cats they gigged in there, were beyond compare
Birdland, I'm singing Birdland Birdland, old swingin' Birdland Hey man, the music really turns you on Really? Ya turn me around and turn me on Down them stairs, lose them cares, where? down in Birdland Total swing, Bop was king, there, down in Birdland Bird would cook, Max would look, where? down in Birdland Miles came through, Trane came too, there, down in Birdland Basie blew, Blakie too, where? down in Birdland Cannonball, played that hall, there, down in Birdland, yeah
There will never be nothin' such as that No more, skoo be wah, no more Down in Birdland, that's where it was at I know, ah ah ah ah ah, I know Back in them days Bop was ridin' high Hello, heh heh heh heh, goodbye! How well those cats remember their first Birdland gig To play in Birdland is an honor we still dig Yeah, that club was like in another world Sure enough, yeah baby, all those cats were cookin' on People just sat and they were steady lookin' on Then Bird, he came and spread the word, Birdland Yes indeed he did, yes indeed he did, yes indeed he did Yes he did Parker played in Birdland, yes he really did Yes indeed he really did told the truth way down in Birdland Yes indeed he did, Yardbird Parker played in Birdland Yes indeed he really did, Charlie Parker played in Birdland
Bird named it, Bird made it, Bird heard it, then played it Well stated Birdland, it happened down in Birdland Everybody dug that beat, everybody stomped their feet Everybody digs Be Bop and they'll never stop Recordings exist by Manhattan Transfer (1979), VOX, Kimiko Itoh, Joo Kraus, Young Voices Brandenburg, Perpetuum Jazzile, Keberiokst, Tous les Oiseaux de l'Europe, etc.
'Well You Needn't' is an instrumental jazz standard composed by pianist Thelonious Monk in 1944. It was first recorded by his trio (Eugene Ramey on bass & Art Blakey on drums) on October 24, 1947 for release on Blue Note.
Lyrics were added much later by Mike FERRO aka 'It's Over Now':
You're talkin' so sweet, well you needn't You say you won't cheat, well you needn't You're tappin' your feet, well you needn't It's over now, it's over now
You're dressin' with class, well you needn't You're holdin' your sass, well you needn't You think you're a gas, well you needn't It's over now, it's over now
It's over now, it's over now You've had your fun, so take a bow You oughta know, you lost the glow, the beat is slow, the shadows grow, the lights are low, it's time to go, let's close the show down
You're taking off weight, well you needn't You're looking just great, well you needn't You're settin' the bait, well you needn't It's over now, it's over now
Recordings exist by Carmen McRae (1988), Judy Niemack w/ Kenny Barron, Grazyna Auguscik w/ Bogdan Holownia, Jamie Cullum, Yvonne Sanchez, Mina Agossi, Karen Blixt, Diane Hoffman, Jim Shearer & Charlie Wood, Rachel Brand, Cheryl Conley, etc.
'Ugly Beauty' is an instrumental jazz composition by pianist Thelonious Monk. It was first recorded by him in December 1967 and released on his 1968 album 'Underground'. It is the only waltz he ever wrote.
Lyrics were added much later by Mike FERRO as 'Still We Dream':
You and I, I think we know the reason why So far its been quite charming What's in store, it seems we played this scene before Which makes it less alarming
Dim the light and let's go on pretending that this time it's real So round and round, the carousel is winding down and still we dream of love We dream of love, we dream of love
Recordings exist by Carmen McRae (1988), Tina May & Niki Iles, Gretchen Parlato, etc.
'Afro Blue' is a 1959 instrumental jazz standard, perhaps best known in its arrangement by John Coltrane. It was first recorded live on April 20, 1959, at the Sunset Auditorium in Carmel, California by Cal Tjader's band with composer Mongo Santamaría on percussion, for release on Fantasy.
