The Jazz Real Book

Warren Wolf’s History of the Vibraphone pays tribute to 11 legendary vibe players, including Lionel Hampton, Gary Burton, and Dave Samuels, presenting a deep dive into the vibraphone’s jazz legacy. Starting in classical music under his vibraphonist father’s guidance, Wolf trained on vibraphone, marimba, xylophone, drums, and piano from a young age in Baltimore. Influenced by his dad’s extensive jazz record collection and the local organ trio jazz scene, he eventually studied under Dave Samuels at Berklee, where he later taught. Wolf’s rich blend of early classical rigor and exposure to jazz and R&B shaped his style, which now spans swing to fusion.  In History of the Vibraphone, Wolf performs each track as an homage to original artists, joined by saxophonist Tim Green, pianist Alex Brown, bassist Vicente Archer, and drummer Carroll “CV” Dashiell III. Standout selections like Gary Burton's “Captain Señor Mouse” and Samuels’s “Spring High” reflect Wolf’s influences and his mission to celebrate lesser-known vibes players. Currently a professor at Peabody Conservatory, Wolf remains dedicated to jazz education. Baltimore’s thriving scene is central to his work, with venues like Keystone Korner and An Die Musik hosting vibrant jam sessions. Wolf's upcoming tour hints at a possible sequel to this record, potentially honoring Red Norvo, Tito Puente, and Mike Mainieri. https://njjs.org/ https://www.warrenwolf.com/ History of the Vibraphone https://open.spotify.com/album/0raNJZzMHYyOr9R398NJ3E?si=CkIRJL2-Rm2iFwruCESL-Q

46 -“But Beautiful” and Stan Getz Standards Rating 7 -Difficulty Rating 6 “But Beautiful,” composed by Jimmy Van Heusen with lyrics by Johnny Burke in 1947, is a classic ballad celebrated for its lyrical melody and complex harmonic progressions. The song’s 32-bar form in G major features rich ii-V movements and subtle key shifts that add a sense of harmonic intrigue. Notable recordings include renditions by Billie Holiday and Frank Sinatra, each capturing the song's emotional essence. Stan Getz, renowned for his warm, lyrical tenor saxophone tone, recorded a memorable version of “But Beautiful” with pianist Bill Evans in 1964. This recording, released in 1973, also features Ron Carter on bass and Elvin Jones on drums. Evans introduces the melody delicately, creating a serene atmosphere. Getz’s entrance is marked by his signature smooth sound, bringing emotional depth to the piece. His expressive solos, complemented by Evans’s harmonic sensitivity, beautifully balance grace and complexity, exemplifying Getz’s lasting impact on jazz. Spotify Playlist https://open.spotify.com/playlist/5bla6DuepTMq3kdzUlXTy7?si=KM1g5VEfSxmpKuplKnHDhg Stan Getz and Bill Evans https://youtu.be/fl6aEZ47AVs?si=ObyZdd5DEHyv-BXT Billie Holliday  https://youtu.be/ihBfxVcVEPY?si=_Uc9o0aL48owSEUH

45-“Broadway” and Oscar Peterson  Standards Rating 6 Difficulty Rating 4 Oscar Peterson, a virtuoso jazz pianist from Montreal, was known for his swift, intricate runs and rhythmic precision, drawing influence from Art Tatum and Nat King Cole. His style and mastery shone especially in trio settings, often alongside bassist Ray Brown and guitarist Herb Ellis. Peterson's collaborations with Norman Granz in the 1950s, particularly in the Jazz at the Philharmonic series, solidified his international reputation. Peterson’s discography highlights his 1955 recording of the jazz standard “Broadway” on Oscar Peterson Plays Count Basie. Backed by Brown, Ellis, and drummer Buddy Rich, Peterson opens with a steady, Basie-inspired groove. The track’s 32-bar AABA form and Tin Pan Alley-inspired chord progressions create ample room for improvisation. Ellis’s solo adds a bluesy swing, while Peterson's solo is lively but restrained, perfectly capturing the energy and elegance that marked his approach to jazz. Oscar Peterson https://youtu.be/Ho1FZjum-Uw?si=opB53N5FlchGUFOl Ella Fitzgerald https://youtu.be/aIB7Ozx45r0?si=s4KCFeqZYZGwjVVs Jazz Real Book Playlist https://open.spotify.com/playlist/5bla6DuepTMq3kdzUlXTy7?si=VW3-VdNzTd-dS7h_mvJFxw

