Trackimage | Playbut | Trackname | Playbut | Trackname |
---|---|---|---|---|
10215925 | Play | Afternoon in Paris | 09:56 Tools | |
10215930 | Play | Django | 00:00 Tools | |
10215924 | Play | I Remember Clifford | 00:00 Tools | |
10215928 | Play | Delaunay's Dilemma | 00:00 Tools | |
10215926 | Play | Two Degrees East, Three Degrees West | 05:31 Tools | |
10215927 | Play | I Can't Get Started | 00:00 Tools | |
51987031 | Play | easy Living | 00:00 Tools | |
10215935 | Play | Little Girl Blue | 00:00 Tools | |
10215931 | Play | Body and Soul | 00:00 Tools | |
10215929 | Play | I Should Care | 00:00 Tools | |
10215936 | Play | Now's the Time | 00:00 Tools | |
10215961 | Play | December, Remember | 00:00 Tools | |
10215932 | Play | Dear Old Stockholm | 00:00 Tools | |
10215934 | Play | September Song | 00:00 Tools | |
10215938 | Play | Smoke Gets in Your Eyes | 00:00 Tools | |
10215963 | Play | Come Rain Or Come Shine | 00:00 Tools | |
10215982 | Play | Trieste | 00:00 Tools | |
10215974 | Play | Don't Blame Me | 00:00 Tools | |
10215937 | Play | Harlequin | 00:00 Tools | |
10215941 | Play | Willow Weep For Me | 00:00 Tools | |
10215962 | Play | Cain And Abel | 00:00 Tools | |
10215939 | Play | Love Me Or Leave Me | 00:00 Tools | |
10215990 | Play | Two Lyric Pieces | 00:00 Tools | |
10215940 | Play | Skylark | 00:00 Tools | |
10215933 | Play | 2 Degrees East/3 Degrees West | 00:00 Tools | |
10215988 | Play | The Festivals | 00:00 Tools | |
10215979 | Play | Sammy | 00:00 Tools | |
10215944 | Play | Almost Like Being In Love | 00:00 Tools | |
10216017 | Play | Milano | 00:00 Tools | |
10215942 | Play | Warmeland | 00:00 Tools | |
10216018 | Play | What Is This Thing Called Love? | 00:00 Tools | |
10215985 | Play | Abstraction | 00:00 Tools | |
10215956 | Play | The Bad and the Beautiful | 00:00 Tools | |
10215945 | Play | All the Things You Are | 00:00 Tools | |
51987032 | Play | Piece for Guitar & Strings | 00:00 Tools | |
10215947 | Play | I Cover the Waterfront | 00:00 Tools | |
10215968 | Play | I'll Remember April | 00:00 Tools | |
10215951 | Play | Yesterdays | 00:00 Tools | |
10215943 | Play | D & E | 00:00 Tools | |
10215986 | Play | That! Afternoon In Paris | 00:00 Tools | |
10215959 | Play | Prelude No. 1 | 00:00 Tools | |
10215991 | Play | For Ellington | 00:00 Tools | |
10215972 | Play | Sweet Georgia Brown | 00:00 Tools | |
10215949 | Play | Love Me | 00:00 Tools | |
10215946 | Play | A Cold Wind Is Blowing | 00:00 Tools | |
10216011 | Play | Cherokee | 00:00 Tools | |
10216009 | Play | One! Of Parker's Moods | 00:00 Tools | |
10215964 | Play | Fugue No. 1 | 00:00 Tools | |
10216012 | Play | At the Horse Show | 00:00 Tools | |
10216059 | Play | Three Little Feelings | 00:00 Tools | |
10215953 | Play | It Never Entered My Mind | 00:00 Tools | |
10215960 | Play | Bags' Groove | 00:00 Tools | |
10215952 | Play | Skating in Central Park | 00:00 Tools | |
10215995 | Play | Fugue No. 6 | 00:00 Tools | |
10215978 | Play | Prelude No. 6 | 00:00 Tools | |
10215958 | Play | Looking At The Caper | 00:00 Tools | |
10215966 | Play | Prelude No. 2 | 00:00 Tools | |
10216131 | Play | Midnight In Paris | 00:00 Tools | |
10215950 | Play | Postlude | 00:00 Tools | |
10216052 | Play | Down Two Spades | 00:00 Tools | |
10215970 | Play | Fugue No. 2 | 00:00 Tools | |
10215983 | Play | Prelude No. 21 | 00:00 Tools | |
10215981 | Play | Fugue No. 22 | 00:00 Tools | |
10215957 | Play | How To Frame Pigeons | 00:00 Tools | |
10216003 | Play | Fugue No. 8 | 00:00 Tools | |
10215977 | Play | Fugue No. 21 | 00:00 Tools | |
