InJazz

Freddie Hubbard (1938-2008) was an American jazz trumpeter known for his virtuosic playing, versatility, and wide range of styles. Freddie Hubbard started playing the trumpet at a very young age, around six or seven years old. He was encouraged by his mother, who played the piano, and by the time he was in high school, he was already playing professionally in local jazz clubs in Indianapolis. In the late 1950s, Hubbard moved to New York City and quickly established himself as a talented and in-demand sideman, playing with jazz legends such as John Coltrane, Ornette Coleman, Eric Dolphy, and Art Blakey's Jazz Messengers. He also recorded as a leader for Blue Note Records, producing several influential and highly regarded albums such as "Ready for Freddie," "Hub-Tones," and "Red Clay." Freddie Hubbard was most popular during the 1960s and 1970s, when he was at the forefront of the jazz scene and considered one of the leading trumpeters of his time. During this period, he played with some of the most important jazz musicians of the era, including Miles Davis, John Coltrane, Herbie Hancock, Wayne Shorter, and many others. He also recorded numerous albums as a bandleader during this time, which are considered some of the most influential and innovative recordings in jazz history. During the 1970s, Freddie Hubbard continued to release critically acclaimed albums and collaborated with other prominent jazz musicians such as Herbie Hancock, Joe Henderson, and Stanley Turrentine. He also experimented with jazz fusion, incorporating elements of funk and rock into his music. Some of his notable albums from this period include "Red Clay," "First Light," and "Sky Dive." Hubbard's playing style was characterized by a fiery and intense approach, featuring rapid runs and technical proficiency. He was equally adept at playing in a hard bop style as well as incorporating elements of funk, soul, and fusion into his music. His playing influenced many subsequent generations of trumpet players and he is widely considered to be one of the greatest jazz trumpeters of all time. Despite his success, Hubbard struggled with drug addiction throughout his life, and his health declined in the later years of his career. He passed away in 2008 at the age of 70.

Dippermouth Blues" is a jazz standard that was first recorded by King Oliver's Creole Jazz Band in 1923. The song, also known as "Sugarfoot Stomp," was written by Joe "King" Oliver, who was a cornetist and bandleader in the early days of jazz. The tune features a distinctive call-and-response between the cornet and clarinet, and is notable for its use of "jungle" rhythms and blue notes. The song was a big hit for Oliver's band and became a jazz standard that was later covered by many other musicians, including Louis Armstrong, Benny Goodman, and Wynton Marsalis. "Dippermouth Blues" is also notable for featuring the young Louis Armstrong on second cornet. Armstrong's innovative playing on the tune helped establish him as one of the most important musicians of the early jazz era. Louis Armstrong joined King Oliver's Creole Jazz Band in 1922 when he was 21 years old. At the time, Armstrong was still relatively unknown, and playing second cornet in the band behind Oliver. However, his talent and musical innovations quickly became apparent, and he began to take on a more prominent role in the band. The song's title is thought to refer to the slang term "dipper mouth," which was used to describe someone with large lips, such as a trumpet or cornet player. The song's lyrics, which were added later, tell the story of a man who gets drunk and has a series of misadventures. In addition to its influence on jazz, "Dippermouth Blues" has also been covered by artists in other genres, including blues, rock, and country. The song's memorable melody and catchy rhythms continue to captivate listeners and inspire musicians more than 100 years after its initial release.

Stanley Turrentine was a renowned jazz saxophonist who was born on April 5, 1934, in Pittsburgh, Pennsylvania. He grew up in a musical family and started playing the saxophone at an early age. Turrentine began his professional career playing with various R&B and blues bands in the 1950s before joining the legendary jazz drummer Max Roach's group in the early 1960s. He later signed with Blue Note Records and released a series of successful albums, including "Look Out!" and "Up at Minton's," which showcased his distinctive soulful sound and improvisational style. Throughout his career, Turrentine collaborated with many jazz greats, including trumpeter Freddie Hubbard, pianist Les McCann, and guitarist Grant Green. He also recorded several albums with his wife, organist Shirley Scott. Turrentine's most famous recording is his soulful rendition of the jazz standard "Sugar," which became a hit on both the jazz and R&B charts. He continued to perform and record throughout his career, earning critical acclaim and a loyal following of fans. Turrentine passed away in 2000, leaving behind a rich legacy as one of the most distinctive and soulful saxophonists in jazz history.

