All Time Standarts Jazz! With solo Acoustic Nylon Guitar, Bass and Drum!

Trio Jazz - All Time Standards

Step back into the golden age of swing with a fresh twist: my nylon‑string guitar leads a tight trio of bass and brush‑work drums through John Turner Layton’s 1918 classic “After You’ve Gone.” I reharmonized the chorus with luminous chord extensions and slipped in a few passing, Brazilian‑tinged turnarounds, letting the melody flirt between elegant nostalgia and modern bite. The bass walks, prowls, and occasionally sings in counter‑melody, while the drums paint the air with whispering cymbals and snare pops that keep the pulse light on its feet.

First popularized by Marion Harris just days after World War I ended, “After You’ve Gone” became a rite of passage for jazz greats from Louis Armstrong to Ella Fitzgerald—everyone finding new colors in its deceptively simple frame. My take keeps that bittersweet heartbeat but opens new harmonic windows, inviting you to feel both the sepia glow of 1920s ballrooms and the vibrant energy of today’s jam sessions.

Put on your headphones, close your eyes, and let this trio carry you somewhere between past and present. If you enjoy the ride, hit ⬆ Repost, leave a comment, and follow for more intimate jazz stories soon to arrive.

After You've Gone - J. T Layton

Afternoon in Paris – Jazz Trio Arrangement

Picture a sun‑kissed Parisian boulevard just as the cafés begin to buzz: that’s the canvas for my nylon‑string guitar, bass, and brush‑work drums in this trio reading of John Lewis’s 1949 classic “Afternoon in Paris.” I open with a relaxed samba pulse that lets the melody sway like late‑day shadows, then slip into alternating four‑to‑the‑bar swing and airy chord‑melody passages, giving the tune a cosmopolitan lilt. The bass quotes walking lines à la Percy Heath before blooming into counter‑melodies, while the drums paint gentle splashes—more watercolor than oil—keeping everything buoyant and bright.

Written by Modern Jazz Quartet co‑founder John Lewis as a love letter to Europe’s jazz scene, “Afternoon in Paris” has long been a playground for giants from Sonny Rollins to Wes Montgomery. My take leans into that breezy sophistication, inviting you to wander Paris streets where every corner turns into a new harmonic vista—then slips you back to the present with a subtle, modern reharmonization on the final head.

Press play, let the city lights flicker behind your eyelids, and if the journey moves you, tap ⬆ Repost, leave a thought, and follow for more stories told in six strings and three hearts.

Afternoon In Paris - J. Lewis

Ain’t Misbehavin’ – Jazz Trio Arrangement

Imagine the carefree sparkle of a 1920s Harlem night, distilled into three voices: nylon‑string guitar, warm upright bass, and feather‑touch drums. In this take on Fats Waller’s 1929 classic “Ain’t Misbehavin’,” I start with a sly, two‑bar vamp that hints at stride piano but trades the keys for fingerstyle syncopation. The head floats over spread voicings—think gypsy‑jazz meets cocktail lounge—before slipping into a walking bass interlude where the melody peeks out in harmonics. Brushes tease the backbeat, accenting the tune’s wink‑and‑grin lyric even without words.

Co‑written with Andy Razaf and Harry Brooks for the revue Hot Chocolates, “Ain’t Misbehavin’” became Fats Waller’s signature and a beacon of the swing era, later re‑imagined by Louis Armstrong, Billie Holiday, and countless others. My arrangement keeps that flirtatious swing but ventures through fresh chord substitutions and a brief bossa‑tinged bridge, letting the trio breathe new colors into Waller’s eternal declaration of faithful mischief.

Press play, tap your foot, and picture a dim speakeasy where the smiles are as smooth as the whiskey. If this little slice of vintage joy grabs you, hit ⬆ Repost, drop a comment, and follow along—more guitar‑led jazz stories are on the way.

Ain't Misbehavin - F. Waller

All Blues – Jazz Trio Arrangement

Slip into a slow‑rolling 6/8 groove where every note hangs like dusk: my nylon‑string guitar, a singing bass, and whispering brushes re‑imagine Miles Davis’s 1959 modal masterpiece “All Blues.” I keep the famous bass ostinato intact but voice it on guitar in open fourths, letting harmonics shimmer over the top while the upright bass answers with deep, woody drones. Mid‑chorus, we widen the palette—trading fours between guitar octaves and arco bass slides—before settling back into that eternal, hypnotic pulse. The drums ride the snare rim and cymbal edges, adding smoky accents that feel more heartbeat than time‑keeper.

Originally recorded on Kind of Blue, “All Blues” rewrote the rulebook for modal jazz, offering soloists endless space within a single scale. Our trio honors that spaciousness yet nudges the harmony with subtle chromatic side‑slips and a breezy chord‑melody tag that hints at Brazilian waltz. Think late‑night club, low lights, and conversations that don’t need words.

Hit play, let the groove carry you downstream, and if it resonates, tap ⬆ Repost, leave a thought, and follow—more six‑string journeys through jazz history are on the way.

All Blues - Miles Davis

All of Me – Jazz Trio Arrangement

Step into a buoyant 4 / 4 swing where melody and mischief dance together. My nylon‑string guitar opens Gerald Marks & Seymour Simons’s 1931 evergreen “All of Me” with a unison line over walking‑bass harmonics, then blooms into lush chord‑melody passages that wink at Django and Jobim in equal measure. The bass circles beneath with supple two‑beat patterns, slipping into counter‑melody fills during the bridge, while the drums shape the air with crisp brush sweeps and rim‑click accents, giving the groove a light, almost airborne lift. Mid‑solo, we down‑shift into a half‑time “West Coast” feel before snapping back to bright swing for the shout chorus—a little musical roller‑coaster packed into three minutes.

First unveiled by Belle Baker on Radio with Paul Whiteman’s orchestra in 1931, “All of Me” quickly became a standard, immortalized by Louis Armstrong, Billie Holiday, and later Frank Sinatra. Its open chord changes invite endless reinvention; our trio keeps the tune’s joyful optimism but spices the turnaround with chromatic side‑steps and a surprise Picardy‑third tag—because sometimes giving “all of me” means coloring outside the lines.

Press play, let the grin spread, and if this ride brightens your day, hit ⬆ Repost, leave a thought, and follow—more guitar‑led jazz stories are on the way.

All of Me  - G. Marks

Composed in 1952 by the legendary pianist Thelonious Monk, often in collaboration with drummer Denzil Best, Bemsha Swing is one of the most enigmatic and celebrated pieces in the modern jazz repertoire. The word "Bemsha" is a playful Monk invention, said to be a whimsical distortion of "Bimshire," a nickname for Barbados. The tune captures Monk's unique blend of angular melodies, odd harmonies, and infectious, offbeat swing.

Bemsha Swing is instantly recognizable for its 16-bar structure, syncopated rhythm, and quirky, modal melody punctuated by percussive accents. Its Afro-Caribbean undertones, created by Monk's signature use of whole-tone runs and unexpected harmonic turns, make it both a delight and a challenge for improvisers. Over the years, it has become a cornerstone for modern jazz musicians exploring Monk’s idiosyncratic style.

Fun fact: Monk frequently reinterpreted his own piece, recording it in various arrangements—solo piano, quintet, and with iconic musicians like John Coltrane and Art Blakey.

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Bemsha Swing - T. Monk

Ricardo Farão