Irving Berlin wrote this classic as a last minute addition for the musical 'Betsy' when the star of the show requested a show stopper. ’Blue Skies’ was introduced on opening night in 1926 and the audience requested more than twenty encores that night from singer Belle Baker. That year alone, the song charted six times. Al Jolson sang it in 'The Jazz Singer' in 1927; and also that year Ben Selvin and His Orchestra took their version to number one. In the years since, it has been recorded by countless artists in a myriad of musical genres. In 1978, Willie Nelson took his version to the top of the country chart. Tommy Dorsey Orchestra with Frank Sinatra
Ella Fitzgerald
Benny Goodman and his Orchestra
Willie Nelson
Ben Selvin and His Orchestra
I was blue, just as blue as I could be Ev'ry day was a cloudy day for me Then good luck came a-knocking at my door Skies were gray but they're not gray anymore Blue skies Smiling at me Nothing but blue skies Do I see
Bluebirds Singing a song Nothing but bluebirds All day long Never saw the sun shining so bright Never saw things going so right Noticing the days hurrying by When you're in love, my how they fly Blue days All of them gone Nothing but blue skies From now on I should care if the wind blows east or west I should fret if the worst looks like the best I should mind if they say it can't be true I should smile, that's exactly what I do
During the brief time that they were a songwriting team, lyricist Mort Dixon and composer Ray Henderson had one big hit. 'Bye Bye Blackbird' was first published in 1926. That year alone saw the charting of four different versions by Gene Austin, Nick Lucas, Benny Kruger, and Leo Reisman. It has become a standard, with numerous versions recorded. Often only the chorus is sung, which has led to some confusion over the meaning of the song.
Gene Austin took it to number one.
Peggy Lee from 'Songs from Pete Kelly's Blues'
Miles Davis did several versions of the song, this one with his quintet including John Coltrane from '‘Round About Midnight'.
Controversial and influential icon of jazz and rock whose unique and haunting work on the trumpet played a key part in bebop, cool jazz, modal, and fusion.
He learned music from his mother during his youth in St. Louis. When his father sent him to the Juilliard School of Music in New York, Davis sought out saxophonist Charlie Parker. He dropped out of school and began playing professionally in clubs and recording studios, leading his own group within a year.
'Now's The Time' was one of the songs recorded during the first of the legendary Savoy Sessions 1945 with a nineteen year old Davis playing trumpet with Charlie Parker on alto sax, Curley Russell on bass, Max Roach on drums and "Hen Gates" (Dizzy Gillespie) playing piano.
'Boplicity' came from his groundbreaking 'Birth of the Cool' compilation that marked his turn from the hard edge of bop to a more introspective sound. It was recorded in 1949 and 1950; but not released until 1957. The song was credited to Cleo Henry and Gil Evans. Henry was a pseudonym based on his Davis' mother's maiden name that he never used again.
'Doxy' was composed by Sonny Rollins. It first appeared on Davis' 'Bags' Groove', performed with Davis on trumpet, Rollins on tenor saxophone, Horace Silver on piano, Percy Heath on bass, and Kenny Clarke on drums.
''Round Midnight' was the centerpiece of Davis' debut on Columbia Records 'Round About Midnight' recorded in 1955. The song was composed by Thelonious Monk and features a saxophone solo from John Coltrane.
'Milestones' was originally called 'Miles' when the album 'Milestones' came out in 1958. It was his first foray into modal jazz. It features Miles on trumpet, Cannonball Adderley on alto saxophone, Red Garland on piano, Paul Chambers on double bass, Philly Joe Jones on drums,
and a fabulous solo from John Coltrane on tenor saxophone.
The impressionistic modal jazz of 'So What' opens his seminal 1959 'Kind of Blue' album.
The title track to his 1963 'Seven Steps To Heaven' was co-written with pianist Victor Feldman, who Davis replaced with Herbie Hancock for the album. It includes George Coleman on tenor saxophone, Ron Carter on double bass, and Tony Williams on drums.
'Footprints' appeared on his 1967 album 'Miles Smiles'. It was composed by saxophonist Wayne Shorter.
'Spanish Key' is from his 1970 jazz fusion double album 'Bitches Brew' featuring what Miles called "the best damn rock and roll band in the world."
'Black Satin' is from his 1973 album 'On The Corner' which saw Davis experimenting with funk and electronic music.
The title track to his 1986 album 'Tutu' was written by bassist Marcus Miller, and dedicated to Archbishop Desmond Tutu.
George and Ira Gershwin wrote this classic song from the Great American Songbook. It was originally composed for the musical 'Oh Kay!' which was probably inspired by Kay Swift, composer, pianist, and George's very close friend. Howard Dietz is credited with helping to write the lyrics to two of the songs from the musical during Ira's hospital stay; but not for this song, although he claimed to have come up with the title. The song was originally conceived as an uptempo number; but after playing around with it one day, the duo recognized how moving it was as a ballad. It has been covered by generations of music fans. Hopefully, you will find you favorite below.
George Gershwin
Ella Fitzgerald
Blossom Dearie
Stephane Grappelli
Frank Sinatra
Barbra Streisand
Willie Nelson
Linda Ronstadt
Sting
There’s a saying old, says that love is blind Still we’re often told, "seek and ye shall find" So I’m going to seek a certain lad I’ve had in mind
Looking everywhere, haven’t found him yet He’s the big affair I cannot forget Only man I ever think of with regret
I’d like to add his initial to my monogram Tell me, where is the shepherd for this lost lamb?
There’s a somebody I’m longin’ to see I hope that he, turns out to be Someone who’ll watch over me
I’m a little lamb who’s lost in the wood I know I could, always be good To one who’ll watch over me
Although he may not be the man some Girls think of as handsome To my heart he carries the key
Won’t you tell him please to put on some speed Follow my lead, oh, how I need Someone to watch over me
Won’t you tell him please to put on some speed Follow my lead, oh, how I need Someone to watch over me
Louis Armstrong And His Hot Five cranked out six songs in a single session that transformed jazz as Satchmo sang vocals for the first time and scatted his way even deeper into our hearts. This supergroup only really existed in the studio; but that only cemented its influence. They only played live twice at parties for OKeh Records.
'Cornet Chop Suey' was written by Louis Armstrong. The band makes nice use of stop timing.
'Oriental Strut' was written by Johnny St. Cyr.
'You're Next' was another Armstrong composition.
The music for 'Muskrat Ramble' was written by Kid Ory. The interplay between his trombone and Armstrong's cornet is legendary. It was the band's first hit.