Booker Little was a talented jazz trumpeter who was born on April 2, 1938, in Memphis, Tennessee. He began playing the trumpet at an early age and quickly developed a reputation as a gifted musician. In 1961, Little recorded his debut album as a leader, "Out Front," with drummer Max Roach and a stellar ensemble of musicians that included Eric Dolphy on alto saxophone and flute, George Coleman on tenor saxophone, Ray Draper on tuba, and Art Davis on bass. The album is considered a classic of the hard bop genre, with Little's fiery, inventive trumpet playing at the forefront of the music. The title track, "Out Front," features a memorable trumpet solo by Little, while other standout tracks include "We Speak," "The Quiet Temple," and "Milestones." Tragically, Little's career was cut short when he died at the young age of 23 later that year. Nevertheless, his innovative approach to the trumpet and his contributions to the hard bop movement continue to inspire musicians to this day.

Scott LaFaro was a talented jazz bassist known for his work with pianist Bill Evans in the late 1950s and early 1960s. He was born on April 3, 1936, in Newark, New Jersey, and began playing the bass in his early teens. LaFaro's innovative approach to the bass helped redefine the role of the instrument in jazz. He was known for his fluid, melodic playing style, and his use of counterpoint and rhythmic interplay with the other members of the band. His work with Bill Evans in the trio with drummer Paul Motian is still considered groundbreaking and influential to this day. As a bassist, Scott LaFaro did not compose or lead many songs, but his contributions to the Bill Evans Trio recordings are highly regarded. Some of the most well-known songs that feature LaFaro's playing include: "Sunday at the Village Vanguard" (1961) - This live album was recorded just days before LaFaro's death and is widely considered one of the greatest jazz albums of all time. LaFaro's playing on tracks like "Gloria's Step" and "Jade Visions" is particularly noteworthy. "Portrait in Jazz" (1960) - This album features the Bill Evans Trio with LaFaro on bass and Paul Motian on drums. The track "Autumn Leaves" showcases LaFaro's melodic and virtuosic playing. "Waltz for Debby" (1961) - This live album was also recorded at the Village Vanguard and features LaFaro's playing on tracks like "My Romance" and the title track, "Waltz for Debby." LaFaro's influence on jazz bass playing can also be heard in the work of other bassists who followed in his footsteps, including Eddie Gomez, Marc Johnson, and Christian McBride. Unfortunately, LaFaro's life and career were tragically cut short when he died in a car accident at the age of 25 in 1961. Nevertheless, his contributions to jazz bass playing continue to be celebrated by fans and musicians alike.

Freddie Green was an American jazz guitarist born in 1911. He is best known for his long tenure as a member of the Count Basie Orchestra, where he played rhythm guitar for more than fifty years. Green's guitar playing was characterized by his steady, understated style and his ability to provide a strong rhythmic foundation for the band. He was known for his use of four-to-the-bar comping, in which he played chords on every beat of the measure, providing a steady pulse for the other musicians to build on. In addition to his work with the Count Basie Orchestra, Green also recorded as a sideman for many other jazz musicians, including Benny Goodman, Coleman Hawkins, and Billie Holiday. Green's guitar playing was a major influence on many other jazz guitarists, and his rhythmic approach to guitar playing continues to be studied and emulated by musicians today. He was posthumously inducted into the DownBeat Jazz Hall of Fame in 1995.

