Filó Machado, Cibele Codonho: Correnteza

wicked chord substitutions. my version was based on the recording by Joyce and Toninho Horta.

Filó Machado, Gennoshin: Dinorah Dinorah

such a simple short rhythmic refrain yet satisfying to repeat a million times in the same song

Nadah El Shazly: Claustrophobic Love

simple noisy cello over a haunting eerie harp with ethereal effects

Stacy Kidd: Let Love Enter

nice groove, not used to hearing jazz solos in house tracks

Rafael De Lemba: Ingazeira o Ingá

capoeira variations with blue notes, adding fire through singing

Filó Machado, Djavan: Origens

Sounds like Stevie Wonder singing in Brazilian Portuguese.

Salve América

trippy guitar harmonies, beautiful amalgamation of references to indigenous words and culture

Pingu voice acting

Italian voice actor Carlo Bononi was the voice of all of the characters on Pingu. A trained clown by trade, he used a theater technique called grammelot, which consists of "speaking" in a mix of babbled gibberish noises. He improvised all the voices live and unscripted.

Filó Machado: FÉ CEGA / FACA AMOLADA

pure musicianship with mostly guitar, beatboxing, and vocal rhythmics leading to some very happy music; complex harmonies remind me of Toninho Horta and Jacob Collier (especially the changing shirts).

Mestre Gato Preto: The art of the berimbau

mostly berimbau without singing, solo and with the drum section, great swing

Simon Stuij: Alles Raakt Mij

tight drumming, nice contrast between sections

breathe.: London

would love to know the genre that is named for this chord progression.

Maribel La Canija: Mediterráneo

many 'typical/cliche' progressions but nice surprise resolutions, crunches, and resolutions. timefeel includes triplets. bass solo has this "suspended in the air" feeling i tend to seek out.

KNOWER: It's All Nothing Until It's Everything

deadly intricate rhythmic precision juxtaposed with smooth flowing head-banging melody.

Minha Velha: Capoeira Music Practice

Mixture of leading and harmonizing. Big sound with 7 people; sounds like there's more instruments than there actually are.

Cachila: Uruguay – Tambores del Candombe N° 2 (2009)

Pure vocal percussion, sometimes with actual drums. Can't help but solo or move on some of these explosive rhythmic drives. Some tracks fuse conversation, sound play, and humour.

Jacob Collier: Fascinating Rhythm

One of his first popular videos, from 2014 yet doesn't feel dated.

Louis cole: Palmdale Cruisin'

melodic phrasing feels vaguely baroque; harmonies make giant steps; solid groovy beat; bought this right away

Sullivan Fortner: Once I Loved

mixing multiple voices, dense crunchy textures, jazz harmonies with quirky extensions, slight atonality, never heard this kind of playing.

Sullivan Fortner: Sunny Side of the Street

non-ironically making an older style feel current.

Brad Mehldau: The Greatest Jazz Pianist of Our Generation

[Written chord changes are an expedient way to quickly coordinate playing together, but they lack precision to specify things like voice-leading, even from more popular songs like Blackbird.]

[I like to add a note to so-called 'stock voicings' for crunch.]

[The intellectual aspect of improvising happens as you make sense of music. What happens in real-time while playing is a natural reflexive response based on everything you've learned.]

[Can you tell the same story with just two notes?]

---

fluid switches between discussion and piano playing

Kenny Garrett and Sounds From The Ancestors: Tiny Desk Concert

simple gospel influenced groove turns into a party; got me out of my seat pretty quick, couldn't sit still; lots of subtle polyrhythmic goodness in the background.

DOMi & JD BECK: SMiLE

catchy tune without words; complex drumming and rhythms but flows easy; video and imagery kind of absurd and hilarious with some famous figures doing a cameo.

Nas feat. A Boogie Wit da Hoodie & YG: YKTV

Triplet tension in chorus; lyric flows while never mechanically aligning with the beat's grid; bass triplets that happen a few times create a feeling of suspension; contrast between silence and full beat avoids monotony,

Bobby McFerrin: Circlesongs - Live in Budapest (2018)

Been appreciating lately how hard it is to sing in tune and so I enjoyed this on a higher level than normal.

27:17: wildly precise abstract tuning, singing, and gibberish without turning into a mess.

31:31: groovy bass-y beatboxing to support instrument-like vocal solos.

