
Strange Fruit
A Bronx schoolteacher's poem about lynching, sung in a single spotlight, still the bravest three minutes on record.

A Bronx schoolteacher's poem about lynching, sung in a single spotlight, still the bravest three minutes on record.

Two chords and all the space in the world, Davis proving that less was the most radical idea in jazz.

Armstrong's twelve-second opening cadenza announced that jazz had a soloist, and everything since has been the answer.

Ross Gorman slurred the opening clarinet as a joke in rehearsal, and Gershwin kept the wail for Aeolian Hall.

Morello kept soloing in five, so the quartet built him a tune in 5/4; Desmond wrote the theme.

Garrison's four notes, then Coltrane overdubbing the chant nineteen times, one December day at Van Gelder's.

Carmichael whistled the tune to his band at Gennett and cut it fast; Parish added the lyric two years later.

Strayhorn turned Ellington's subway directions into a theme song; Ray Nance's trumpet solo got copied note for note ever after.

Coltrane picked up the soprano saxophone Miles gave him and stretched a Rodgers and Hammerstein waltz past thirteen minutes.

Louis Prima's tune, Krupa's tom-toms, and a performance long enough to fill both sides of a twelve-inch 78.

Recorded May 5, 1959, with the band reading it cold, and those third-related key changes remain jazz's hardest exam.

Monk wrote it around 1940, cutting it for Blue Note in 1947; no jazz composer's tune is recorded more.
Never a professional singer, Gilberto sang at the 1963 session because she spoke English; Record of the Year followed.
A quarrel with her mother over money, by Holiday's own account, gave the song its title line and its steel.

Hawkins barely states the melody, improvises two choruses instead, and the 1939 Bluebird side pointed jazz toward bebop.

Written for a Newley and Bricusse musical, it opens with nothing but her voice before Hal Mooney's horns land.
Written at a Kelly's Stables piano in 1942 under the title Interlude, with a bass line that refuses to walk.

A twelve-bar blues in 6/8, take two the only complete one, and Paul Chambers' bass figure underneath everything.

Calloway forgot the words on a Cotton Club broadcast, by his account, and the hi-de-ho call and response was born.

Waller sold every song in Hot Chocolates for five hundred dollars, then cut this one alone for Victor.