Johnny Griffin was an American jazz saxophonist who recorded extensively throughout the 1950s, 60s, and 70s. In 1967, he recorded a rendition of the jazz standard "The Man I Love." Griffin's recording of "The Man I Love" features his signature energetic and virtuosic saxophone playing, accompanied by a tight rhythm section. The track showcases Griffin's mastery of the bebop and hard bop styles of jazz, and his ability to navigate complex chord progressions with ease. "The Man I Love" is a timeless jazz standard, composed by George and Ira Gershwin in 1924. It has been recorded by countless jazz musicians over the years, and Griffin's version is one of the most celebrated. Throughout his career, Griffin was known for his technical prowess on the saxophone, as well as his ability to inject emotion and soul into his playing. He played with many of the top jazz musicians of his time, including Thelonious Monk, Art Blakey, and Clark Terry. Griffin's recording of "The Man I Love" is a testament to his talent as a saxophonist and his contribution to the development of jazz music in the mid-20th century. It remains a beloved piece in the repertoire of many jazz musicians today and serves as a reminder of the enduring beauty and power of jazz music.

Eddie Lang was an American jazz guitarist who was active in the 1920s and 1930s. He was a prolific recording artist, and in 1928 he recorded a tune called "Add A Little Wiggle". The tune is a lively and upbeat number, characterized by Lang's intricate guitar work playful and suggestive, typical of the jazz music of the era. Lang was known for his innovative and influential guitar playing, and he was one of the first jazz musicians to bring the guitar to the forefront of jazz music. He played with many of the top jazz musicians of his time, including Bing Crosby, Bix Beiderbecke, and Benny Goodman. "Add A Little Wiggle" is a testament to Lang's talent as a guitarist and his contribution to the development of jazz music in the early 20th century. The tune remains a popular piece in the repertoire of many jazz musicians today, and it serves as a reminder of the rich and vibrant history of jazz music in America.

Thad Jones was an American jazz trumpeter, composer, and bandleader, born on March 28, 1923. He was best known for his work as a trumpeter in the Count Basie Orchestra and as the leader of the Thad Jones/Mel Lewis Orchestra. Jones began his professional career in the 1950s, playing with some of the top jazz musicians of the time, including Charles Mingus and Billy Mitchell. In 1954, he joined the Count Basie Orchestra, where he served as a trumpeter, arranger, and composer for almost a decade. In 1965, Jones formed the Thad Jones/Mel Lewis Orchestra, which quickly became one of the most innovative and influential big bands of the era. The band's sound was a fusion of swing, bebop, and hard bop, and it featured Jones's trumpet solos as well as arrangements of jazz standards and original compositions. Jones's compositions were characterized by their harmonic sophistication and soulful, bluesy melodies. He was also known for his innovative use of arrangements and his ability to bring out the best in his trumpet section. Jones's influence on jazz history is significant, not only for his work as a musician, but also for his contributions to jazz education. He served as a professor of music at William Paterson University in New Jersey and wrote several instructional books on jazz improvisation and arranging. Throughout his career, Jones remained a jazz legend and an inspiration to musicians around the world. His contributions to jazz fusion, jazz improvisation, and jazz arrangements continue to influence contemporary jazz music today.

Dizzy Gillespie and Max Roach were both jazz legends in their own right, but they also collaborated as a duo in the 1950s and 1960s, creating some of the most innovative and influential music in the history of jazz. Gillespie and Roach first met in the mid-1940s when they were both members of the pioneering bebop group led by Charlie Parker. They quickly established a strong musical connection, and over the years, they would work together on numerous projects, including several classic albums. One of their most famous collaborations was the 1955 album "Jazz at Massey Hall," which also featured Parker, pianist Bud Powell, and bassist Charles Mingus. The album is widely regarded as one of the greatest live recordings in jazz history, capturing the energy and virtuosity of these legendary musicians at their peak. Gillespie and Roach also recorded several albums as a duo, including "Dizzy and Roach" (1955) and "Max + Dizzy: Paris 1989" (1989). Their music was characterized by its technical brilliance, rhythmic complexity, and harmonic sophistication, as well as its adventurous spirit and deep emotional resonance. Overall, Gillespie and Roach's partnership was a testament to the power of collaboration in jazz, and their music continues to inspire and influence musicians to this day.