10216010 | Play | Prelude No. 5 | 00:00 Tools | |
10215955 | Play | Johnny Ingram's possessions | 00:00 Tools | |
10215976 | Play | Fugue No. 7 | 00:00 Tools | |
10216135 | Play | Variants On A Theme Of John Lewis [Django] : Variant I | 00:00 Tools | |
10215987 | Play | Prelude No. 7 | 00:00 Tools | |
10215993 | Play | Prelude No. 22 | 00:00 Tools | |
10215994 | Play | Fugue No. 9 | 00:00 Tools | |
10216057 | Play | 'Round Midnight | 00:00 Tools | |
10215954 | Play | Five Figure People Crossing Paths | 00:00 Tools | |
10215948 | Play | Prelude To Odds Against Tomorrow | 00:00 Tools | |
51987033 | Play | England's Carol | 00:00 Tools | |
10215997 | Play | Prelude No. 9 | 00:00 Tools | |
51987034 | Play | Xmas mix 2014 | 00:00 Tools | |
10216368 | Play | If You Could See Me Now | 00:00 Tools | |
10216007 | Play | Fugue No. 4 | 00:00 Tools | |
10215965 | Play | Games | 00:00 Tools | |
10215996 | Play | Prelude No. 4 | 00:00 Tools | |
10216005 | Play | Fugue No. 16 | 00:00 Tools | |
10216151 | Play | If You Could See Me Now (LP Bonus Track) | 00:00 Tools | |
10216183 | Play | Hopeful Encounter | 00:00 Tools | |
10215992 | Play | Odds Against Tomorrow | 00:00 Tools | |
10216008 | Play | Prelude No. 16 | 00:00 Tools | |
10216000 | Play | Fugue No. 5 | 00:00 Tools | |
10216114 | Play | Morning In Paris | 00:00 Tools | |
10216078 | Play | The Opening Bid | 00:00 Tools | |
10215998 | Play | How Long Has This Been Going On? | 00:00 Tools | |
51987060 | Play | I Remember Clifford (feat. Jim Hall) | 00:00 Tools | |
10215973 | Play | The Caper Failure | 00:00 Tools | |
10215975 | Play | Waiting Around The River | 00:00 Tools | |
10216006 | Play | Prelude No. 8 | 00:00 Tools | |
10216177 | Play | Variants On A Theme Of John Lewis [Django] : Variant II | 00:00 Tools | |
10216016 | Play | Colombine | 00:00 Tools | |
10215967 | Play | Main Theme: Odds Against Tomorrow | 00:00 Tools | |
10216138 | Play | Tillamook Two | 00:00 Tools | |
10216440 | Play | The Stranger | 00:00 Tools | |
10216139 | Play | Variants On A Theme Of John Lewis [Django] : Variant III | 00:00 Tools | |
10216152 | Play | Prelude No.10 | 00:00 Tools | |
87227678 | Play | Two Degrees East, Three Degrees West (Feat. Bill Perkins) | 00:00 Tools | |
51987037 | Play | The Impractical Man | 00:00 Tools | |
10215989 | Play | The Golden Striker | 00:00 Tools | |
51987035 | Play | Umbrella | 00:00 Tools | |
10216168 | Play | Notions | 00:00 Tools | |
10216184 | Play | Prelude No.13 | 00:00 Tools | |
10216118 | Play | Night Float | 00:00 Tools | |
10216162 | Play | Variants On A Theme Of Thelonious Monk [Criss Cross]: Variant I | 00:00 Tools | |
10216156 | Play | Another Encounter | 00:00 Tools | |
10216001 | Play | D & E Blues | 00:00 Tools | |
10216013 | Play | Fanfare I | 00:00 Tools | |
10216323 | Play | Gemini | 00:00 Tools | |
10216197 | Play | Variants On A Theme Of Thelonious Monk [Criss Cross]: Variant II | 00:00 Tools | |
10216128 | Play | Variants On A Theme Of Thelonious Monk [Criss Cross]: Variant III | 00:00 Tools | |
10215980 | Play | The Stranger - LP Bonus Track | 00:00 Tools | |
10215984 | Play | 2 Degrees East, 3 Degrees West | 00:00 Tools | |
10216073 | Play | Saint-Germain-Des-Prés | 00:00 Tools | |
10216049 | Play | Piazza Navona | 00:00 Tools | |
51987036 | Play | Fugue N°1 | 00:00 Tools | |
10216111 | Play | Wish Me Well | 00:00 Tools | |
10216154 | Play | Variants On A Theme Of Thelonious Monk [Criss Cross]: Variant IV | 00:00 Tools | |
10216408 | Play | Prelude No.15 | 00:00 Tools | |