Lyrics were added the next year by Oscar BROWN Jr:
Dream of a land my soul is from, I hear a hand stroke on a drum Shades of delight, cocoa hue, rich as the night, afro blue
Elegant boy, beautiful girl, dancing for joy, delicate whirl Shades of delight, cocoa hue, rich as the night, afro blue
Two young lovers, face to face with undulating grace They gently sway then slip away to some secluded place Shades of delight, cocoa hue, rich as the night, afro blue
Whispering trees, echo their sighs Passionate pleas, tender replies Shades of delight, cocoa hue, rich as the night, afro blue Lovers in flight, upward they glide Burst at the height, slowly subside Shades of delight, cocoa hue, rich as the night, afro blue
And my slumbering fantasy assumes reality Until it seems it's not a dream, the two are you and me Shades of delight, cocoa hue, rich as the night, afro blue Recordings exist by Abbey Lincoln (1960), Oscar Brown Jr, Dianne Reeves, Lyambiko, Lizz Wright, Judy Niemack, Dee Dee Bridgewater, Cynthia Felton, Lisa Engelken, Robert Glasper Experiment ft Erykah Badu, Molly Holm, Harold Mabern ft Gregory Porter, etc.
'Goodbye Pork Pie Hat' is an instrumental jazz standard composed by Charles Mingus originally recorded by his sextet in 1959 and released on his album 'Mingus Ah Um'. Mingus wrote it as an elegy for saxophonist Lester Young, who had died two months prior to the recording session, and was known to wear a broad-brimmed pork pie hat. Lyrics were added by Joni MITCHELL:
When Charlie speaks of Lester, you know someone great has gone The sweetest swinging music man, had a Porkie Pig hat on A bright star, in a dark age, when the bandstands had a thousand ways Of refusing a black man admission Black musician, in those days they put him in an underdog position Cellars and chitlins' when Lester took him a wife Arm and arm went black and white and some saw red And drove them from their hotel bed Love is never easy, it's short of the hope we have for happiness Bright and sweet, love is never easy street! Now we are black and white embracing out in the lunatic New York night It's very unlikely we'll be driven out of town or be hung in a tree, that's unlikely! Tonight these crowds are happy and loud Children are up dancing in the streets In the sticky middle of the night, Summer serenade of taxi horns and fun arcades
Where right or wrong under neon every feeling goes on! For you and me, the sidewalk is a history book and a circus Dangerous clowns balancing dreadful and wonderful perceptions They have been handed day by day, generations on down We came up from the subway, on the music midnight makes To Charlie's bass and Lester's saxophone in taxi horns and brakes, Now Charlie's down in Mexico with the healers, So the sidewalk leads us with music to two little dancers Dancing outside a black bar, there's a sign up on the awning, It says "Pork Pie Hat Bar" and there's black babies dancing tonight Recordings exist by Joni Mitchell (1979), Cheryl Fisher, Mark Murphy, Lupa, Lara Puglia, Angelica Matveeva, Lyambiko, Ku-umba Frank Lacy w/ Mingus Big Band, etc.
'Goodbye Pork Pie Hat' is an instrumental jazz standard composed by Charles Mingus originally recorded by his sextet in 1959 and released on his album 'Mingus Ah Um'. Mingus wrote it as an elegy for saxophonist Lester Young, who had died two months prior to the recording session, and was known to wear a broad-brimmed pork pie hat.
Lyrics were added by Rahsaan Roland KIRK:
He put all of his soul into a tenor saxophone, He had his way of talking, 'twas a language all his own, Life's story, love and glory, if you listen, when he plays it for you, Now listen and listen and dig it, can't you dig it? Lester Young is playing what he's feeling Dealing and dancing. Now someone might have told you, Lester Young he's out of style. But now I'm here to tell you, tell you, Prez is happening now. Life's story, love and glory if you listen when he plays it for you Now listen and listen and dig it, can't you dig it? Lester Young is playing what he's feeling Dealing and dancing on home.
