Song List: 34 SKIDOO (BILL EVANS) B MINOR WALTZ

Total Page:16

File Type:pdf, Size:1020Kb

Song List: 34 SKIDOO (BILL EVANS) B MINOR WALTZ Song List: 34 SKIDOO (BILL EVANS) B MINOR WALTZ (BILL EVANS) BILL'S BELLE (BELL EVANS) BILL'S HIT TUNE (BILL EVANS) BLUE IN GREEN (MILES DAVIS) C MINOR BLUES CHASE (BILL EVANS) CARNIVAL (BILL EVANS) CATCH THE WIND (BILL EVANS) CHILDREN'S PLAY SONG (BILL EVANS) CHROMATIC TUNE (BILL EVANS) COMRADE CONRAD (BILL EVANS) DISPLACEMENT (BILL EVANS) EPILOGUE (BILL EVANS) FIVE (J BORLA/B EVANS) FIVE (BILL EVANS) FOR NENETTE (BILL EVANS) FUDGESICLE BUILT FOR FOUR (B EVANS) FUN RIDE (BILL EVANS) FUNKALLERO (BILL EVANS) FUNNY MAN (BILL EVANS) G WALTZ (BILL EVANS) IN APRIL (R SCHORE/B EVANS) INTERPLAY (BILL EVANS) IT'S LOVE - IT'S CHRISTMAS (BILL EVANS) KNIT FOR MARY F (BILL EVANS) LAURIE (BILL EVANS) LAURIE (THE DREAM) (B DOROUGH/B EVANS) LETTER TO EVAN (BILL EVANS) LOOSE BLOOSE (BILL EVANS) MAXINE (BILL EVANS) MY BELLS (LYRICS) (G LEES/B EVANS) MY BELLS (INSTRUMENTAL) (BILL EVANS) N.Y.C.'S NO LARK (BILL EVANS) ONE FOR HELEN (BILL EVANS) ONLY CHILD (INSTRUMENTAL) (BILL EVANS) ONLY CHILD (LYRICS) (R SCHORE/B EVANS) OPENER, THE (BILL EVANS) ORBIT (BILL EVANS) PEACE PIECE (BILL EVANS) PERI'S SCOPE (BILL EVANS) PROLOGUE (BILL EVANS) QUIET NOW (D ZIETLIN/BILL EVANS) RE: PERSON I KNEW (BILL EVANS) REMEMBERING THE RAIN (BILL EVANS) SHOW-TYPE TUNE (BILL EVANS) SIMPLE MATTER OF CONVICTION, A (BILL EVANS) SINCE WE MET (BILL EVANS) SONG FOR HELEN (BILL EVANS) STORY LINE (BILL EVANS) T.T.T. (TWELVE TONE TUNE) (BILL EVANS) THEME (WHAT YOU GAVE) (BILL EVANS) THERE CAME YOU (BILL EVANS) THESE THINGS CALLED CHANGES (BILL EVANS) TIFFANY (BILL EVANS) TIME REMEMBERED (LYRICS) (P LEWIS/ B EVANS) TIME REMEMBERED (INSTRUMENTAL) (BILL EVANS) TURN OUT THE STARS (LYRICS) (G LEES/B EVANS) TURN OUT THE STARS (INSTRUMENTAL) (G LEES/B EVANS TWO LONELY PEOPLE, THE (LYRIC) (C HALL/ B EVANS) TWO LONELY PEOPLE, THE (INSTRUMENTAL) (C HALL/ BILL EVANS) VERY EARLY (LYRIC) (C HALL/ B EVANS) VERY EARLY (INSTRUMENTAL) (C HALL/ B EVANS) WALKIN' UP (BILL EVANS) WALTZ FOR DEBBY (LYRICS) (G LEES/B EVANS) WALTZ FOR DEBBY (INSTRUMENTAL) (G LEES/B EVANS) WALTZ IN Eb (BILL EVANS) WE WILL MEET AGAIN (BILL EVANS) YET NE'ER BROKEN (BILL EVANS) YOUR STORY (BILL EVANS) .