43:31: improvised speaking through music and singing, realistic voice-only drum groove; polyrhythmic breaking of Bobby's voice to create effects.

Berimbaus da Bahia: Camafeu de Oxóssi (1964)

Percussion layer with a few instruments becomes a solid rhythmic foundation for singing. Some tracks of chanting with what I call "vowels of African origin", followed by some classic songs from the Capoeira tradition.

Adrian Holovaty: Melodic Guitar Music (2023)

Pure instrumental arrangements with guitar and bass. Tasteful improvising over django swing vibes.

Marta Gómez: Canciones de sol (2016)

Sweet simple melodies with complex rhythms and accompaniment, punctuated with a children's chorus.

Djavan: a voz e o violão (1976)

Perfect fusing of the Brazilian language's natural rhythm with samba's flow: 4. Para-raio reminds me of the 'perfect fit' between words and percussion I hear in João Donato's music; 9. Embola Bola (Cateretê) barely has words, almost pure voice percussion; 11. Magia feels like hip-hop; 12. Ventos do Norte like swing jazz.

PYRAMID PROJECT, Contours, Juma Tutu: DRIVER (LASTA's Afro Disco Remix)

Single-bar bass loop probably never changes or stops; contrasted with sections featuring a kind of flute, chorus vocal hook (no idea what language it is), abstract saxophone solo and interjections; bass on each beat, booty-shaking, makes you dance and feel good.

Guedra Guedra كدرة كدرة: Juke Lockstep

Middle eastern oboe/reed/clarinet head banger with body shaking beat.

Sarama - Muaythai Music

Form of music played before Muay Thai matches. Never heard it before but reminds me of South Indian Carnatic music, bhuddist ceremonial percussion, and avante garde jazz saxophone; of course it’s not a great description as I have no references to understand it yet, but if you like any of those three things you might dig this.

DJ Vadim: Cappo Style (Instrumental)

From Vads Beats Nice! (Instrumentals, Vol. 1) (2019). Lots of ‘cliché’ in the crisp drum beat and simple melody, but with subtle variations to avoid feeling repetitive. Combining synth instruments with analog sounds.

Boney M.: Bahama Mama

Live performance from 1980. Catchy chorus with signature Boney M. sound.

Asha Bhosle: Udi Baba

From Vidhaata soundtrack (1982). One of the first Hindi songs I find catchy.

Caetano Veloso: Tonada De Luna Llena

From Fina Estampa (1994). The voice of Caetano Veloso singing Spanish in falsetto, surrounded and supported by flutes, clarinets, clapping, percussion, opening a portal to an alternative world of warmth and light.

Chassol: Indiankidz

From Ultrascores (2013). Someone in the comments explained that these are young trainees who are learning Sanskrit chants to become Hindu priests. Curious to see certain sounds linked to head positioning. Observe the focus and some kind of fire in the eyes of these children. Odd to mix electronic instruments and piano with this, I would love to see the original source video and hear the raw singing.

Jacob Collier: Don’t Stop 'Til You Get Enough (2018 single)

Overlays himself with a grand piano that can loop, re-creating the vibe of Michael Jackson’s original using purely acoustic sound. Wild funky solo and lush harmonies as always. During the halfway point he goes into a time signature that I can’t figure out; anyone know?

Michel Camilo, Anthony Jackson, Horacio (El Negro) Hernandez: Calle 54 (2000)

An excerpt from the documentary about Latin jazz featuring some ways of playing the piano I haven’t seen before. The beginning more resembles something you might hear elsewhere, but I’m starting at the mid-section which has some very intense improvising with Latin rhythms. Impossible to sit still as they have too much fun creating this from nothing.

Pongo: Bruxos

At COLORSxSTUDIOS (2021). Massive sound in this body-shaker, both in the powerful voice and in the beat. The synthy flute about halfway in is a timbre I don’t hear often.

Carpenters: Top of the World

From A Song for You (1972). Caught me by surprise to hear this while looking for something in a local Asian supermarket—my mom used to sing it as a kind of showpiece and even recorded it once in a studio. Listening more closely, I hear for the first time that there’s electric piano everywhere, orchestral strings, and these cool IV-I cadences before the verses start.