Recordings exist by Rahsaan Roland Kirk (1976), June Tabor, Judy Niemack, Karrin Allyson, Jeanne Lee w/ Mal Waldron, Rigmor Gustafsson, Charene Dawn, Quintorigo, etc.
'Song for My Father' is a 1964 jazz standard written by Horace Silver. The first recording was recorded by his quintet on October 26, 1964 for release on Blue Note the next year. It featured Silver on piano, with Joe Henderson (tenor saxophone), Carmell Jones (trumpet), Teddy Smith (bass) and Roger Humphries (drums). A 2nd set of lyrics was later written by Horace SILVER:
This little song for my father does things that no other can do As I sing it to you It has a rhythm and rhyme that will fasten his memory in time As his beauty shines through For through my mind and soul My heart will always hold A special place for him, it's true
We bow our heads and we pray every day's Father's Day Let's review all that he means to you Our mother's love is real nice but old Dad sacrificed for us too Let us give him his due We're very proud to be in his biography We sing this song for him and you
Recordings exist by H. Silver ft. Andy Bey (1993), Dee Dee Bridgewater, Cheryl Conley, etc.
'Song for My Father' is a 1964 jazz standard written by Horace Silver. The first recording was recorded by his quintet on October 26, 1964 for release on Blue Note the next year. It featured Silver on piano, with Joe Henderson (tenor saxophone), Carmell Jones (trumpet), Teddy Smith (bass) and Roger Humphries (drums).
Lyrics were written by Horace SILVER himself:
I wrote a song for my father in hopes it would give him a thrill After seeing… Brazil. My father’s music came through me but never got to me until I went down to… Brazil.
In Rio all day long, I heard my father’s song, that Bossa Nova beat… so sweet.
I heard the real Bossa Nova but never got over the thrill when I went to… Brazil. No other people you meet play guitar with the beat and the skill as they do in… Brazil.
That Portuguese swing is such a subtle thing, it makes you sway against… your will.
Recordings exist by Jerry Williams (1979), Ron Kaplan, Tok Tok Tok, Jenny Evans, Johnnie Eason, Dee Daniels, etc.
'Song for My Father' is a 1964 jazz standard written by Horace Silver. The first recording was recorded by his quintet on October 26, 1964 for release on Blue Note the next year. It featured Silver on piano, with Joe Henderson (tenor saxophone), Carmell Jones (trumpet), Teddy Smith (bass) and Roger Humphries (drums).
Lyrics were added later by Ellen May SHASHOYAN: If there was ever a man Who was generous, gracious and good That was my dad, the man! A human being so true, He could live like a king 'cause he knew The real pleasure in life To be devoted to and always stand by me So I'd be unafraid and free Recordings exist by: Leon Thomas (1969), Joe Lee Wilson, Tamás Berki, Lenny Marcus Trio, Denise King, The Great Jazz Trio, Dan Hicks & The Hot Licks, Kathy Kosins, etc.
'Lullaby of Birdland' is a 1952 jazz standard composed by pianist George Shearing. The title refers to Charlie "Bird" Parker and the Birdland jazz club named after him.
Lyrics were added somewhat later by George David WEISS (pseudonym B.Y. Forster):
Lullaby of Birdland, that's what I, always hear when you sigh Never in my wordland could there be ways to reveal In a phrase how I feel
Have you ever heard two turtle doves, bill and coo when they love? That's the kind of magic, music we make with our lips when we kiss
And there's a weepy old willow, he really knows how to cry That's how I'd cry in my pillow, if you should tell me farewell and goodbye
Lullaby of Birdland whisper low, kiss me sweet and we'll go Flyin' high in Birdland, high in the sky up above All because we're in love Recordings exist by Ella Fitzgerald (1954), Chris Connor, Sarah Vaughan, Mel Tormé, Eartha Kitt, Joni James, Singers Unlimited, Nouvelle Cuisine, Dee Dee Bridgewater, Ann Hampton Callaway, Dianne Reeves, Maria Luiza, Chaka Khan, Amy Winehouse, Lyn Stanley, etc.
