Historical Background
Composed in 1929 by Fats Waller with lyrics by Andy Razaf, Black and Blue is one of the earliest and most poignant songs to confront the pain of racial injustice in America. Originally written for the Broadway revue Hot Chocolates, the song transcended its theatrical context to become a jazz standard of profound emotional and cultural weight. Louis Armstrong’s 1929 recording turned it into a haunting anthem of sorrow and dignity, expressing the isolation and weariness of being judged by one’s appearance. Its harmonic depth, lyrical gravity, and melodic richness have made it a lasting cornerstone of the jazz repertoire.

About the Arrangement
This arrangement by the Ricardo Farão  offers a poignant and atmospheric interpretation of Black and Blue, placing expressive subtlety at its core. The piece unfolds as a dialogue between a soulful trombone and a smooth clarinet, which alternate in phrasing and tonal shading. The classical guitar enters with lyrical, improvisatory lines, weaving melodic threads that gently float above the harmonic landscape.

There are no drums — the rhythmic drive is entrusted to the bass, which joins after the initial exposition and carries both the pulse and harmonic grounding with fluid, legato phrasing and offbeat emphasis. The harmonic structure makes use of minor 7ths, dominant 9ths, and chromatic movement, evoking both the traditional blues structure and modern jazz sensibility. The result is a chamber-like, emotionally introspective rendition that pays homage to Waller’s original pathos while exploring new expressive textures.

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Black and Blue - F. Waller

Historical Background
Written in 1930 by George Gershwin (music) and Ira Gershwin (lyrics), Bidin’ My Time was introduced in the Broadway musical Girl Crazy. Known for its laid-back charm and leisurely swing, the tune reflects a spirit of patience and casual optimism — a musical portrait of someone waiting for life to unfold at its own pace. While not as flashy as other Gershwin hits, it became a favorite among jazz vocalists and instrumentalists for its subtle humor and lyrical simplicity. It has been recorded by artists like Ella Fitzgerald, Nat King Cole, and Judy Garland, offering a relaxed contrast to more rhythmically driven standards.

About the Arrangement
In this arrangement of Bidin’ My Time by the Ricardo Farão Jazz Trio, the mood is relaxed and sun-drenched, evoking the easygoing humor of the original lyrics. The classical guitar introduces the melody with gentle articulation, highlighting the song’s swing feel in a laid-back tempo. The harmonic approach uses extended voicings and subtle reharmonizations, especially in the turnaround sections, which create a cushion for improvisation without losing the tune’s core simplicity.

There’s a fluid dialogue between the guitar and piano, with the latter occasionally stepping forward for harmonic counterstatements and comping fills. The absence of percussion is compensated by the bass, which provides rhythmic clarity with a lightly walking pattern and delayed resolutions. The overall atmosphere feels like a lazy afternoon: graceful, nostalgic, and patient — a perfect reflection of someone “bidin’ their time.”

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Bidin' My Time - G. Gershwin

Historical Background
Composed by trumpeter Kenny Dorham in 1963, Blue Bossa is one of the rare jazz standards to emerge from the post-bop era with immediate cross-genre appeal. First recorded on saxophonist Joe Henderson’s iconic debut album Page One, the tune blends Brazilian bossa nova rhythms with a minor blues structure, making it both accessible and harmonically rich.

Dorham’s composition stands out for its elegant simplicity: a 16-bar form, a hauntingly lyrical melody, and a groove that seamlessly fuses samba-like syncopation with modal jazz phrasing. The piece became a cornerstone for jazz education and performance, serving as a gateway into Latin jazz vocabulary while maintaining the improvisational freedom of hard bop.

Blue Bossa is often seen as a bridge between continents, genres, and moods — a contemplative yet danceable tune that evokes both the cool of the West Coast and the heat of Rio. Over the years, it’s been interpreted by countless artists, from Dexter Gordon to McCoy Tyner, and remains a favorite at jam sessions worldwide.

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Blue Bossa - K. Dorham

Composed in 1940 by Richard Rodgers with lyrics by Lorenz Hart, Bewitched, Bothered and Bewildered made its debut in the Broadway musical Pal Joey, sung by the character Vera Simpson. Unlike many show tunes of the era, the song dives into the complexities of adult romance — not innocent infatuation, but mature, messy love. Its lyricism is candid, vulnerable, and laced with irony. Lines such as “I'm wild again, beguiled again…” and “horizontally speaking, he's at his very best” shocked audiences with their emotional and sensual honesty.