Hundred Waters: Particle

From Currency (2017). Starts with delicate acoustic piano tones and chords. I usually find it interesting when to use blocky (predictable) patterns from techno music without the music feeling too repetitive; the constant contrast here makes it always dynamic and alive. Lots of triplets and dotted rhythms throughout, twice used in the melody to create this feeling of continuously moving, dropping (for example, around 57s). The lyrics and melody help evoke a sense of flying, soaring, falling.

Vulfpeck: Back Pocket

From Live at Madison Square Garden (2019). Inspiring to hear a thousand-strong audience sing a complex line in three part harmony. Lots of beatboxing, music via voice and the body. Guitar shredding partially mirrored on voice. Surprising to clarinets at the end in this context. Good vibes, happy times, saudades for live music.

DUCKWRTH: I’M DEAD

From I’M UUGLY (2016). Time feel for instant body shaking, decorated and supported with seventh chords, bass patterns that repeat with variation, and effects to create contrast between sections. Lyrics slot into the drumming like Lego.

Zventa Sventana: Мужа дома нету

From Мужа дома нету (2019). Combines electronic sounds with folk singing. Lots of cool percussion and odd production details throughout to keep things dynamic (several only occurring once in the whole song). Touches elements of techno music without being too formulaic, might be the combination with various vocal timbres that keeps it feeling alive.

Have You Ever Had A Dream

Charles Cornell created complex jazz piano arrangements for a whole compilation of various memes with people speaking—this one is my favourite. If I listen to the original audio, I can’t help but hear this music.

Lisa Hannigan: What’ll I Do

From Passenger (2011). Starting hook got my attention right away. Bright, sunny vibes created with vocals, strings, bass, percussion, and clapping; some of it would normally feel cliché to me, but I enjoyed this. The constant offbeats create a deep swing effect: your body will move.

Murali Coryell: Softly Let Me Kiss Your Lips

From Eyes Wide Open (2000). Prepare yourself for nine minutes of ‘stank-face inducing’ blues vocals, guitar solos, lush organ chords, straight on the triplet drums, scatting… Imagine starting your day with this.

Clogs: Kapsburger

From Lantern (2006). Pure instrumental bliss in this journey that lasts just two minutes. Simple harmonies on guitar that surprise by shifting with subtle voice-leading (often changing one note of the chord at a time). There might be hints of Bach in here, or maybe I’m just projecting what I want to hear.

Amit Trivedi: Shubhaarambh

From Kai Po Che ! (2013). Soundtrack for a Bollywood film, with lyrics in Gujarati. The introduction has a strong time feel without any rhythmic accompaniment. There’s bagpipes (!), and I know how odd it might be to feature that in Indian music, but the duduk-like instrument called ‘shehnai’ went right to my heart.

Ornette Hawkins: Raw Sun Live Sessions (2018)

Live jazz-infused drum and bass from an artist with a killer name.

The Everly Brothers: All I Have to Do Is Dream (1958 single)

One of the first things I played in public on the piano when growing up; the harmony fits perfectly in one hand and can be pretty satisfying to repeat for hours—great way to learn about 3rd and 6ths.

The Dixie Cups: Chapel of Love

From Chapel of Love (1964). Super soulful vibe created from vocals, bass, horns, glockenspiel, drums, and clapping—fewer ingredients than ice cream.

Bobbie Gentry: Reunion

From The Delta Sweete (1968). Complex interleaving of multiple parts with folksy Southern USA accents. Listen to the percussive clapping, bass drum, and guitar on the left channel, with voice and trumpets in the right channel. Reminds me of Moondog.

Israel Fernández: Fiesta (Bulería)

At COLORSxSTUDIOS (2021). The simplicity of a powerful voice accompanied by delicate clapping and feet hitting the floor, heard in stereo. Even without understanding the lyrics, one can appreciate how the fierce singing cuts through your prefrontal lobe. An example of making music with the body and whatever’s around (the desk might have been my primary instrument for years). As an aside: there’s too much good music on this show, and I would appreciate recommendations.

Kaitlyn Aurelia Smith: Rare Things Grow

From EARS (2016). Mishmash of many exquisite textures: water glugging, saxophone flutters with delay and reverb, possessed drone voices, quartal harmonies, celestial singing, some shakers in just the right places. Hinting at indigenous musics through instrumentation and motifs, but unapologetically electronic, jazz, and modern. The cover art might be a good metaphor for how this strange and beautiful thing makes you want to keep staring, or listening.

