"Blues à la Mode" is an iconic jazz composition by the legendary pianist McCoy Tyner, first featured on his debut 1962 album "Inception." A key figure in the John Coltrane Quartet, Tyner is celebrated for his powerful, percussive piano style and groundbreaking modal harmonies. This piece stands out for blending the familiar structure of the blues with the modern, adventurous spirit of modal jazz—a hallmark of Tyner’s creative voice.

The tune is notable for its strong left-hand bass lines, rich voicings, and exhilarating improvisations. "Blues à la Mode" reflects the vibrant post-bop jazz scene of the early 1960s and Tyner’s ability to honor the blues tradition while boldly expanding its boundaries.

Fun fact: McCoy Tyner’s influence can be heard in countless jazz pianists, and "Blues à la Mode" remains a favorite among musicians for its soulful energy and modern sophistication.

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Blues à la Mode - McCoy Tyner

"Blue Monk" is one of Thelonious Monk’s most famous and widely-played compositions, first recorded in 1954. This blues in B-flat quickly became a jazz standard and a favorite among both beginners and seasoned musicians. Its deceptively simple melody, laid over a classic 12-bar blues form, provides the perfect canvas for Monk’s distinctive rhythmic phrasing and harmonic quirks.

Monk’s unique approach—marked by angular melodies, surprising intervals, and a playful swing—makes "Blue Monk" instantly recognizable. The tune’s charm lies in its blend of tradition and innovation; it’s both a tribute to the classic blues and a showcase for Monk’s singular voice as a composer. Many jazz legends, from Miles Davis to Oscar Peterson, have recorded their own takes on “Blue Monk.”

Fun fact: Despite its apparent simplicity, “Blue Monk” is considered a master class in phrasing and melodic invention, and is used as a teaching tool in jazz education worldwide.

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Blue Monk - T. Monk

"Blues In The Closet" is one of the most enduring jazz blues compositions, written by virtuoso bassist Oscar Pettiford in 1953. Originally titled “Collard Greens and Black Eyed Peas,” the piece quickly became a jam session favorite thanks to its catchy, swinging melody and straightforward 12-bar blues structure. Pettiford, a key figure in the bebop and hard bop eras, showcased the bass as a lead instrument, inspiring generations of jazz musicians.

The tune has been performed and recorded by countless jazz greats, including Bud Powell, Ray Brown, and Oscar Peterson. Its singable head, relaxed feel, and endless possibilities for improvisation make it a standard for both small combos and big bands.

Fun fact: Pettiford’s version often featured the cello—an unusual jazz instrument—which he played pizzicato, giving the tune a distinctive sound and making “Blues In The Closet” a symbol of jazz’s openness to experimentation.

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Blues In The Closet - O. Pettiford

"The Blues Walk" is a celebrated jazz blues tune composed and first recorded by the legendary trumpeter Clifford Brown in 1955. Featured on the album Clifford Brown & Max Roach, this piece is known for its infectious swing, joyful melody, and strong groove—a signature of Brown’s lyrical, virtuosic style. “The Blues Walk” quickly became a jam session staple, beloved for its catchy riff and dynamic interplay.

Clifford Brown’s tragically short career left an enormous impact on jazz. His version of “The Blues Walk” stands out for its crisp trumpet lines, tight ensemble work, and the uplifting, dancing character of the melody. The tune has been covered by countless jazz musicians and remains a favorite among students and professionals alike for both learning and improvisation.

Fun fact: The album featuring “The Blues Walk” is considered one of the definitive hard bop recordings, highlighting Brown’s mastery and joyful approach to the blues.

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The Bues Walk - C. brown

"Bluesette" is a timeless jazz waltz composed by the legendary Belgian musician Toots Thielemans in 1962. Originally written for guitar and whistling, Thielemans’ iconic recording paired his melodic whistling with his own guitar accompaniment, creating a charming, instantly recognizable sound. What set "Bluesette" apart was its unusual 3/4 time signature—rare for jazz standards at the time—and its playful blend of blues and European lyricism.

The tune quickly became an international jazz standard, beloved by both musicians and listeners for its singable melody and harmonic sophistication. Over the years, "Bluesette" has been interpreted by countless artists, including Bill Evans, Chet Atkins, and Sarah Vaughan, with arrangements ranging from solo performances to big band renditions.

Fun fact: Toots Thielemans is also considered one of the greatest jazz harmonica players in history, but “Bluesette” was originally introduced as a guitar/whistling duo before becoming a favorite for harmonica as well. The song’s name is a play on the words "blues" and "musette" (a style of French waltz), reflecting Thielemans’ blend of jazz and European influences.