Recommended publications
  • Seeing (For) Miles: Jazz, Race, and Objects of Performance
    W&M ScholarWorks Dissertations, Theses, and Masters Projects Theses, Dissertations, & Master Projects 2014 Seeing (for) Miles: Jazz, Race, and Objects of Performance Benjamin Park anderson College of William & Mary - Arts & Sciences Follow this and additional works at: https://scholarworks.wm.edu/etd Part of the African American Studies Commons, and the American Studies Commons Recommended Citation anderson, Benjamin Park, "Seeing (for) Miles: Jazz, Race, and Objects of Performance" (2014). Dissertations, Theses, and Masters Projects. Paper 1539623644. https://dx.doi.org/doi:10.21220/s2-t267-zy28 This Dissertation is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Dissertations, Theses, and Masters Projects by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. Seeing (for) Miles: Jazz, Race, and Objects of Performance Benjamin Park Anderson Richmond, Virginia Master of Arts, College of William and Mary, 2005 Bachelor of Arts, Virginia Commonwealth University, 2001 A Dissertation presented to the Graduate Faculty of the College of William and Mary in Candidacy for the Degree of Doctor of Philosophy American Studies Program College of William and Mary May 2014 APPROVAL PAGE This Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy Benjamin Park Anderson Approved by T7 Associate Professor ur Knight, American Studies Program The College
    [Show full text]
  • Temporal Disunity and Structural Unity in the Music of John Coltrane 1965-67
    Listening in Double Time: Temporal Disunity and Structural Unity in the Music of John Coltrane 1965-67 Marc Howard Medwin A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music. Chapel Hill 2008 Approved by: David Garcia Allen Anderson Mark Katz Philip Vandermeer Stefan Litwin ©2008 Marc Howard Medwin ALL RIGHTS RESERVED ii ABSTRACT MARC MEDWIN: Listening in Double Time: Temporal Disunity and Structural Unity in the Music of John Coltrane 1965-67 (Under the direction of David F. Garcia). The music of John Coltrane’s last group—his 1965-67 quintet—has been misrepresented, ignored and reviled by critics, scholars and fans, primarily because it is a music built on a fundamental and very audible disunity that renders a new kind of structural unity. Many of those who study Coltrane’s music have thus far attempted to approach all elements in his last works comparatively, using harmonic and melodic models as is customary regarding more conventional jazz structures. This approach is incomplete and misleading, given the music’s conceptual underpinnings. The present study is meant to provide an analytical model with which listeners and scholars might come to terms with this music’s more radical elements. I use Coltrane’s own observations concerning his final music, Jonathan Kramer’s temporal perception theory, and Evan Parker’s perspectives on atomism and laminarity in mid 1960s British improvised music to analyze and contextualize the symbiotically related temporal disunity and resultant structural unity that typify Coltrane’s 1965-67 works.
    [Show full text]
  • Why Jazz Still Matters Jazz Still Matters Why Journal of the American Academy of Arts & Sciences Journal of the American Academy
    Dædalus Spring 2019 Why Jazz Still Matters Spring 2019 Why Dædalus Journal of the American Academy of Arts & Sciences Spring 2019 Why Jazz Still Matters Gerald Early & Ingrid Monson, guest editors with Farah Jasmine Griffin Gabriel Solis · Christopher J. Wells Kelsey A. K. Klotz · Judith Tick Krin Gabbard · Carol A. Muller Dædalus Journal of the American Academy of Arts & Sciences “Why Jazz Still Matters” Volume 148, Number 2; Spring 2019 Gerald Early & Ingrid Monson, Guest Editors Phyllis S. Bendell, Managing Editor and Director of Publications Peter Walton, Associate Editor Heather M. Struntz, Assistant Editor Committee on Studies and Publications John Mark Hansen, Chair; Rosina Bierbaum, Johanna Drucker, Gerald Early, Carol Gluck, Linda Greenhouse, John Hildebrand, Philip Khoury, Arthur Kleinman, Sara Lawrence-Lightfoot, Alan I. Leshner, Rose McDermott, Michael S. McPherson, Frances McCall Rosenbluth, Scott D. Sagan, Nancy C. Andrews (ex officio), David W. Oxtoby (ex officio), Diane P. Wood (ex officio) Inside front cover: Pianist Geri Allen. Photograph by Arne Reimer, provided by Ora Harris. © by Ross Clayton Productions. Contents 5 Why Jazz Still Matters Gerald Early & Ingrid Monson 13 Following Geri’s Lead Farah Jasmine Griffin 23 Soul, Afrofuturism & the Timeliness of Contemporary Jazz Fusions Gabriel Solis 36 “You Can’t Dance to It”: Jazz Music and Its Choreographies of Listening Christopher J. Wells 52 Dave Brubeck’s Southern Strategy Kelsey A. K. Klotz 67 Keith Jarrett, Miscegenation & the Rise of the European Sensibility in Jazz in the 1970s Gerald Early 83 Ella Fitzgerald & “I Can’t Stop Loving You,” Berlin 1968: Paying Homage to & Signifying on Soul Music Judith Tick 92 La La Land Is a Hit, but Is It Good for Jazz? Krin Gabbard 104 Yusef Lateef’s Autophysiopsychic Quest Ingrid Monson 115 Why Jazz? South Africa 2019 Carol A.