Asmaa Hamzaoui, Bnat Timbouktou: Oulad Lghaba (2019)

I love Gnawa music. Powerful sound from this all female group (the backup singers translate to “Timbuktu girls”). A smattering of polyrhythms everywhere makes it feel like there are usually multiple meters happening simultaneously. Listen to the intricate yet free-flowing ornamentation in the lead singer’s voice and to the bluesy notes of the guembri (like a bass). Hope I will have the privilege to hear them live some day; if you want to get some idea for how the music is performed, see this live concert from Poland.

Ondatrópica: 3 Reyes de la Terapia

From Ondatrópica (2012). Intense combination of beatboxing and breathing (or perhaps hyperventilating) with a repetitive pattern that seems like it’s performed live and not a copy/paste of the same audio. This backdrop makes a strange fusion with the Cumbia-style improvising accordion. Dark and interesting like chocolate 80% noir.

Jazz Pianist Reacts to SKATE by Anderson .Paak and Bruno Mars

I was once fascinated by the feeling of being moved nearly to tears by a series of chords, yet not able to explain what that means to people without lots of experience making music… Charles Cornell gets at some of this, albeit still talking to musicians, but with more heart-warming enthusiasm than I might display publicly (for something that can seem so technical): it’s clear that he has a strong personal and emotional connection to what he’s hearing, and that this is enriched by a deeper understanding of the materials. As he mentions, there are different ways to interpret musical harmony, but this might be a good way to get a glimpse at how music nerds (like me) hear songs. You might also learn a thing or two about theory, and share his excitement at how this song brings complex techniques into mainstream music.

Alvin Lucier: The Duke of York

From Bird and Person Dyning (1972–1973). I skipped the Latin recitation in the beginning, but feel free to hear from the start—either way, try to stick with it for the whole experience. Simple processes and simple inputs over time transform your perception; instead of proposing ‘what’ to listen, the composer guides us 'how’ to listen. The use of stereo is for guiding your attention (if you allow it). As it develops, it feels like being inside of someone else’s trip: notice how provocations create a chain of effects in sound, how it still feels 'organic’ despite being heavily electronic; observe the unfolding of a process, someone playing with their own perception and yours, often leading to surprise without shock.

Alvin Lucier: I Am Sitting In A Room (1981)

Speaking seamlessly morphs into ‘room’, sounding ethereal like a vortex has opened, alive and shimmering. Simple production technique on a simple text to create something profound. It takes a magician to create something out of nothing, or maybe just perception… We can always listen more.

I am sitting in a room different from the one you are in now. I am recording the sound of my speaking voice, and I am going to play it back into the room again and again, until the resonant frequencies of the room reinforce themselves, so that any semblance of my speech, with perhaps the exception of rhythm, is destroyed. What you will hear, then, are the natural resonant frequencies of the room, articulated by speech. I regard this activity not so much as a demonstration of a physical fact, but more as a way to smooth out any irregularities my speech might have.

Tkay Maidza: 24k

From Last Year Was Weird, Vol. 2 (2020). Velvet smooth electronic dance grove, lyrics and breathing slotted into the beat perfectly. Nothing to do here except ride along.

Ayyuka: Maslak Halayı (2020)

Unapologetic and seamless weaving of psychedelic rock, Turkish scales and melodies, prepared electronic ambience and live instruments. Pay attention to the effects, the intensity without ‘loudness’, the microtonal inflections played on seemingly ordinary electric guitar. Tight drumming and a badass vibe throughout the album. My favourites: Maslak Halayı fills me with power; Yukadans is alive, helps body move, cool harmonizing between the two leads near the end; Komalı’s got that pitch bending that I love from some kinds of Arab music; Ah Be Baba is an adventure filled with sudden turns and odd meters.

Ghar ki Mehfil: Chaap Tilak Sab Chheeni (2014)

Great example of music as communal experience: the lead singers invite people in the ‘audience’ (using words, or music and movement itself) to participate—at times it feels like a salon discussion even though it’s mostly musical throughout. I’m not familiar with this style of music, but it’s wonderful to observe singing with devotion intense ornamentation. Fun to see others enjoying music not just in the mind but with hands and much of the upper body. I linked to a part that skips the introduction with many individuals in the room 'taking the spotlight’ to sing, which is beautiful to watch (start from the beginning if you want to check that out). As asides: 1) bonus points that this occurred in Montreal; and 2) refreshing and nostalgic to hear this pre-pandemic performance with people coughing loudly without masks or stigma.