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Bluesette - T. Thielemans

"Blue Skies" is one of the most celebrated standards of the Great American Songbook, composed by Irving Berlin in 1926. The song was originally written for the Rodgers and Hart musical Betsy and famously performed by Belle Baker. Its immediate popularity was so overwhelming that Berlin, seated in the audience, was called to take a bow after the show. The song's cheerful lyrics and optimistic melody have made it a favorite for both vocalists and instrumentalists across generations.

“Blue Skies” quickly became a jazz and pop staple, with notable recordings by Ella Fitzgerald, Frank Sinatra, Willie Nelson, Benny Goodman, and even Thelonious Monk. Its catchy melody and upbeat feel have allowed it to be interpreted in styles ranging from swing to country, from classic pop to jazz improvisation.

Fun fact: “Blue Skies” was featured in the first-ever feature-length “talkie” film, The Jazz Singer (1927), sung by Al Jolson. This helped solidify its place in both musical and cinematic history.

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Blue Skies - I. Berlin

"Born to Be Blue" is a timeless jazz ballad composed by Mel Tormé and Robert Wells in 1946. First recorded by Tormé himself, the song quickly became a beloved standard for its melancholic beauty and poetic lyrics that speak of romantic disappointment and the inevitability of heartache. With its haunting melody and subtle harmonic sophistication, “Born to Be Blue” is often considered one of the finest examples of the jazz torch song.

Over the years, the tune has been recorded by a wide array of artists, including Chet Baker, Julie London, Grant Green, Nancy Wilson, and Helen Merrill. Each artist brings a unique emotional depth to the song, whether delivering it as an intimate vocal ballad or a moody instrumental. The evocative lyrics and languid swing have made “Born to Be Blue” a staple of the cool jazz and vocal jazz repertoires.

Fun fact: Mel Tormé, known as “The Velvet Fog,” was not only a gifted singer and composer but also a celebrated drummer and actor. “Born to Be Blue” remains one of his most enduring contributions to the jazz canon, resonating with listeners for its mix of vulnerability and sophistication.

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Born to be Blue - M. Tormé

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"Bye Bye Blackbird" is a beloved American standard composed by Ray Henderson with lyrics by Mort Dixon in 1926. Originally written as a popular song in the vaudeville and Tin Pan Alley tradition, the tune quickly became a hit and was recorded by many early stars, including Gene Austin and Eddie Cantor. Its catchy melody and optimistic lyrics about leaving sorrow behind for happier days have resonated with audiences for nearly a century.

The song became a jazz standard thanks to classic interpretations by Miles Davis, John Coltrane, Julie London, and, most famously, the soulful voice of Joe Cocker. “Bye Bye Blackbird” is renowned for its simple but memorable chord structure, making it a favorite for improvisers and vocalists alike. Its enduring appeal has also seen it covered in styles ranging from swing and ballad to blues and pop.

Fun fact: Paul McCartney included a version of “Bye Bye Blackbird” on his tribute album to his wife Linda, and the song has even appeared in major films and TV shows, cementing its legacy as one of the most recorded songs of the 20th century.

Bye Bye Blackbird - R. Henderson

My arrangement of “Chega de Saudade” for jazz trio beautifully respects the original bossa nova pulse while adding subtle jazz sophistication. The bass part outlines the classic root-and-fifth motion typical of the genre, but also includes walking lines and chromatic approaches, blending samba and jazz idioms. The drums employ a delicate use of hi-hat and cross-stick, creating a relaxed, syncopated groove that never overpowers the melody.

The guitar voicings reflect Jobim’s harmonic language, with extended chords (like 7b9#11, m7b5, and Maj7), lush tensions, and passing chords that add richness to the harmony. Syncopated rhythms and tasteful embellishments in the melody keep the feel authentic, while the transitions and endings are arranged to allow space for improvisation—ideal for a modern jazz setting.

This arrangement honors the iconic status of “Chega de Saudade,” blending respect for the original with creative freedom, and offers an elegant, engaging approach for both listeners and musicians.

Chega de Saudade - A. Jobim

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“A Child Is Born” began life in 1969 as an instrumental by Thad Jones for the Thad Jones/Mel Lewis Orchestra’s album Consummation, recorded May 25, 1970 in New York and released on Solid State Records . The underlying melody actually sprang from pianist Roland Hanna’s spontaneous improvisations during Village Vanguard gig breaks; after several weeks he and the band had refined the tune until Jones “put it on paper,” formally composing it as his own .

Shortly after hearing the original instrumental, Alec Wilder—the self-taught composer who made the Algonquin Hotel his home—wrote a set of lyrics in one sitting, creating what many consider his finest independent lyric . Wilder and Jones never collaborated in person, yet their union produced a song whose gentle 3/4 waltz feel and modal harmonies evoke a hushed sense of wonder—so much so that it has become a perennial favorite at Christmas, despite not being conceived as a holiday piece .