    [Show full text]
  • Jazz Quartess Songlist Pop, Motown & Blues
    JAZZ QUARTESS SONGLIST POP, MOTOWN & BLUES One Hundred Years A Thousand Years Overjoyed Ain't No Mountain High Enough Runaround Ain’t That Peculiar Same Old Song Ain’t Too Proud To Beg Sexual Healing B.B. King Medley Signed, Sealed, Delivered Boogie On Reggae Woman Soul Man Build Me Up Buttercup Stop In The Name Of Love Chasing Cars Stormy Monday Clocks Summer In The City Could It Be I’m Fallin’ In Love? Superstition Cruisin’ Sweet Home Chicago Dancing In The Streets Tears Of A Clown Everlasting Love (This Will Be) Time After Time Get Ready Saturday in the Park Gimme One Reason Signed, Sealed, Delivered Green Onions The Scientist Groovin' Up On The Roof Heard It Through The Grapevine Under The Boardwalk Hey, Bartender The Way You Do The Things You Do Hold On, I'm Coming Viva La Vida How Sweet It Is Waste Hungry Like the Wolf What's Going On? Count on Me When Love Comes To Town Dancing in the Moonlight Workin’ My Way Back To You Every Breath You Take You’re All I Need . Every Little Thing She Does Is Magic You’ve Got a Friend Everything Fire and Rain CONTEMPORARY BALLADS Get Lucky A Simple Song Hey, Soul Sister After All How Sweet It Is All I Do Human Nature All My Life I Believe All In Love Is Fair I Can’t Help It All The Man I Need I Can't Help Myself Always & Forever I Feel Good Amazed I Was Made To Love Her And I Love Her I Saw Her Standing There Baby, Come To Me I Wish Back To One If I Ain’t Got You Beautiful In My Eyes If You Really Love Me Beauty And The Beast I’ll Be Around Because You Love Me I’ll Take You There Betcha By Golly
    [Show full text]
  • Nick Grondin Songlist
    NICK GRONDIN SONGLIST CLASSICAL Air - Bach Ave Maria - Gounod Cannon in D - Pachabel Gymnopedie - Satie Jesu, Joy Of Man's Desiring - Bach La Rejouissance (From The Royal Fireworks) - Handel Minuet In G - Bach O Mio Babbino Caro - Puccini Ode To Joy - Beethoven Spring (From The Four Seasons) - Vivaldi Trumpet Voluntary - Clarke JAZZ All Blues - Miles Davis Blue In Green - Miles Davis Blue Trane - John Coltrane Do Nothing Til You Hear From Me - Ellington Don't Get Around Much Anymore - Ellington Equinox - John Coltrane Fly Me to the Moon - Sinatra Four - Miles Davis Freddie Freeloader - Miles Davis The Girl From Ipanema - Jobim I Got Rhythm - Gershwin If I Were A Bell - Sinatra In A Sentimental Mood - Ellington Moon River - Sinatra My Favorite Things - Rodgers and Hammerstein My Funny Valentine - Sinatra The Nearness Of You - Sinatra Naima - John Coltrane On The Sunny Side Of The Street - Sinatra Our Love Is Here To Stay - Gershwin Prelude to A Kiss - Ellington Quiet Nights of Quiet Stars - Jobim So What - Miles Davis Sonnymoon For Two - Sonny Rollins St. Thomas - Sonny Rollins Summertime - Gershwin Take The A Train - Ellington You Can't Take That Away From Me - Gershwin Wave - Jobim POPULAR All My Loving - Beatles All You Need Is Love - Beatles Beautiful Day - U2 Blackbird - Beatles Here Comes The Sun - Beatles Hey Jude - Beatles And I Love Her - Beatles I'm Yours - Jason Mraz In My Life - Beatles I Still Haven't Found What I'm Looking For - U2 I Will - Beatles Let It Be - Beatles Ob-la-di, Ob-la-da - Beatles Somewhere Over The Rainbow - Iz Stand By Me - Ben E.