The Halluci Nation: Electric Pow Wow Drum

From A Tribe Called Red (2013). There’s already so much power in traditional indigenous chanting, to add blasting electronic synths and amplification gives it just a little more oomph. Possible to tastefully connect such far away aesthetics. Super simple form, but interesting timbres from metal shakers and leather-skinned drums.

Lyra Pramuk: Tendril

From Fountain (2020). The celestial feeling evoked without words shows what is possible with the simplest of materials: only voice, no other instruments, minimal effects (mostly reverb and echo); the layering of parts to create rich harmonies; a variety of vocal textures, syllables, sounds. There is a kind of static rhythm throughout the whole work, but contrast in the form keeps it interesting. A sublime creation.

Caetano Veloso: O Leãozinho

From Caetano Veloso (1986). I’m overwhelmed by the simplicity of this little tune: just voice and simple guitar patterns can vividly paint an entire scene, with this bright, lilting mood. The singing and accompaniment are rhythmically fused in a way that makes it natural to embody. It was written for Caetano’s sister Maria Bethânia, whose hair may resemble a lion’s mane. The percussive clicking might be unique to this version of the song. See the lyrics for a translation.

Frédéric Chopin: Ballade No. 1 in G minor, Op. 23 (1835)

A live performance (with hands as the focal point) of a friend and pianist from Italy playing this masterpiece, followed by an analysis explaining what makes certain parts of this piece stand out from other repertoire. I enjoy this fluidity of being able to talk about music that one performs, to help other people hear what’s going on and find their way in.

Kidi Band: Gimme Gimme (2016)

Another release from Kidi Band (featured in #022). I initially didn’t make the connection that this was the same group, so they truly managed to captivate me twice—it became distracting to do anything else and I just wanted to listen. I tend to avoid ‘loud’ music, but this reminds me that it’s possible for me to enjoy it. Thoughtful, complex, and emotional. My favourite moments: How Long with busy, intricate, active drumming in the midst of graceful, expansive, widening sung phrases, plus a polyphonic polyrhythmic sundae in the middle; the rhythmic singing in Mountain, feeling like a collective rhythm machine with sudden metric changes; Fever Driver’s dense, rich texture, heavily lilting from side to side (or maybe in circles) might get you high.

Sam Gendel: Cold Duck Time

From Satin Doll (2020). space hyper jazz bebop swing squeal sax glitch loop vibe. The rest of the album is comprised of quirky interpretations of jazz standards.

Little Simz feat. Obongjayar: Point And Kill

From Sometimes I Might Be Introvert (2021). Makes body move, and if your eyes are open, the visuals are sublime. Words and rhythm fit like a glove. Feeling an unapologetic artistry through fashion and music. Concludes with a sudden change to African instruments but with the same time feel.

El Masreyeen (المصريين): Bahebek La (بحبك لا)

From بحبك لا (1977). The warmth in this funky disco gem from Egypt goes straight to your shoulders. A simple composition with slight contrast between sections, yet it stays interesting throughout. “I love you, no; I need you, yes.”

Kidi Band: So Good (2021)

Has lots of cool things that I like in jazz and indigenous music, but as if an indie rock band did it. There are stereo effects, hocket-like devices, odd meters, and highly rhythmic singing throughout. So many tracks with an individual charm: the polyphonic ending of Mary (Merry) with crunchy harmonies; Burn It Up‘s intricate interlocking rhythms in multiple voices with wild vocal bending, all in a five-meter polyrhythmic time feel; Man of Endless Motion‘s heavy head-banger groove, again in five-meter, with cascading interlocking vocal interjections; the incessant intense rhythmic vocals in Free Will; Ingomar is like a complex Rube Goldberg machine that sings in seven; Go On has a wicked African three-against-two time feel; Across the Sea lilting triplet feel, pleasant yet precise.

Pat Metheny Group: Secret Story (2007)

Eclectic sonic materials throughout that resemble the album cover’s collage, yet it all seems to belong together. There’s always emotion and sentiment despite compositional complexity. Generally enjoyed the cinematic moments, mood of the 1970s, and the mixing of orchestra with electronic sounds. My favourite moments: an interesting vocal texture to start the album in Above the Treetops; the sound of a sitar played like a guitar in Facing West; the raw earthy vocal scatting and hard sever-meter groove in Finding and Believing; the high-energy vortex soloing environment, abundance of lush harmonies (typical of Metheny’s music) in See the World.