Trying a different format for this episode of This Day in.Jazz. On March 16th in jazz history, several notable events occurred: In 1937, jazz guitarist and composer Wes Montgomery was born in Indianapolis, Indiana. Montgomery is considered one of the greatest guitarists in the history of jazz, known for his unique style of playing with his thumb and his use of octaves in his solos. In 1949, jazz saxophonist Gerry Mulligan recorded his famous composition "Bernie's Tune" with his quartet, which included Chet Baker on trumpet, Carson Smith on bass, and Chico Hamilton on drums. The recording helped to popularize the "West Coast jazz" style of the time. In 1961, jazz pianist and composer Bill Evans recorded his album "Explorations" with his trio, which included bassist Scott LaFaro and drummer Paul Motian. The album features several original compositions by Evans as well as standards such as "How Deep Is the Ocean?" and "Sweet and Lovely." In 1999, jazz pianist and composer Duke Ellington was posthumously awarded the Pulitzer Prize for music, becoming the first jazz musician to receive the prestigious award. The Pulitzer committee cited Ellington's body of work, including his groundbreaking compositions such as "Mood Indigo" and "Take the A Train," as well as his contributions to American music and culture. These are just a few examples of the many important events that have taken place on March 16th in jazz history.

"Concerto for Cootie" is a jazz composition by Duke Ellington, which was recorded in 1940. The piece was written as a tribute to Cootie Williams, who was the lead trumpeter in Ellington's orchestra at the time. The composition is a showcase for Williams' virtuosic trumpet playing, and it features a slow, bluesy melody that builds in intensity as it progresses. The arrangement is characterized by its use of brass and woodwind sections, which provide a rich and textured backdrop for Williams' solos. The piece is also notable for its use of call and response between the trumpet and other sections of the orchestra, creating a dynamic and interactive sound. This technique was a hallmark of Ellington's music and helped to establish his reputation as one of the greatest jazz composers of all time. "Concerto for Cootie" has since become a jazz standard, and it remains a popular piece in the repertoire of many jazz musicians today. The piece showcases Ellington's skill as a composer and arranger, as well as Williams' remarkable talent as a trumpeter.

"Art Pepper + Eleven: Modern Jazz Classics" is a highly acclaimed album by American alto saxophonist Art Pepper. The album was recorded in 1959 and features a big band with arrangements by the pianist Marty Paich. The album is notable for its innovative approach to arranging, which features the 11-piece band playing behind Pepper's saxophone solos. The arrangements are complex and sophisticated, but they never overshadow Pepper's playing, which is the main focus of the album. The music on "Art Pepper + Eleven" draws on a variety of jazz styles, including West Coast jazz, bebop, and swing. The album features both original compositions and jazz standards, including "Anthropology" and "Move." Pepper's playing on the album is characterized by his virtuosic technique and emotional intensity. His solos are full of energy and fire, and he demonstrates his ability to play with both speed and grace. The big band backing him provides a swinging and dynamic backdrop, adding depth and richness to the overall sound. "Art Pepper + Eleven" is widely regarded as one of Pepper's finest recordings and a landmark in the history of jazz. The album showcases Pepper's remarkable talent as a soloist and Paich's skill as an arranger, and it remains a classic example of the big band genre.