44-“Broad Way Blues” and Ornette Coleman  Standards Rating 5 Difficulty Rating 6  Ornette Coleman was a pioneering jazz figure known for breaking traditional boundaries with his radical approach to improvisation and composition. His 1959 album The Shape of Jazz to Come introduced free jazz, where he abandoned chord changes and rigid structures, allowing musicians more freedom. His work at New York's Five Spot Café with a groundbreaking quartet helped establish his status as a revolutionary in modern jazz. Coleman's 1961 album Free Jazz: A Collective Improvisation further pushed these boundaries with group improvisation, sparking praise and controversy. One of his notable compositions, "Broadway Blues," features bluesy elements mixed with free improvisation. His 1968 album New York Is Now! blended avant-garde and post-bop, showing his continued evolution. Guitarist Pat Metheny later interpreted Coleman’s "Broadway Blues," reflecting Coleman's profound influence on later jazz artists, particularly through their 1985 collaboration Song X, which merged their experimental styles. Ornette Coleman https://youtu.be/ue0XTgUx24o?si=v9ny2p9IU_UcE-1M Pat Metheny https://youtu.be/eciUMTPmzm0?si=3JKlbTJfrtBqkvle Spotify Playlist https://open.spotify.com/playlist/5bla6DuepTMq3kdzUlXTy7?si=kjHm7muGQB6O2jIs5623hw

43- Bright Size Life and Jaco Pastorius  Standards Rating 6 Difficulty Rating 7  In this episode, we look at “Bright Size Life,” the standout title track from Pat Metheny’s 1976 debut album of the same name, and the life and career of Jaco Pastorius, the man who redefined electric bass playing in jazz.  The track is a masterful blend of jazz, folk, and rock, featuring Metheny’s signature open chord voicings and a flowing, lyrical melody. But what truly sets it apart is the incredible bass work by Jaco Pastorius. His fretless bass gives the track a unique, almost singing tone, and his use of harmonics and fluid phrasing brings a new dimension to the music. Jaco’s bass line isn’t just a support; it’s a melodic force of its own, weaving in and out of Metheny’s guitar with rhythmic precision and harmonic creativity. This interplay between guitar and bass, supported by Bob Moses’ subtle drumming, creates an expansive atmosphere that defines the track. Bright Size Life showcases Metheny’s compositional genius and Jaco’s ability to push the boundaries of what a bass can do, making it a landmark in jazz fusion.  Pat Metheny (studio recording) - https://youtu.be/0Ozv_S1fuis?si=B11U_5V55NrunhlK Pat Metheny (live) https://youtu.be/TAAilVUqwSw?si=QQz32RKMqH69Pn0d Spotify Playlist https://open.spotify.com/playlist/5bla6DuepTMq3kdzUlXTy7?si=jl6quMa3S16tJp3VtNAnSw

Charlie Burnham Interview Charlie Burnham is an accomplished American violinist, singer, and composer celebrated for his imaginative and eclectic style. Burnham traverses multiple genres, including bluegrass, folk, free jazz, blues, classical, and chamber jazz. His innovative use of the wah-wah pedal on the violin adds a distinctive flair to his performances. Burnham first gained prominence through his contributions to James "Blood" Ulmer's Odyssey album, highlighting his versatility and skill. The ensemble from that project later formed Odyssey the Band. Throughout his career, Burnham has been a pivotal member of several notable groups and artists, like Living Colour, Cassandra Wilson,  String Trio of New York, 52nd Street Blues Project, Hidden City, We Free Strings, the Improvising Chamber Ensemble, and the Kropotkins. He has also recently recorded new music with Eureka Shoes, showcasing his continual evolution as a musician. Beginning as an informal gathering of friends and now blossoming into a fully-fledged collaborative band, Eureka Shoes’ Beautalina (Adhyâropa ÂR00079) soars aloft on gorgeous 3-part harmonies, delicate acoustic textures, and world-class songcraft. Eureka Shoes features award-winning songwriter Jean Rohe, acoustic music stalwart Skye Soto Steele, and omni-genre multi-instrumentalist Charlie Burnham. Rounded out here by the virtuosic bass of Rashaan Carter, Beautalina is an enduring testament to the power of music to unite, communicate, and elevate. Eureka Shoes Beautalina https://open.spotify.com/album/1bH16X7J5KU6YNJgDbEVL2?si=t0YsU9C7RVehdGdwc6hpdg