Musically, the tune features elegant, chromatic melodies and a harmonic structure that invites lush jazz interpretations. Over time, it has become a beloved standard, recorded by artists like Ella Fitzgerald, Sarah Vaughan, Bill Evans, and even Rod Stewart. The song’s charm lies in its bittersweet blend of vulnerability and sophistication — a portrait of a soul overwhelmed by love and confusion, yet enchanted nonetheless.

Originally conceived for a sultry show-stopper, Bewitched has become a centerpiece for vocalists and instrumentalists seeking emotional depth, lyrical storytelling, and harmonic richness.

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Bewitched, Bothered and Bewildered - R. Rodgers

Originally composed in 1928 by Cuban pianist and composer Ernesto Lecuona as the instrumental piece “Andalucía”, part of his Suite Española, this lush melody gained worldwide popularity after English lyrics were added by Al Stillman in 1940, becoming “The Breeze and I”. The song paints an image of whispered romance, longing, and sensuality carried on the wind.

Infused with Latin flair and dramatic melodic contours, it quickly became a favorite for jazz, pop, and orchestral interpretations. Notable recordings by Xavier Cugat, Caterina Valente, and Frank Sinatra helped solidify its place in the Great American Songbook. Its harmonic richness — often moving between minor and major modes — and rhythmic flexibility make it a compelling choice for reinterpretation.

A true cross-cultural gem, The Breeze and I bridges Spanish classical lyricism with American jazz phrasing, embodying the romance of old Havana, the mystery of flamenco, and the sophistication of mid-century jazz.

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The Breeze and I - E. Lecuona

Composed by Claude Rouse, Bitter-Sweet is a hidden gem among early jazz standards, dating back to the 1920s—a period known for innovation, the blues, and bittersweet romanticism in music. The song’s title perfectly encapsulates its mood: a blend of longing, nostalgia, and gentle optimism. It evokes the atmosphere of smoky ballrooms and late-night café scenes, where melody and melancholy walk hand in hand.

Bitter-Sweet stands out for its elegantly balanced melody and subtle, blues-tinged harmony. Its structure typically combines verses in a major key with a refrain that dips into the minor, providing emotional contrast. Though less recorded than some other standards, the tune has gained new life in the hands of modern interpreters—its introspective character making it a favorite among jazz guitarists and chamber-style ensembles.

The song’s charm lies in its simplicity and emotional directness, inviting listeners to reflect on life’s mixed emotions: joy colored by regret, happiness tinged with yearning. In the hands of the Ricardo Farão Jazz Trio, it becomes a poetic meditation—lyrical, understated, and resonant.

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Bitter-Sweet - C. Rouse

Composed in 1959 by the Brazilian guitarist Luiz Bonfá, with lyrics by Antônio Maria, Manhã de Carnaval (“Morning of Carnival”) was written for the landmark film Orfeu Negro (Black Orpheus). The movie, which reimagined the Greek myth of Orpheus and Eurydice during Rio de Janeiro’s Carnival, became an international sensation, winning the Palme d’Or at Cannes and the Oscar for Best Foreign Language Film.

Manhã de Carnaval is one of the most recorded songs in the world, celebrated for its haunting melody and poignant harmony—a bittersweet evocation of love, loss, and hope at sunrise. The tune became a gateway for the bossa nova movement, introducing Brazilian sounds and rhythms to global audiences and inspiring countless jazz interpretations. Its evocative minor-to-major progressions and subtle rhythmic sway are instantly recognizable, making it a staple of both vocal and instrumental jazz repertoires.

Curiosities:

Sometimes titled “A Day in the Life of a Fool” in English versions.

The song is often used in jazz jams as a “Latin standard.”

The melody’s melancholy is offset by lyrics that speak of renewal and the ephemeral nature of happiness.

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Black Orpheus - L. Bonfá

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

Composed in 1945 by the legendary alto saxophonist Charlie Parker, Billie’s Bounce is a cornerstone of the bebop repertoire and one of the most influential jazz blues compositions ever written. Parker, nicknamed "Bird," named the piece after Billie, a dancer he knew, and the tune captures the energetic, swinging pulse of mid-40s New York jazz.

Unlike traditional blues, Billie’s Bounce features a sophisticated, syncopated melody that sits atop a 12-bar blues structure, packed with Parker’s trademark chromaticism and rhythmic inventiveness. The original recording session (Savoy, 1945) included jazz greats like Dizzy Gillespie and Max Roach, marking a new chapter in modern jazz. The tune has since become a rite of passage for improvisers, a staple in jam sessions, and a favorite for showcasing both technical virtuosity and creative phrasing.

Fun fact: The first recorded take of Billie’s Bounce is notable for featuring a young Miles Davis on trumpet, before he became a star in his own right.

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Black Orpheus - L. Bonfá

Ricardo Farão

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