Roy Haynes is an American jazz drummer who was born in Boston, Massachusetts in 1925 (year corrected). He is widely regarded as one of the greatest and most influential drummers in jazz history, and his career spans more than seven decades. Haynes began his professional career in the 1940s, playing with some of the most important figures in jazz at the time, including Charlie Parker, Dizzy Gillespie, and Lester Young. He quickly developed a reputation as a highly skilled and versatile drummer, with a unique style that combined the swinging feel of early jazz with the improvisational techniques of bebop. Throughout his career, Haynes has been a pioneer of many different styles of jazz, including bebop, modern jazz, and jazz fusion. He played with some of the biggest names in jazz, including Miles Davis, John Coltrane, Chick Corea, Sarah Vaughan, and Ella Fitzgerald, among many others. Haynes' drumming style is characterized by his incredible speed and dexterity, as well as his ability to create complex rhythms and syncopated patterns. He is also known for his use of innovative techniques, such as playing with brushes and using the high-hat cymbal to create intricate rhythms. Despite his many accomplishments and contributions to the world of jazz, Haynes has remained humble and focused on his craft throughout his long career. He continues to perform and record today, and he remains an inspiration to generations of jazz musicians and fans alike.

Mary Lou Williams was a highly influential jazz pianist and composer, who made significant contributions to the development of jazz during her long career. One of her notable recordings is "Russian Lullaby," which was first recorded in 1952. Mary Lou Williams was a groundbreaking figure in jazz, who played a significant role in shaping the course of jazz history. Born in 1910 in Atlanta, Georgia, Williams began playing piano at a young age, and by the time she was a teenager, she was already performing professionally. In the 1930s, Williams moved to New York City, where she quickly established herself as a top pianist and arranger. She played with some of the biggest names in jazz, including Duke Ellington, Benny Goodman, and Charlie Parker, and she became known for her innovative compositions and arrangements. Williams' music was notable for its versatility and eclecticism, drawing on a wide range of musical styles and traditions, including swing, bebop, blues, and classical music. She was also a prolific composer, and her compositions were admired by musicians and critics alike. The song "Russian Lullaby" was originally composed by Irving Berlin in 1927, and it became a popular standard in the jazz repertoire. Mary Lou Williams recorded her version of the song as a solo piano piece, which showcased her virtuosity and sensitivity as a pianist. Williams' version of "Russian Lullaby" features a delicate and lyrical melody, which she plays with a gentle touch and a nuanced phrasing. Her use of harmonies and chord progressions adds depth and complexity to the song, while still maintaining the overall simplicity and beauty of the melody. Overall, Mary Lou Williams' recording of "Russian Lullaby" is a testament to her skill as a pianist and her ability to infuse jazz music with emotion, creativity, and originality. Despite facing discrimination and prejudice as a Black woman in the male-dominated world of jazz, Williams persevered and continued to push the boundaries of the genre. Her legacy lives on today, and she is widely regarded as one of the greatest jazz pianists and composers of all time.

Leon Bismark Beiderbecke known as “Bix” (a family knickname) was a legendary jazz cornetist and pianist who was born on March 10, 1903, in Davenport, Iowa. Beiderbecke was a prodigious musical talent from a young age, and he began playing the cornet when he was just three years old. When he was four, he began playing songs by ear on his family’s piano and soon he was considered a child prodigy. He grew up in a musical family, and his father was a prominent local bandleader who helped to foster his son's musical talent. Beiderbecke began to play professionally in his teens, and was heavily influenced by the music of Louis Armstrong and the New Orleans jazz scene, but he developed his own unique sound that incorporated elements of classical music and other genres. Throughout the 1920s, Beiderbecke played in a number of prominent jazz bands, including the Wolverines and the Paul Whiteman Orchestra. Beiderbecke emphasized the cornet’s middle register, using simple rhythms and diatonic harmonies. His style is characterized by lyricism and purity of tone. He is known as the first major white jazz soloist. Beiderbecke was a severe alcoholic and his life was cut tragically short when he died of pneumonia at the age of 28.