    [Show full text]
  • Birth of the Film by Bruce Spiegel
    Bill Evans Time Remembered Birth of the Film by Bruce Spiegel There was a crystal moment when you knew for certain this Bill Evans movie was going to happen. And it was all due to drummer Paul Motian. But let me digress for a moment. I have been listening to jazz since I was a kid, not knowing why but just listening. My father had a webcor portable record player and he had a small but mighty collection of brand new 33 rpm albums. There was Benny Goodman in hi fi, there was the Uptown Stars play Duke Ellington. Illinois Jacquet and Slam Stewart; then there was Fats Waller, and with Honeysuckle Rose and the flip side of the 45, Your Feet’s Too Big. How I loved that song. “Up in Harlem there was 4 of us, me your two big feet, and you!” At college level or maybe it was high school, it was Art Blakey and the Jazz messengers, moaning Horace silver, everything of his, and then the cavalcade began with Monk, Trane, and Miles. I bought an old fisher- amp, speaker and record player and got everything possible, all the way from Louis Armstrong to Jelly Roll Morton; from Teddy Wilson to Sonny Clark. For me it was a young thirst for the best in jazz, just a lifetime of searching for the best records, the real records. And making a collection of them. It was a life-long journey. I had heard Bill Evans but it wasn’t until I was older, much older that I was smitten; really hit hard with his music.
    [Show full text]
  • Inhalt / Contents
    INHALT / CONTENTS African Flower (Petite Fleur Africaine) Butterfly Dolphin Dance Afro Blue Byrd Like Domino Biscuit Afternoon In Paris C'est Si Bon Don't Blame Me Água De Beber (Water To Drink) Call Me Don't Get Around Much Anymore Airegin Call Me Irresponsible Donna Lee Alfie Can't Help Lovin' Dat Man Dream A Little Dream Of Me Alice In Wonderland Captain Marvel Dreamsville All Blues Central Park West Easter Parade All By Myself Ceora Easy Living All Of Me Chega De Saudade (No More Blues) Easy To Love (You'd Be So Easy To All Of You Chelsea Bells Love) All The Things You Are Chelsea Bridge Ecclusiastics Alright, Okay, You Win Cherokee (Indian Love Song) Eighty One Always Cherry Pink And Apple Blossom El Gaucho Ana Maria White Epistrophy Angel Eyes A Child Is Born Equinox Anthropology Chippie Equipoise Apple Honey Chitlins Con Carne E.S.P. April In Paris Come Sunday Fall April Joy Como En Vietnam Falling Grace Arise, Her Eyes Con Alma Falling In Love With Love Armageddon Conception Fee-Fi-Fo-Fum Au Privave Confirmation A Fine Romance Autumn In New York Contemplation 500 Miles High Autumn Leaves Coral 502 Blues Beautiful Love Cotton Tail Follow Your Heart Beauty And The Beast Could It Be You Footprints Bessie's Blues Countdown For All We Know Bewitched Crescent For Heaven's Sake Big Nick Crystal Silence (I Love You) For Sentimental Reasons Black Coffee D Natural Blues Forest Flower Black Diamond Daahoud Four Black Narcissus Dancing On The Ceiling Four On Six Black Nile Darn That Dream Freddie Freeloader Black Orpheus Day Waves Freedom Jazz Dance Blue Bossa Days And Nights Waiting Full House Blue In Green Dear Old Stockholm Gee Baby, Ain't I Good To You Blue Monk Dearly Beloved Gemini The Blue Room Dedicated To You Giant Steps Blue Train (Blue Trane) Deluge The Girl From Ipanema (Garota De Blues For Alice Desafinado Ipanema) Bluesette Desert Air Gloria's Step Body And Soul Detour Ahead God Bless' The Child Boplicity (Be Bop Lives) Dexterity Golden Lady Bright Size Life Dizzy Atmosphere Good Evening Mr.