Boplicity, Gil Evans and The Birth of The Cool  Standards Rating 6, Difficulty Rating 7  "Boplicity," from Birth of the Cool (1957), marks a key moment in jazz history; composed by Miles Davis under the pseudonym Cleo Henry and Gil Evans, Originally recorded in 1949, the track exemplifies the shift from bebop's fast-paced intensity to cool jazz's more relaxed, refined sound. Featuring a unique nine-piece ensemble, including trumpet, trombone, French horn, tuba, and saxophones, the arrangement showcases Evans' mastery of orchestration. The interplay between Davis' subtle trumpet lines and the intricate harmonies of the horns highlights the genre's focus on texture, space, and lyrical phrasing. "Boplicity" is a standout, blending bebop's phrasing with cool jazz's sophistication, offering a serene yet intricate musical experience that helped define the cool jazz movement. Playlist https://open.spotify.com/playlist/5bla6DuepTMq3kdzUlXTy7?si=PYjJbekGT1ujj-X1e6ZsaQ Miles Davis Nonet https://youtu.be/HLzqjmoZZAc?si=T68XnMIQ0mmS5K_hRonnie Cuber https://open.spotify.com/track/4E5fdTSJd28iSg6L9uNnn6?si=57231715f1814e0f

Kurt Rosenwinkel, a Philadelphia-born jazz guitarist, is renowned for blending genres and using guitar effects innovatively in jazz. His latest release, The Next Step Band (Live at Smalls, 1996), revisits the music from his acclaimed 2001 album The Next Step and features longtime collaborators Mark Turner, Ben Street, and Jeff Ballard. In addition to his album, Rosenwinkel has published Kurt Rosenwinkel’s Ultimate Book of Compositions, which includes scores, tabs, and commentary on his extensive work. He founded his label, Heartcore, in 2016 to release Caipi and take control of his career, likening the label's creation to playing a "record company" video game. His current projects include arranging for the Jazz at Lincoln Center Big Band, collaborating with Wynton Marsalis, and recording a Brahms interpretation following the success of The Chopin Project.

42- “Body and Soul” and Coleman Hawkins  Standards Rating 8- Difficulty Rating 7  Coleman "Hawk" Hawkins was a pioneering jazz tenor saxophonist who transformed the instrument into a key vehicle for jazz improvisation. Born in Missouri in 1904, Hawkins began playing saxophone in his teens and joined Mamie Smith's Jazz Hounds in 1921. His breakthrough came in 1924 when he joined Fletcher Henderson's Orchestra, where his improvisational style evolved, influenced by Louis Armstrong. Hawkins's technical mastery, harmonic innovations, and rich tone were noted. One of his most iconic recordings is his 1939 interpretation of "Body and Soul," where Hawkins showcased his ability to navigate complex harmonic structures with inventive phrasing, including sixteenth-note runs, rhythmic motifs, and arpeggiated figures. His approach to the song’s challenging chord changes set the standard for future bebop improvisation. The performance highlights his blend of vertical and linear improvisation, often moving far from the original melody and incorporating sophisticated rhythmic techniques. Hawkins spent much of his later career dividing his time between Europe and the U.S., collaborating with younger musicians like Thelonious Monk and Miles Davis and contributing to the bebop movement. His legacy as the first great tenor saxophonist in jazz endures, especially through landmark recordings like "Body and Soul." Coleman Hawkins: https://youtu.be/zUFg6HvljDE?si=ML1j-MVSXVyR1yIt Billie Holiday https://youtu.be/AXnQeb0rgpU?si=7C0ZX1Hbh0ZPWc5V Curated Spotify Playlist https://open.spotify.com/playlist/5bla6DuepTMq3kdzUlXTy7?si=6AKq37uOQ3qR0wBhyLSLQA

