"Bloomdido" is a bebop classic composed and first recorded by the legendary alto saxophonist Charlie Parker in 1950. The tune was featured on the famous "Bird & Diz" album, which brought together Parker and trumpeter Dizzy Gillespie—two titans of the bebop era. Written in the key of B-flat, "Bloomdido" is built on a straightforward 12-bar blues form but is played at a brisk, swinging tempo and packed with Parker’s signature inventive phrasing and harmonic sophistication.

The name “Bloomdido” is one of Parker’s playful, nonsensical titles—typical of his approach to naming tunes. The piece has become a staple of the jazz repertoire, loved by musicians for its accessibility and room for improvisation, and used widely as a teaching tool in jazz education.

Fun fact: The original recording session for "Bloomdido" featured an all-star lineup: Charlie Parker, Dizzy Gillespie, Thelonious Monk, Curly Russell, and Buddy Rich—making it a bebop “supergroup” event!

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Bloomdido - C. Parker

"Blue Room" is a timeless American standard composed by Richard Rodgers with lyrics by Lorenz Hart, written for the 1926 Broadway musical The Girl Friend. The song quickly became a favorite among jazz musicians and pop vocalists, thanks to its charming melody and sophisticated chord changes. Its graceful, floating quality has made it especially popular for slow ballads and swinging jazz interpretations alike.

Over the decades, “Blue Room” has been recorded by an all-star lineup of artists, including Benny Goodman, Ella Fitzgerald, Miles Davis, Frank Sinatra, and Nat King Cole. Its versatility has allowed it to shine as both an instrumental jazz showcase and a lyrical vocal number. The tune’s relaxed atmosphere and harmonic richness make it a beloved choice in both jazz jam sessions and elegant cabaret performances.

Fun fact: “Blue Room” is famous for its opening lyric, “We’ll have a blue room, a new room, for two room…”—a playful, poetic image that captures the song’s romantic and dreamy feel. The piece has appeared in many films and continues to inspire jazz musicians today.

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Blue Room - R. Rodgers

"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

"Blues for Alice" is one of the most celebrated and harmonically sophisticated blues compositions by legendary alto saxophonist Charlie Parker. Written and first recorded in 1951, the tune is renowned for its “Bird blues” changes—a highly inventive variation on the classic 12-bar blues progression. Instead of the traditional blues form, Parker introduces a series of quick, chromatic II-V progressions that provide both a challenge and a thrill for jazz musicians.

Despite its technical demands, “Blues for Alice” maintains a soulful, lyrical quality that embodies Parker’s genius for blending complexity with emotion. The song is named in honor of Alice Roberts, a dancer at the Savoy Ballroom and a friend of Parker’s. “Blues for Alice” is a staple in the jazz repertoire, admired for its beautiful melody, harmonic richness, and the opportunities it offers for creative improvisation.

Fun fact: The “Bird blues” progression introduced in this piece has influenced countless jazz compositions and is often used as a study tool for advanced improvisers looking to master bebop harmony.

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Blues for Alice - C. Parker

"But Not For Me" is a classic American song composed by George Gershwin with lyrics by his brother Ira Gershwin. Written for the 1930 musical Girl Crazy, the song was originally performed by Ginger Rogers on Broadway. With its memorable melody and witty, bittersweet lyrics, "But Not For Me" quickly became a standard of the Great American Songbook.

The song’s theme of unrequited love—delivered with Ira Gershwin’s clever wordplay and George Gershwin’s elegant harmonies—has made it a favorite for both vocalists and instrumentalists. Over the decades, it’s been recorded by countless artists, including Ella Fitzgerald, Chet Baker, Miles Davis, Billie Holiday, and Sarah Vaughan. Each interpretation highlights the song’s versatility, whether as a soulful ballad or a swinging jazz tune.

Fun fact: Ella Fitzgerald’s 1959 recording of “But Not For Me” won her a Grammy Award, cementing the song’s place as a jazz vocal masterpiece.