Over the decades “A Child Is Born” has been embraced by countless artists—from Bill Evans & Tony Bennett (1977’s Together Again) to Dee Dee Bridgewater and Stanley Turrentine—each reinterpreting its 30–36-bar form with personal nuance . Soloists prize its simple, memorable theme and expansive chord changes, which offer both lyricism and room for improvisatory exploration .

A Child is Born - T. Jones

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“Misty” is a jazz standard written and originally recorded in 1954 by pianist Erroll Garner. He laid it down as an instrumental on July 27, 1954 for his album Contrasts in a classic 32-bar form .

Garner composed the melody at altitude—reportedly while flying, inspired by the view of clouds and thoughts of his wife—and, unable to write music notation, committed it to memory until he could record it later with his trio.

In 1959, lyricist Johnny Burke added words, transforming “Misty” into a vocal ballad. That same year, Johnny Mathis’s rendition on his album Heavenly reached No. 12 on the U.S. Pop Singles chart and became Mathis’s signature song.

The tune gained cinematic fame in 1971, when it underpins the score of Clint Eastwood’s directorial debut Play Misty for Me, in which a radio DJ is repeatedly implored—“play Misty for me”—by an obsessed fan.

Over the decades, hundreds of artists have made “Misty” their own. Icons such as Ella Fitzgerald, Sarah Vaughan and Frank Sinatra have recorded it, cementing its status as one of the most beloved standards in both instrumental and vocal jazz.

Misty - Erroll Garner

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“Prelude to a Kiss” was composed in 1938 by Duke Ellington, with lyrics by Irving Gordon and Irving Mills. It debuted that year in Ellington’s Carnegie Hall concert and was first recorded in June 1938. The ballad’s sophisticated harmonies—lush major–minor shifts and unexpected chromatic turns—marked a departure from the swing-era simplicity, showcasing Ellington’s gift for blending jazz with romantic, almost orchestral textures.

Lyricist Irving Gordon reportedly wrote the words in a single afternoon, inspired by the idea of love as a timeless prelude—“like the tender grace before an embrace.” The song became an early favorite of band vocalists; Manny Trent recorded a notable version in 1940, and Ella Fitzgerald later made it a staple of her 1957 Ella Fitzgerald Sings the Duke Ellington Songbook.

Over the decades, “Prelude to a Kiss” has been interpreted by both vocalists and instrumentalists. Bill Evans’s 1961 piano trio rendition emphasized its rich voicings, while Tony Bennett’s 1999 duet with k.d. lang rekindled its popularity for a new generation.

Prelude to a Kiss - D. Ellington

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“Tuyo” (“Yours”) is a bolero-style song written and performed in Spanish by Brazilian singer-songwriter Rodrigo Amarante as the opening theme for Netflix’s Narcos (2015). It was released on August 28, 2015 as a single from Narcos: A Netflix Original Series Soundtrack.

Amarante conceived “Tuyo” by asking himself what kind of lullaby Pablo Escobar’s mother might have sung to her son—writing from her perspective to evoke both tenderness and the darker undertow of loyalty and obsession.

He recorded the spare arrangement himself—just voice, nylon-string guitar and subtle accordion—allowing his warm, intimate delivery to carry the melody’s yearning quality.

Upon its debut, “Tuyo” climbed to No. 6 on Billboard’s Latin Pop Digital Songs chart, marking Amarante’s first major international hit. It was also nominated for a Primetime Emmy Award for Outstanding Main Title Theme Music, cementing its status as one of television’s most hauntingly memorable themes. Over the years, “Tuyo” has become emblematic of Amarante’s solo career, drawing listeners into his wider catalog—starting with his 2014 album Cavalo and beyond.

Tuyo - R. Amarante

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“Unchain My Heart” is a rhythm and blues song written by Robert Sharp Jr. and Teddy Powell, first recorded by Ray Charles and released as a single in November 1961.
Sharp originally sold the tune to Powell for just $50, and although Powell claimed half the songwriting credit, Sharp later fought to reclaim his rights and renewed the copyright for his publishing company in 1987.
Ray Charles’s recording—driven by his emotive vocals, the call‑and‑response of his backup singers the Raelettes, and a dynamic saxophone solo by David “Fathead” Newman—became an instant classic. It peaked at number nine on the Billboard Hot 100 and reached number one on the R&B singles chart, further cementing Charles’s title as the “Genius of Soul”.
Over the years, the song’s enduring appeal has inspired covers by artists such as Trini Lopez (1963) and Joe Cocker (1987), the latter bringing the track back into the Top 20 in several countries.

Unchain my Heart - R. Sharp Jr

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“Speak Low” is a popular song composed by Kurt Weill with lyrics by Ogden Nash in 1943.
 It was introduced by Mary Martin and Kenny Baker in the Broadway musical One Touch of Venus, which opened on October 7, 1943 at New York’s Imperial Theatre and ran for 567 performances. 
he song later appeared in the 1948 film adaptation of One Touch of Venus, where it was performed onscreen by Ava Gardner (dubbed by Eileen Wilson) and Dick Haymes.