Cannonball Adderley was a prominent alto saxophonist who helped to define the sound of jazz in the 1950s and 1960s. In 1958, he recorded the album "Somethin' Else" with a talented group of musicians that included trumpeter Miles Davis, pianist Hank Jones, bassist Sam Jones, and drummer Art Blakey. The album is widely considered to be one of the greatest jazz recordings of all time, and it features a number of classic tracks, including "Autumn Leaves," "Love for Sale," and the title track, "Somethin' Else." The musicians on the album all play with a remarkable level of skill and sensitivity, and their interplay and improvisation create a sense of excitement and energy that is typical of the best jazz performances. Adderley's saxophone playing on the album is particularly noteworthy, as he is able to blend the soulful and bluesy aspects of his playing with a more sophisticated harmonic and melodic approach. Davis's trumpet playing is also a highlight, as he is able to bring a subtle and understated quality to his solos that perfectly complements the other musicians on the album. Overall, "Somethin' Else" is a masterful display of jazz musicianship, and it has influenced countless musicians and recordings since its release. The album is a testament to the enduring power of jazz music, and it remains an essential part of any jazz fan's collection. Cannonball Adderley was born in Tampa, Florida, in 1928, and he began playing saxophone at a young age. He quickly gained a reputation as a talented musician, and he began performing professionally in the 1940s. In the 1950s, he moved to New York City, where he became part of the thriving jazz scene. Adderley quickly established himself as a prominent player in the bebop and hard bop styles of jazz, and he played with many of the most famous musicians of the time, including Miles Davis, John Coltrane, and Art Blakey. In 1958, he recorded "Somethin' Else" with Davis, which would become one of his most famous recordings. Throughout the 1960s, Adderley continued to record and perform with his own groups, and he became known for his soulful and bluesy approach to the saxophone. He also became a popular figure in the jazz world, and he was known for his ability to connect with audiences through his music and his engaging stage presence. Unfortunately, Adderley's career was cut short when he died of a stroke in 1975 at the age of 46. However, his influence on jazz music has been lasting, and his recordings and performances continue to inspire musicians and fans around the world. Today, he is remembered as one of the most important and influential saxophonists in the history of jazz music.

Cannonball Adderley, whose real name was Julian Edwin Adderley, was born on September 15, 1928, in Tampa, Florida. He grew up in a musical family, with his father and both of his brothers playing musical instruments. He began playing the saxophone when he was a teenager, and he quickly showed a talent for the instrument. In the early 1940s, Adderley moved to Tallahassee, Florida, where he attended Florida A&M University. He joined the school's jazz band, which was led by his brother Nat Adderley, who played trumpet. The two brothers began playing together professionally after college, and they formed a successful band that played in nightclubs and other venues throughout the South. Adderley's early experiences playing in his brother's band, as well as his time at Florida A&M, were crucial in shaping his musical style and his approach to improvisation. He was heavily influenced by the bebop and swing music of the time, and he began to develop a distinctive sound. Adderley became a prominent alto saxophonist who helped to define the sound of jazz through the 1950s and 1960s. In1955, he moved to New York City, where he became part of the thriving jazz scene. It was during his time in New York that Adderley began to record his own albums as a bandleader. He quickly established himself in the bebop and hard bop styles of jazz, and he played with many of the most famous musicians of the time, including Miles Davis, John Coltrane, and Art Blakey. His first album, "Presenting Cannonball Adderley," was released in 1955 on the Savoy label. However it was on this day in.Jazz March 9th 1958, he recorded the album "Somethin' Else" with a talented group of musicians that included Davis, pianist Hank Jones, bassist Sam Jones, and Blakey on drums. The album is widely considered to be one of the greatest jazz recordings of all time, and it features a number of classic tracks, including "Autumn Leaves," "Love for Sale," and the title track, "Somethin' Else." The musicians on the album all play with a remarkable level of skill and sensitivity, and their interplay and improvisation create a sense of excitement and energy that is typical of the best jazz performances. Adderley's saxophone playing on the album is particularly noteworthy, as he is able to blend the soulful and bluesy aspects of his playing with a more sophisticated harmonic and melodic approach. Davis's trumpet playing is also a highlight, as he is able to bring a subtle and understated quality to his solos that perfectly complements the other musicians on the album. Overall, "Somethin' Else" is a masterful display of jazz musicianship, and it has influenced countless musicians and recordings since its release. The album is a testament to the enduring power of jazz music, and it remains an essential part of any jazz fan's collection. Throughout the 1960s, Adderley continued to record and perform with his own groups, and he became known for his soulful and bluesy approach to the saxophone. He also became a popular figure in the jazz world, and he was known for his ability to connect with audiences through his music and his engaging stage presence. Unfortunately, Adderley's career was cut short when he died of a stroke in 1975 at the age of 46. However, his influence on jazz music has been lasting, and his recordings and performances continue to inspire musicians and fans around the world. Today, he is remembered as one of the most important and influential saxophonists in the history of jazz music. That’s what happened this day in.Jazz.