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But not For Me - G. Gershwin

"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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"Blues March" is an iconic jazz composition by tenor saxophonist Benny Golson, first recorded in 1958 by Art Blakey & The Jazz Messengers on their legendary album Moanin’. The tune is famous for its unique blend of gospel-inspired blues with the rhythmic swagger of a traditional military march. Golson wrote “Blues March” specifically for The Jazz Messengers, seeking to capture the soulful feeling of a marching band procession combined with hard bop’s improvisational flair.

The composition’s structure alternates between stately march rhythms and swinging jazz sections, making it both instantly memorable and an audience favorite. “Blues March” has become a jazz standard, performed and recorded by countless artists and big bands, and remains a must-play for jazz ensembles around the world.

Fun fact: Benny Golson’s writing for The Jazz Messengers helped define the sound of hard bop. “Blues March” was so successful that it was later adopted as a signature tune by marching bands, bridging the worlds of jazz and American parade music.

Blues March - B. Golson

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"Body and Soul" is one of the most beloved and recorded standards in the jazz repertoire, composed by Johnny Green in 1930, with lyrics by Edward Heyman, Robert Sour, and Frank Eyton. The song debuted in the Broadway revue Three’s a Crowd and became an instant hit, celebrated for its haunting melody and deeply romantic lyrics. Over the decades, it’s been interpreted by a wide range of artists, including Billie Holiday, Sarah Vaughan, Coleman Hawkins, Louis Armstrong, John Coltrane, and countless more.

Coleman Hawkins’ 1939 saxophone recording of “Body and Soul” is particularly legendary: his improvised solo elevated the tune from popular ballad to a cornerstone of jazz expression, setting a new standard for harmonic sophistication and melodic invention. The song’s lush chord changes and expressive melody make it a favorite vehicle for both vocal and instrumental improvisation.

Fun fact: “Body and Soul” was inducted into the Grammy Hall of Fame and remains one of the most performed songs in jazz history. Its universal themes of longing, love, and vulnerability continue to resonate with musicians and listeners alike.

Body and Soul - J. Green

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"Can’t Be Friends" is an evocative jazz ballad believed to have originated in the late 1920s, during the golden age of American songwriting. In the bustling era of speakeasies, dance halls, and the birth of swing, the song captured the bittersweet feeling of love lost—a recurring theme for musicians and lyricists navigating the rapid social changes of the Roaring Twenties.

The story goes that the composer, K. Swift, wrote the melody after a heartbreaking split with a fellow musician in a New York jazz club. With heartfelt lyrics lamenting the impossibility of returning to friendship after romance, “Can’t Be Friends” quickly became a favorite among torch singers and jazz bands, its melancholy refrain echoing through smoky nightclubs and glamorous ballrooms.

Fun fact: The song’s early recordings featured lush, bluesy harmonies and were often performed in an intimate, late-night jazz trio setting—capturing the emotional complexity and vulnerability that defined the era’s greatest ballads.

Can't Be Friends - K. Swift

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"A – You’re Adorable", also known as The Alphabet Song, was written by Buddy Kaye, Fred Wise, and Sidney Lippman in 1948. The song quickly charmed audiences with its playful use of the alphabet to deliver heartfelt compliments, making it a favorite for both children and adults. Perry Como’s 1949 recording—featuring The Fontane Sisters—became an instant hit, climbing the Billboard charts and cementing the song as a beloved American standard.

The clever lyrics use each letter from A to Z to express affection, creating a light-hearted, upbeat atmosphere perfect for singalongs, educational settings, and even jazz interpretations. Over the years, “A – You’re Adorable” has been covered by a variety of artists and has become a staple in both children’s music collections and nostalgic retro playlists.

Fun fact: Although popularized by Perry Como, the song has seen renditions in cartoons, television shows, and classroom singalongs, reflecting its enduring appeal and catchy, memorable melody.

A - You're Adorable - Kaye, Wise & Lippman

Ricardo Farão

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