"Doodlin'" is a composition by Horace Silver. The original version by Silver's quintet with Hank Mobley (tenor saxophone), Kenny Dorham (trumpet), Doug Watkins(bass) and Art Blakey (drums) was recorded on November 13, 1954 for release on Blue Note.
Lyrics were later added by Jon HENDRICKS*:
Usin' the phone booth, makin' a few calls, Doodlin' weird things, usin' the booth walls Got me a big date, waitin' for my chick Puttin' my face on, so she could look slick I enjoy procrastinating 'cause I'm busy while I'm waiting Doodlin' away, doodlin away
Sittin' and dinin' (dining), dinner beginnin' Started designin', usin' the linen Talkin' to my date, doodlin' my bit Waiter got salty, told me to please quit Told the waiter, "Don't be dizzy "Can't you see, I'm very busy "Doodlin' away, doodlin' away."
"Do you doodle all day?" Asked the waiter in his way "Do you doodle all night?" Told the waiter he was right "In your doodlin' way" That's the way I'm gonna stay, "Are you thinkin' things right?" Doodlin' sheds a lot of light, "I don't know what I can do," "Ain't nothing you can do," "With old doodlin' you," "Doodlin's all I want to do," That's for true!
Why does every single thing I see, look exactly like a doodle to me? If I ever have a doubt, what life is all about I get my pencil out and then commence to doodlin' And I find it real relaxing, 'specially when I feel that life is really taxing! 'Cause weird designs, they only show what's going on In weirder minds, those when you doodle then your noodle's flying blind Every little thing that you write, just conceivably might Be a thought that you capture, while coppin' a wink Doodlin' takes you, beyond what you see, makes you write what you think I'd feel so lost without my doodlin' Doodlin' really helps me ease my mind I'd be tempest-tossed, without my doodlin' When I'm doodlin' there's one thing I find Truly, I really really truly truly wanna figure out What my doodlin's all about
Later the waiter had me arrested Took me to Bellevue where I was tested Had me a doctor, probin' my noodle 'Fore he was half-done, taught him to doodle Showed him hidden thoughts that linger Find an outlet through your finger Doodlin' away, doodlin' away
Doctor was real nice, told me to be cool Looked at the waiter, called him the real fool Looked at my baby, told me he dug her Got me to doodlin', so he could bug her When he put his arms around her Quite to his surprise he found her doodlin' away, Doodlin' away, we just doodle all day! Recordings exist by Lambert-Hendricks-Ross (1959), Mark Murphy, Lambert-Hendricks-Bavan, Baby Washington, Dusty Springfield, Manhattan Transfer, Mina, Janet Seidel & Tom Baker, Lee Aaron, Georgie Fame, etc. *Dee Dee Bridgewater sings an alternative set of lyrics (by H. Silver?) "Takin' a long trip...".
'Whisper Not' is a 1957 jazz instrumental by Benny Golson. Lyrics were added slightly later by Leonard FEATHER:
Sing low, sing clear, sweet words in my ear Not a whisper of despair, but love's own prayer Sing on, until, you bring back the thrill Of a sentimental tune, that died too soon
Our harmony was lost, but you forgave, I forgot Whisper not, of quarrels past, you know we've had our last So now, we'll be, on key, constantly Love will whisper, on eternally
Why did we listen when they said it wouldn't last Gossiping voices made us break up, but you know we still can make up If we forget 'em all, and answer Cupid's call, it's the truth! Whispers of troubles are an echo of the past All it will take to lose my gloom is just a whisper not of rumours But of your love for me, that's how it's got to be Recordings exist by Anita O'Day (1962), Mel Tormé, Peggy Lee, Ella Fitzgerald, Marlena Shaw, Cheryl Bentyne, Madeleine Thériault, Hanna Elmquist, Judy Wexler, Monica Ramey, etc.