    [Show full text]
  • The Modality of Miles Davis and John Coltrane14
    CURRENT A HEAD ■ 371 MILES DAVIS so what JOHN COLTRANE giant steps JOHN COLTRANE acknowledgement MILES DAVIS e.s.p. THE MODALITY OF MILES DAVIS AND JOHN COLTRANE14 ■ THE SORCERER: MILES DAVIS (1926–1991) We have encountered Miles Davis in earlier chapters, and will again in later ones. No one looms larger in the postwar era, in part because no one had a greater capacity for change. Davis was no chameleon, adapting himself to the latest trends. His innovations, signaling what he called “new directions,” changed the ground rules of jazz at least fi ve times in the years of his greatest impact, 1949–69. ■ In 1949–50, Davis’s “birth of the cool” sessions (see Chapter 12) helped to focus the attentions of a young generation of musicians looking beyond bebop, and launched the cool jazz movement. ■ In 1954, his recording of “Walkin’” acted as an antidote to cool jazz’s increasing deli- cacy and reliance on classical music, and provided an impetus for the development of hard bop. ■ From 1957 to 1960, Davis’s three major collaborations with Gil Evans enlarged the scope of jazz composition, big-band music, and recording projects, projecting a deep, meditative mood that was new in jazz. At twenty-three, Miles Davis had served a rigorous apprenticeship with Charlie Parker and was now (1949) about to launch the cool jazz © HERMAN LEONARD PHOTOGRAPHY LLC/CTS IMAGES.COM movement with his nonet. wwnorton.com/studyspace 371 7455_e14_p370-401.indd 371 11/24/08 3:35:58 PM 372 ■ CHAPTER 14 THE MODALITY OF MILES DAVIS AND JOHN COLTRANE ■ In 1959, Kind of Blue, the culmination of Davis’s experiments with modal improvisation, transformed jazz performance, replacing bebop’s harmonic complexity with a style that favored melody and nuance.
    [Show full text]
  • Discography Updates (Updated May, 2021)
    Discography Updates (Updated May, 2021) I’ve been amassing corrections and additions since the August, 2012 publication of Pepper Adams’ Joy Road. Its 2013 paperback edition gave me a chance to overhaul the Index. For reasons I explain below, it’s vastly superior to the index in the hardcover version. But those are static changes, fixed in the manuscript. Discographers know that their databases are instantly obsolete upon publication. New commercial recordings continue to get released or reissued. Audience recordings are continually discovered. Errors are unmasked, and missing information slowly but surely gets supplanted by new data. That’s why discographies in book form are now a rarity. With the steady stream of updates that are needed to keep a discography current, the internet is the ideal medium. When Joy Road goes out of print, in fact, my entire book with updates will be posted right here. At that time, many of these changes will be combined with their corresponding entries. Until then, to give you the fullest sense of each session, please consult the original entry as well as information here. Please send any additions, corrections or comments to http://gc-pepperadamsblog.blogspot.com/, despite the content of the current blog post. Addition: OLIVER SHEARER 470900 September 1947, unissued demo recording, United Sound Studios, Detroit: Willie Wells tp; Pepper Adams cl; Tommy Flanagan p; Oliver Shearer vib, voc*; Charles Burrell b; Patt Popp voc.^ a Shearer Madness (Ow!) b Medley: Stairway to the Stars A Hundred Years from Today*^ Correction: 490900A Fall 1949 The recording was made in late 1949 because it was reviewed in the December 17, 1949 issue of Billboard.