Brian Bromberg, a virtuoso bassist, honors the legacy of Scott LaFaro with his latest album, LaFaro, and a series of live performances. LaFaro, who tragically died at 25, was a groundbreaking bassist with the Bill Evans Trio, inspiring Bromberg's tribute. Initially reluctant to take on the project due to the pressures of honoring a jazz legend, Bromberg eventually embraced it after realizing LaFaro's profound influence on his playing. Bromberg also shares personal connections to jazz greats like Stan Getz, with whom he played, and Bill Evans, a missed opportunity from his youth. His career spans collaborations with top artists and an eclectic solo catalog ranging from traditional jazz to contemporary styles. Known for his versatility on upright and electric bass, Bromberg defies genre boundaries, seeking to deliver heartfelt, high-quality musicianship in every project. His performances and music continue to celebrate innovation and jazz's rich history. https://njjs.org/magazine/

41- "Bluesette" -Toots Thielemans  Standards Rating of 8-  Difficulty Rating  7   "Bluesette," composed by Toots Thielemans in 1964, is a celebrated jazz standard recognized for its memorable melody and intricate harmonic structure. This 24-bar jazz waltz features wide intervallic leaps and recurring rhythmic motifs, creating a captivating listening experience. Thielemans, a renowned Belgian harmonica player and guitarist showcased his unique talent by whistling and playing guitar in unison, particularly in his album The Whistler and His Guitar. His collaborations with jazz legends and contributions to popular music, including soundtracks and sessions with artists like Paul Simon and Ella Fitzgerald, solidified his legacy. Sarah Vaughan’s interpretation, produced by Quincy Jones, adds a soulful vocal dimension, further enriching this timeless classic. Toots Thielemans -https://youtu.be/Oi4G6UmYK9U?si=VcrHN8f5FzC2ttIA Sarah Vaughan https://youtu.be/0cUoDcjovHA?si=1dh_QFZrj8vWMDGw Curated Playlist https://open.spotify.com/show/0nS4HH56YVpefoQiaESjqQ?si=6d2a840dc20841de

40- “Blues for Alice” and Red Rodney  Standards Rating 7 Difficulty Rating 6 Charlie Parker's "Blues for Alice" is a landmark bebop composition that reimagines the 12-bar blues with angular melodies and intricate syncopation. Parker introduces harmonic complexity by incorporating II-V progressions and other substitutions, creating a sophisticated yet grounded piece. Trumpeter Red Rodney, often underappreciated, made his mark on Parker’s original 1951 recording, solidifying his place in bebop history. Despite battling addiction, which disrupted his career, Rodney displayed remarkable skill and adaptability, returning to the jazz scene in his later years. His later performances of "Blues for Alice" and other standards reflected his enduring mastery of the bebop style.  Curated Spotify Playlisthttps://open.spotify.com/playlist/5bla6DuepTMq3kdzUlXTy7?si=2jjeQR9SSP6HMcUeaoba5w Charlie Parker https://youtu.be/G7USMqAH8qk?si=0KdAcMrBRAfpsmop Red Rodney https://youtu.be/fxj_CunPkww?si=_mdJwJfXY50MxU34

39- “Blue Train” and Lee Morgan  Standards Rating 7, Difficulty Rating 3   "Blue Train," the title track from John Coltrane's 1958 album Blue Train, is a defining piece of hard bop jazz. The composition is a 12-bar blues in the key of Eb, featuring sophisticated harmonic alterations like #9 and #11 chords, which add modern tension to the traditional blues structure. The melody is simple yet engaging, with call-and-response patterns reminiscent of gospel music. The solos, particularly from Coltrane and Lee Morgan, stand out on the original recording. Lee Morgan, a Philadelphia-born trumpet prodigy, made a significant contribution to jazz. Influenced by Clifford Brown, Morgan had already recorded as a leader by 1956 and played in Dizzy Gillespie’s Big Band before the Blue Train recordings.  After Blue Train, Morgan joined Art Blakey's Jazz Messengers and became a key figure in the hard bop movement. His 1964 album The Sidewinder was a major commercial success, marking his comeback after overcoming heroin addiction. Tragically, Morgan was shot and killed in 1972 at the age of 33, but his legacy as one of jazz’s most influential trumpeters endures. Curated Playlist https://open.spotify.com/playlist/5bla6DuepTMq3kdzUlXTy7?si=ae04712a5e334078 John Coltrane https://youtu.be/HT_Zs5FKDZE?si=s1h5mcTO-gufgvb0 Pancho Sanchez https://youtu.be/aNwRKFJi8XU?si=Y7HCak0Ffc9cboMx