Lee Konitz was a prominent alto saxophonist who is best known for his contributions to the development of the "cool" jazz style in the 1950s. In 1951, he recorded the song "Yesterdays" with Miles Davis, which would become one of his most famous recordings. "Yesterdays" is a jazz standard that was first written by Jerome Kern and Otto Harbach for the 1933 musical "Roberta." Konitz and Davis's version of the song features a slow and introspective arrangement, with Konitz's saxophone playing a hauntingly beautiful melody that perfectly captures the melancholy mood of the lyrics. The recording was significant not only for its musical qualities, but also for its historical importance. At the time, Konitz and Davis were both part of a group of musicians who were working to create a new style of jazz that would be characterized by a more restrained and intellectual approach to improvisation. This new style would come to be known as "cool" jazz, and "Yesterdays" was one of its earliest and most influential recordings. Over the course of his career, Konitz recorded many other classic jazz tunes, and he collaborated with a wide variety of other musicians, including pianist Lennie Tristano and saxophonist Warne Marsh. He continued to perform and record music well into his 80s, and his influence can be heard in the work of countless jazz musicians who followed in his footsteps. Today, he is remembered as one of the greatest and most innovative saxophonists in the history of jazz music.

Meade "Lux" Lewis was a prominent boogie-woogie pianist during the 1930s and 1940s, and his recordings helped to popularize the style among audiences around the world. One of his most famous recordings is "Honky Tonk Train Blues," which he recorded in 1927. The song features Lewis's signature style of piano playing, characterized by its driving bass lines, syncopated rhythms, and intricate melodic improvisations. "Honky Tonk Train Blues" was a huge hit, and it helped to establish Lewis as one of the most important and influential pianists of the boogie-woogie era. Over the course of his career, Lewis recorded many other classic boogie-woogie tunes, including "Yancey Special," "Low Down Dog," and "Chicago Flyer." His work had a significant impact on the development of jazz and blues music, and his influence can be heard in the work of many later pianists, including Albert Ammons, Pete Johnson, and Pinetop Smith. Although Lewis's career declined in the 1950s and 1960s, he continued to perform and record music until his death in 1964. Today, he is remembered as one of the greatest and most innovative pianists in the history of jazz and blues music, and his recordings continue to be studied and admired by musicians and fans alike.