    [Show full text]
  • Flamenco Sketches”
    Fyffe, Jamie Robert (2017) Kind of Blue and the Signifyin(g) Voice of Miles Davis. PhD thesis. http://theses.gla.ac.uk/8066/ Copyright and moral rights for this work are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This work cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Enlighten:Theses http://theses.gla.ac.uk/ [email protected] Kind of Blue and the Signifyin(g) Voice of Miles Davis Jamie Robert Fyffe Submitted in fulfilment of the requirements for the Degree of Doctor of Philosophy School of Culture and Creative Arts College of Arts University of Glasgow October 2016 Abstract Kind of Blue remains one of the most influential and successful jazz albums ever recorded, yet we know surprisingly few details concerning how it was written and the creative roles played by its participants. Previous studies in the literature emphasise modal and blues content within the album, overlooking the creative principle that underpins Kind of Blue – repetition and variation. Davis composed his album by Signifyin(g), transforming and recombining musical items of interest adopted from recent recordings of the period. This thesis employs an interdisciplinary framework that combines note-based observations with intertextual theory.
    [Show full text]
  • Bill Evans •••••••••••••••••••••• Turn out the Stars the Final Village Vanguard Recordings June 1980
    6 DISC SET Bill Evans •••••••••••••••••••••• Turn Out the Stars The Final Village Vanguard Recordings June 1980 Though these extraordinary 1980 recordings were made only months before pianist Bill Evans’ untimely death on September 15, 1980, at the age of 51, they capture a beginning far more than an end. At the time of their initial release in 1996, jazz critic Gary Giddins hailed them as “an important find – the most lyrical of improvisers was revitalized by a new trio in his favorite jazz club.” Fellow Village Voice writer Will Friedwald concurred: “Evans is as irrepressibly romantic as ever on these live recordings, but at the same time there’s an aggression to his playing that makes these newly discovered documents some of the most exciting music of his career... he proves that he can really tear into the keyboard and still sound like Bill Evans. Continually prodded by [bassist Marc] Johnson and [drummer Joe] LaBarbera even as he's inspiring them, this is tenderness supported by strength and even bite.” Evans had clearly found players to match his first trio from 20 years earlier, which had cut a landmark live recording at the Village Vanguard in 1961. That now-legendary lineup of bassist Scott LaFaro and drummer Paul Motion was shattered by the tragic death of LaFaro in a car crash. A sense of history and a feeling of renewal inform these 1980 sessions, and they illustrates the serious chemistry between Evans and his young accompanists. As pianist and friend Hank Danko recalls in his liner-notes essay, “When the trio lit into its ensemble passages, the impact was not unlike that of a roaring big band.
    [Show full text]
  • New Real Book: Vol
    New Real Book: Vol. 2 Title Composer / As Played By Page 26-2 John Coltrane 398 500 Miles High Chick Corea & Neville Potter 104 Afro-Centric Joe Henderson 1 After The Rain John Coltrane 3 After You've Gone Creamer & Layton 5 Ain't Misbehavin' Fats Waller, Harry Brooks & Andy Razaf 6 Along Came Betty Benny Golson 7 Asa (The Zoo Blues) Djavan 9 Avance Russell Ferrante 11 Baby It's Cold Outside Frank Loesser 13 Baja Bajo John Pattitucci & Chick Corea 15 Bass Blues John Coltrane 17 Beauty And The Beast Wayne Shorter 20 Bessie's Blues John Coltrane 21 Black And Blue Fats Waller, Harry Brooks & Andy Razaf 22 Black Coffee Paul Francis Webster & Sonny Burke 23 Blues For Alice Charlie Parker 26 Blues For Yna Yna Gerald Wilson 27 Body and Soul E Heyman, R Sour, F Eyton & J Green 29 Bolivia Cedar Walton 34 The Boy Next Door Hugh Martin & Ralph Blane 34 Bye Bye Blackbird Ray Henderson & Mort Dixon 34 Cafe Egberto Gismonti 37 Capim Djavan 39 Casa Forte Edu Lobo 41 Central Park West John Coltrane 43 Charmed Circle Cedar Walton 45 Cherokee Ray Noble 47 A Child Is Born Thad Jones 346 Choices Mike Stern 49 Chromazone Mike Stern 51 Clockwise Cedar Walton 55 Cold Duck Time Eddie Harris 56 Criss Cross Ray Obiedo 57 Day By Day Sammy Cahn, Axel Stordahl & Paul Weston 60 Dear Lord John Coltrane 61 Dee Song Enrico Pieranunzi 63 Delgado Eddie Gomez 66 Detour Ahead Lou Carter, Herb Ellis & John Frigo 68 Devil May Care T.P.
    [Show full text]