38- “Blue Room” and Tommy Dorsey  Standards Rating 5, Difficulty Rating 6  "Blue Room," written by Richard Rodgers and Lorenz Hart for the 1926 Broadway musical The Girl Friend, is a classic show tune known for its romantic lyrics and cozy imagery. The song has a straightforward 32-bar AABA structure and features harmonic complexity with modulations, offering a rich canvas for jazz improvisation. Tommy Dorsey, a leading figure in the swing era, recorded a notable version in 1954 with his orchestra. This arrangement showcases a smooth, danceable swing with dynamic contrasts, highlighting Dorsey's skill in blending reeds and brass for a sophisticated call-and-response effect. The recording is a testament to Dorsey’s mastery, even as big bands were declining in popularity. An alternate version by Ella Fitzgerald in 1956, arranged by Benny Bregman, also stands out, further solidifying the tune's enduring appeal. Dorsey's impact on jazz and popular music, especially through his smooth trombone playing and successful big band, remains significant. Tommy Dorsey https://youtu.be/6asX9Ay_La0?si=fMhw1OIXSUBfzIMC Ella Fitzgerald https://youtu.be/MDdJsbu2AII?si=KI6GMPk4roVHRCAm Curated Playlist https://open.spotify.com/playlist/5bla6DuepTMq3kdzUlXTy7?si=49a69c9877c04ccc

Buster Williams, a legendary jazz bassist, composer, and instructor, has played on numerous records with iconic musicians like Herbie Hancock, Chet Baker, Art Blakey, and Stan Getz, among others. Known for his work as both a sideman and a bandleader, Williams continues to inspire audiences with his performances and compositions. On September 28th, he will perform with his quartet at the Middlesex County Jazz Festival in New Brunswick. The quartet features Lenny White on drums, Steve Wilson on saxophone, and Brandon McCune on piano. The concert will showcase a repertoire primarily composed of Williams' original compositions. Interest in Williams grew after the 2019 documentary "Buster Williams: Bass to Infinity" highlighted his extensive career and personal journey. Now 82 years old, Williams remains dedicated to his craft, continually exploring the "infinite possibilities" of music. https://middlesexcountyjazzfestival.org/ https://busterwilliams.com/

37- Blue Monk and Thelonious Monk Standards Rating 9 Difficulty Rating 5  Thelonious Monk, a pioneering jazz pianist and composer, was instrumental in developing bebop. Born in 1917, he was known for his unique style of dissonance, unusual harmonies, and inventive rhythmic approaches. Despite initial skepticism, Monk's work eventually earned him recognition as one of jazz's most influential figures. His composition "Blue Monk," first recorded in 1954, is a standout piece that highlights his distinctive approach to the blues. It follows a 12-bar blues form but introduces innovative elements, such as omitting the IV chord in measure 10 and using chromaticism and intervallic jumps in the melody. These features and rhythmic motifs make "Blue Monk" a jazz standard that challenges and intrigues musicians. Monk's recordings of this piece, including the 1954 session with Art Blakey and Percy Heath, showcase his experimental style against a steady rhythmic backdrop. "Blue Monk" remains a testament to Monk's ability to transform traditional forms into something uniquely his own, solidifying his legacy in jazz history. Thelonious Monk https://youtu.be/P7y1nMkYeRE?si=NBk9dX-Vs_L7Y5AD Chick Corea https://youtu.be/-u_aMkqS1P4?si=cYhey60IQ6JxRpWX Curated Playlist https://open.spotify.com/playlist/5bla6DuepTMq3kdzUlXTy7?si=84abe50b5b8c4e97

36- “Blue in Green” and Kind of Blue Standards Rating 7 Difficulty Rating 6 "Blue in Green," a track from Kind of Blue (Columbia Records 1959), is a unique piece whose authorship has been questioned as it is sometimes credited to Miles Davis and/or Bill Evans. The song creates a lush, ethereal sound by featuring a 10-bar form and employing Dorian, Mixolydian, and Lydian modes. The musicians (soloists)—Miles Davis, John Coltrane, and Bill Evans—deliver performances marked by spacious phrasing, improvisation, and focus on mood and texture. Kind of Blue is a groundbreaking jazz album often hailed as the greatest of all time. Embracing modal jazz, its simplicity and harmonic richness contrast with the complex post-bop style of the era. The album captures a perfect, irreplaceable moment in jazz history, with the collective brilliance of its performers creating a timeless masterpiece. This configuration of artists never recorded together again in the studio, further solidifying the album's status as a singular achievement in jazz. Miles Davis https://youtu.be/TLDflhhdPCg?si=HQCQ6EzO4AMn3dKF Bill Evans https://youtu.be/3XpjOXsf2zg?si=AVn_PhIVpjn7aTNU Chet Baker's “Alone Together” with “Blue and Green” Intro https://youtu.be/p0zIbYCu7Yc?si=bP9OeUgcoOUSXMik Curated Playlist https://open.spotify.com/playlist/5bla6DuepTMq3kdzUlXTy7?si=74cb49b3f0834ee5