Over time, “Speak Low” has become one of the most celebrated jazz standards, recorded by Billie Holiday, Tony Bennett, Ella Fitzgerald & Joe Pass, Chet Baker, John Coltrane, and many others .

Speak Low - K. Weill

Air on the G String – Solo Guitar Arrangement (J. S. Bach)
Transcribed and Arranged by Ricardo Farão

Bring the timeless beauty of Bach to your fingertips with this elegant solo guitar arrangement of the beloved “Air on the G String” from the Orchestral Suite No. 3 in D Major, BWV 1068.

Thoughtfully transcribed in the key of D major, this arrangement preserves the lyrical flow, contrapuntal lines, and emotional depth of the original while adapting it naturally to the classical guitar. 

Air on the G String - J. S. Bach

Oscar Chilesotti was a dedicated Italian musicologist at the turn of the 19th century, passionate about Renaissance repertoire. In 1890, he published the precious manuscript “Da un Codice Lauten-Buch del Cinquecento”, transcribing numerous ancient lute pieces into modern notation — many of which now reappear under our hands as guitar music.

This piece, entitled "Vaghe bellezze et bionde treccie d'oro, vedi che per te moro", is No. 17 from that collection. Its title evokes the vivid elegance of golden braids and the ardent emotion of a lover on the verge of dying for his beloved — imagery typical of Italian Renaissance poetry.

Although there is no surviving record of lyrics or text, the music, with its sweet melody and gentle ornamentation, conveys an atmosphere full of ardor and nostalgia. It is as if, through the strings, the instrument whispers a passionate lament imbued with beauty and melancholy.

In this guitar arrangement, I sought to preserve that delicate and intimate aura, respecting the nuances of the counterpoint and the timbral colors that recall the soft resonance of the ancient lute.

This is my arrangement based on the original 1890 book, available at IMSLP: “Da un Codice Lauten-Buch del Cinquecento (Chilesotti, Oscar)”.

Vedi che per te Moro

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“My Funny Valentine” was written in 1937 by Richard Rodgers & Lorenz Hart for the Broadway musical Babes in Arms. It was introduced on opening night (April 14, 1937) by Mitzi Green, sung by her character Billie Smith to Valentine “Val” LaMar—the source of the title. The lyric’s affectionate litany of a lover’s “flaws” helped the song feel modern and emotionally honest.

Though born on Broadway, it became a major jazz standard: early chart success arrived in 1945 (Hal McIntyre/Ruth Gaylor), and Frank Sinatra’s 1954 recording pushed it deep into the jazz repertoire. Chet Baker’s 1954 vocal turned it into a signature, and Miles Davis’s 1964 Philharmonic Hall performance (issued as My Funny Valentine: Miles Davis in Concert) sealed its iconic status for modern jazz.

My Funny Valentine - R. Rodgers

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“Honey” is a sentimental foxtrot composed by Richard A. Whiting, with lyrics by Haven Gillespie and Seymour Simons, published in 1928.
The melody’s delicate sentiment paired with nostalgic lyrics made “Honey” a staple of early 20th-century popular music. It was featured in the 1945 film Her Highness and the Bellboy.
Richard A. Whiting was a prolific American songwriter behind many enduring classics—such as Hooray for Hollywood, Ain’t We Got Fun?, and On the Good Ship Lollipop.
Haven Gillespie, similarly, contributed lyrics to other timeless works including “You Go to My Head” and “Santa Claus Is Comin’ to Town”.

Honey - R. Whiting

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“Por una Cabeza” is a celebrated tango composed in 1935 by Carlos Gardel, with lyrics by Alfredo Le Pera, created for the film Tango Bar the same year.

The title, "Por una cabeza", is a horse racing metaphor (“by a head”), used in the lyric to compare narrowly losing a race to the sway of love and the allure of a woman.

Tragically, Gardel and Le Pera both died in a plane crash on June 24, 1935—just months after the song’s release—cementing their legacy as icons of tango.

The tango has since become a tango classic, featured in numerous films, notably Scent of a Woman (1992), Schindler’s List (1993), and True Lies (1994), contributing to its enduring popularity.

Por una Cabeza - C. Gardel

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Lamentos (Pixinguinha) — Solo Guitar

A modern, intimate take on the 1928 choro: a singing melody over a syncopated 2/4 sway, with walking bass and tasteful rubato.
Details: solo classical guitar • standard tuning • key: D major • instrumental (no lyrics).
Credits: arrangement & performance by Ricardo Farão.
Score: https://www.sheetmusicdirect.com/en-US/se/ID_No/1824606/Product.aspx
Public Domain (US) source; recording © Ricardo Farão.

Ricardo Farão

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