Charlie Haden, Pat Metheny: Beyond the Missouri Sky (1996)

Each track is like a short story, with an arc painting different emotions and a clear melody. I admire the timbral simplicity of an acoustic guitar and bass duet. Occasional dubbing of other instruments. My favourite Two For The Road, with guitar soloing that explores various rhythmic feels and ‘out’ harmonies.

BASU: BASU (2021)

Badass, unapologetic burst of weird energy from David Binney and Kenny Wollesen. Filled with swirly saxophone solos, glitchy effects, synth accompaniments. Constantly mixing electronic with analog, improvisation and composition. Lots of multi-layering soloing. Note the separate cover art for each track.

Tom Misch: Tiny Desk Concert (2018)

Uses simple, common musical forms and devices, but with tasteful harmonic surprises. Everything is rhythmic, including the singing. Body-shaking, head-banging grooves, makes you go ‘ooooh yea’.

Blood and Dust: Around Your Grave I’ll Light a Ring of Fire

(2021 single). This new release very quickly enters a world of their own creation. Kind of impressed how someone like me who doesn’t listen to music with this aesthetic can thoroughly enjoy it—still not sure why. The intense and dark beat becomes into something simultaneously slow and fast. Love the crunchy noise synths throughout.

Jacob Collier, Mathis Picard: Improvised Piano Duet At The Blue Note (2017)

So much beauty in people making music socially, just having fun, enjoying the experience together. Re-assuring to see professionals accepting rough edges, not having professionalism as the primary objective; less thinky, more youthful and playful. 10:59 has notes of Brad Mehldau, Keith Jarrett, stride pianists, so many textures and styles referenced. 57:16 has a surprise vocal duet of My Romance a cappella with Bobby McFerrin style accompaniment. Music is a language.

Yaeji: Raingurl

From EP2 (2017). Manages to use repetitive elements with cliché chord progressions without sounding tired or stale. Infectious chorus makes body move. Slight bongo/hand drums keeps it from having a ‘pure electronic’ sound.

Groovy Kaiju: Destroy All Monsters (2021)

Groovy, tasteful mixing with warm upbeat vibes. Reminds me of J Dilla’s Donuts with more modern music.

Dorothy Ashby: Afro-Harping (1968)

Reminds me of Alice Coltrane’s music, but maybe more chill.

Amon Tobin: How Do You Live (2021)

Two favourites: the titular track, noisy with a fat bass, badass drumming, and kaleidoscopic timbres; and This Living Hand, with a sort of scribbling or tickling turned into a rhythm.

Joyce Moreno: Novelo

From Hard Bossa (1999). Over the last two weeks, I’ve repeatedly listened to this (featured in #012). The modern jazz waltz feel stands out to me now, and I’m absorbing the harmonies and intricate voice-leading.

Maede Shafiie: گروه نوازی تنبک

Maede Shafiie leads this group of five Iranian women playing tombak with hypnotic hand coordination.

Nate Wood: It’s Enough (2021 single)

From the fOUR project. One person playing drums, bass, and synth in 5 meter, while singing, plus “recorded live in 1 pass with no overdubs, click track or pre-recorded backing tracks”. What else??

Sam Gendel When I Am Laid In Earf

From Fresh Bread (2021) pairs baroque harmony and voice-leading with a computer-generated voice on autotune. Hella eerie.

Chancha Via Circuito: Bienaventuranza (2018)

Old favourite reverberating inside me the over last few days. I have never forgotten my first impression from hearing this years ago: the feeling of a wide-open space gradually expanding, physical heaviness (as if this were a solid object) created from sparse texture. This digital cumbia from Argentina has a certain rawness from traditional instruments and especially the voice, combined with natural ambience, and electronic sounds.

Hania Rani: Live from Studio S2

Live recording which makes me want to play the piano again. At various points she plays while touching the strings to create percussive sounds. The set merges electronic and acoustic, and she also sings on some tracks. It’s always special to see people pushing the boundaries of live music-making.

The Best of Mildred Bailey | Jazz Music (1930s)

This compilation of music features some lovely stride jazz piano. My first time hearing this singer.