35-“Blue Bossa” and Kenny Dorham  Standards Raitng 9, Difficulty Rating 5  "Blue Bossa," composed by Kenny Dorham, is a quintessential jazz standard blending Brazilian samba with jazz. Joe Henderson first recorded it on his 1963 album Page One, where Dorham's trumpet style is showcased. The piece exemplifies Dorham's ability to merge melodic development with harmonic sophistication, distinguishing him in the bop and hard bop eras. Despite being underappreciated during his lifetime, Dorham's contributions to jazz, including work with Charlie Parker and Art Blakey, and his albums like Afro-Cuban and Quiet Kenny, have cemented his legacy. "Blue Bossa" remains a jazz classic, covered by artists like Pat Martino and many others, and continues to influence musicians globally. Dorham's unique lyrical style ensures his enduring impact on jazz. Podcast Playlists Joe Henderson https://youtu.be/EUxv3AAaK_Y?si=5kcNZMxJdCe9GeGA Pat Martino https://youtu.be/gql2_RPwUeo?si=475Da3KjiV3aCPVs  Playlist (Spotify) https://open.spotify.com/playlist/5bla6DuepTMq3kdzUlXTy7?si=9329169649e24f8f

Alvester Garnett Interview Alvester Garnett is a top-tier jazz drummer, celebrated for his swing, passion, and professionalism. His career began in Richmond, Virginia, where early influences included Ellis Marsalis and the jazz program at Virginia Commonwealth University. After moving to New York, Garnett quickly made a name for himself, working with legends like Betty Carter and Abbey Lincoln. He was the only drummer from the Thelonious Monk competition invited to Betty's Jazz Ahead program, which launched his career. Garnett has since collaborated with notable artists such as Pharoah Sanders, Dee Dee Bridgewater, and Benny Golson. He also became the regular drummer for violinist Regina Carter, who later became his wife. In September, Garnett will lead his band, The Artworks Ensemble, at the Central Jersey Jazz Festival in Somerville, NJ. The performance will feature original compositions and include special guest trombonist Papo Vázquez, alongside Bruce Williams, Charlie Sigler, Brandon McCune, and Santi Debriano. This performance highlights Garnett’s ongoing commitment to jazz and his ability to blend leadership with collaboration. Alvester Garnett will lead his band, The Artworks Ensemble, at the Central Jersey Jazz Festival on September 15th in Somerville, NJ. The performance will feature original compositions and include special guest trombonist Papo Vázquez, alongside Bruce Williams, Charlie Sigler, Brandon McCune, and Santi Debriano. https://centraljerseyjazzfestival.com/

34-“Black Orpheus” and Charlie Byrd  Standards Rating 9 Difficulty Rating 5 “Black Orpheus” or "Manhã de Carnaval," composed by Luiz Bonfá for the 1959 film Black Orpheus (Orfeu Negro), is a foundational bossa nova piece that became a jazz standard. The song, characterized by its 32-bar structure in A minor with sophisticated harmonic progressions, blends simplicity with elegance. Charlie Byrd, a pivotal figure in popularizing bossa nova in the United States, offered a refined interpretation of the song on his 1966 album Byrdland. Byrd transitions into a flowing solo on the track, demonstrating his technical prowess and deep understanding of Brazilian music. The performance is nuanced and expressive, reflecting Byrd's ability to bridge jazz and classical guitar techniques, cementing "Manhã de Carnaval" as a timeless piece. Charlie Byrd https://open.spotify.com/track/242vRAj44NhtlFHodbzwXw?si=31769895545a41c4 Dexter Gordon https://open.spotify.com/track/1npsSHw0x08BOLPkKzUShe?si=d4aca3a57f374365 Curated Playlist https://open.spotify.com/playlist/5bla6DuepTMq3kdzUlXTy7?si=3252735e69da46c6