In 1940, Duke Ellington and his orchestra recorded the iconic tune "Ko-Ko" for the Victor label. The song was composed by Ellington's long-time collaborator, saxophonist and arranger Billy Strayhorn, and is considered one of the most important and influential jazz recordings of all time. "Ko-Ko" is a masterclass in musical innovation, with its intricate harmonies, sophisticated rhythms, and bold use of dissonance and tension. The song features stunning solos by Ellington himself, as well as trumpeter Ray Nance, saxophonist Johnny Hodges, and others, all of whom contribute to the song's complex and exhilarating sound. The recording of "Ko-Ko" was a turning point in Ellington's career, and helped to establish him as one of the most important and innovative figures in jazz history. The song's groundbreaking use of orchestration and arrangement techniques inspired countless other musicians and composers, and helped to pave the way for the development of bebop and other modern jazz styles in the decades that followed. Today, "Ko-Ko" remains a beloved and influential jazz standard, and serves as a testament to the enduring legacy of Duke Ellington and his orchestra. Duke Ellington was one of the most important and influential figures in the history of jazz, and his career spanned more than 50 years. He was a composer, bandleader, and pianist, and his innovative and sophisticated approach to jazz helped to elevate the genre to new heights of artistic and cultural significance. Throughout his career, Ellington wrote and performed countless classic jazz tunes, including "Take the A Train," "Mood Indigo," "It Don't Mean a Thing (If It Ain't Got That Swing)," and many others. He was also known for his pioneering work in the field of jazz orchestration, developing new techniques and approaches that allowed for a greater degree of complexity and subtlety in the music. In addition to his musical contributions, Ellington was also a cultural icon and a trailblazer for African-American artists. He was the first black artist to appear on the cover of Time magazine, and his work helped to break down racial barriers in the entertainment industry and beyond. Ellington's influence can still be felt in the world of jazz and beyond, and his contributions to the genre will always be remembered as a testament to the power of music to inspire, uplift, and unite people from all walks of life.

On this day @in_jazz Feb 25th 1959 Duke Ellington records “The Queen’s Suite” for Queen Elizabeth II. The Duke met Queen Elizabeth in 1958 and was inspired to write a twenty minute six movement suite for Her Majesty. A single gold disc was pressed and sent directly to Buckingham Palace and meant only for the Queen. The Duke paid the $2500 in production costs to retain rights to the master tapes so that it was not released during his lifetime. It was release two years after Ellington’s death and won the Grammy Award for Best Jazz Performance by a Big Band in 1976. All compositions by Duke Ellington except where noted. "The Queen's Suite: Sunset and the Mocking Bird" (Duke Ellington, Billy Strayhorn) - 3:50 "The Queen's Suite: Lightning Bugs and Frogs" (Strayhorn)[6] - 2:52 "The Queen's Suite: Le Sucrier Velours" (Duke Ellington, Billy Strayhorn) - 2:46 "The Queen's Suite: Northern Lights" (Strayhorn) - 3:37 "The Queen's Suite: The Single Petal of a Rose" (Duke Ellington, Billy Strayhorn) - 4:08 "The Queen's Suite: Apes and Peacocks" (Duke Ellington, Billy Strayhorn) - 3:05

It was on This Day in.Jazz, July 5th 1939, Billie Holiday recorded her version on Vocalion Records a label known for jazz and blues which also issued Robert Johnsons “Cross Road Blues” just two years before. It is Bille’s version of Them There Eyes which is noted to have solidified it as a Jazz Standard. The lyrics were penned by William G Tracey in 1930 when collaborating with Maceo Pinkard and Doris Tauber to publish Them There Eyes. Initially used in the 1931 Film “Lets Do Things”, it was later recorded by both Bing Crosby and Duke Ellington that same year.

It was on This Day in.Jazz, July 6th 1961 - First Time! The Count Meets the Duke is an album by American pianists, composers and bandleaders Duke Ellington and Count Basie with their combined Orchestras was recorded and released on the Columbia label in 1961. On stereo releases of the album, Basie's band is featured on the left channel and Ellington's on the right. The AllMusic review by Scott Yanow awarded the album 4½ stars calling it "a very successful and surprisingly uncrowded encounter. On most selections Ellington and Basie both play piano (their interaction with each other is wonderful) and the arrangements allowed the stars from both bands to take turns soloing" All compositions by Duke Ellington except as indicated "Battle Royal" - 5:33 "To You" (Thad Jones) - 3:53 "Take the "A" Train (Billy Strayhorn) - 3:46 "Corner Pocket" [a.k.a. "Until I Met You"] (Freddie Green, Donald Wolf) - 4:53 "Wild Man" [a.k.a. "Wild Man Moore"] - 6:20 "Segue in C" (Frank Wess) - 8:22 "B D B" (Ellington, Strayhorn) - 4:43 "Jumpin' at the Woodside" (Count Basie) - 3:09