10216106 | Play | Two Degrees East, Three Degrees West (LP Version) | 00:00 Tools | |
10216070 | Play | Prelude No. 12 | 00:00 Tools | |
10216189 | Play | Fugue No.10 | 00:00 Tools | |
10216145 | Play | Fugue No.11 | 00:00 Tools | |
10215969 | Play | If You Could See Me Now - LP Bonus Track | 00:00 Tools | |
10216439 | Play | Prelude No.11 | 00:00 Tools | |
10216062 | Play | Fugue No. 14 | 00:00 Tools | |
10216066 | Play | Morning Trip To Melton | 00:00 Tools | |
10216028 | Play | Fugue No. 12 | 00:00 Tools | |
10216160 | Play | No Happiness for Slater | 00:00 Tools | |
10216113 | Play | Prelude No. 17 | 00:00 Tools | |
10216072 | Play | Fugue No. 17 | 00:00 Tools | |
10216081 | Play | Prelude No. 14 | 00:00 Tools | |
10216036 | Play | Fugue No. 15 | 00:00 Tools | |
10216053 | Play | Fugue No. 3 | 00:00 Tools | |
10216063 | Play | Prelude No. 23 | 00:00 Tools | |
10216121 | Play | Prelude No. 20 | 00:00 Tools | |
10216075 | Play | Prelude No. 19 | 00:00 Tools | |
10216025 | Play | Prelude No. 3 | 00:00 Tools | |
10216045 | Play | Fugue No. 19 | 00:00 Tools | |
10216123 | Play | Advance On Melton | 00:00 Tools | |
10216076 | Play | Fugue No. 23 | 00:00 Tools | |
10216164 | Play | I Should Care (LP Version) | 00:00 Tools | |
10216093 | Play | Fugue No. 20 | 00:00 Tools | |
51987042 | Play | Odds Against Tomorrow (Main Theme) | 00:00 Tools | |
10216109 | Play | Summertime | 00:00 Tools | |
10216067 | Play | Pulcinella | 00:00 Tools | |
10216543 | Play | Sacha's March | 00:00 Tools | |
10216105 | Play | Prelude No. 24 | 00:00 Tools | |
10216054 | Play | The Carousel Incident | 00:00 Tools | |
10216004 | Play | Two Degrees East Three Degrees West | 00:00 Tools | |
10216047 | Play | Fanfare II | 00:00 Tools | |
10216040 | Play | Fugue No. 13 | 00:00 Tools | |
51987040 | Play | Social Call | 00:00 Tools | |
87227679 | Play | One Day I'll Fly Away Advert | 00:00 Tools | |
10216146 | Play | Fugue No. 24 | 00:00 Tools | |
10216304 | Play | The Stranger (LP Bonus Track) | 00:00 Tools | |
10216199 | Play | Three Little Feelings (Part 1) | 00:00 Tools | |
10216357 | Play | Prelude No. 18 | 00:00 Tools | |
51987043 | Play | Finale | 00:00 Tools | |
10216050 | Play | 2 Degrees East 3 Degrees West | 00:00 Tools | |
10216448 | Play | Piazza Di Spagna | 00:00 Tools | |
10216239 | Play | I Remember Clifford (LP Version) | 00:00 Tools | |
51987041 | Play | La Cantatrice | 00:00 Tools | |
10216055 | Play | The Queen's Fancy | 00:00 Tools | |
51987038 | Play | Body And Soul (LP Version) | 00:00 Tools | |
51987039 | Play | Fugue No. 18 | 00:00 Tools | |
10216552 | Play | In A Crowd | 00:00 Tools | |
10216187 | Play | Natural Affection | 00:00 Tools | |
10216020 | Play | How Long Has This Been Going On | 00:00 Tools | |
10216101 | Play | D and E | 00:00 Tools | |
10216091 | Play | Three Windows | 00:00 Tools | |
10216423 | Play | Creation Of The World & Creation Of Adam | 00:00 Tools | |
10216104 | Play | Bag's Groove | 00:00 Tools | |
10216261 | Play | Birth Of Eve | 00:00 Tools | |
10216084 | Play | Variants On A Theme Of Thelonius Monk: Variant 1 | 00:00 Tools | |
51987053 | Play | Winter Tale | 00:00 Tools | |
10216015 | Play | Blues For Bird | 00:00 Tools | |
10216324 | Play | Saint-Germain-Des-Pres | 00:00 Tools | |
10216524 | Play | Danielle In The Lion's Den | 00:00 Tools | |
10216031 | Play | Dizzy Meets Sonny | 00:00 Tools | |
10216363 | Play | 言い出しかねて | 00:00 Tools | |
10216573 | Play | Afternoon In Paris (LP Version) | 00:00 Tools | |
51987048 | Play | Valeria | 00:00 Tools | |
10216051 | Play | Mean To Me | 00:00 Tools | |
51987056 | Play | Expulsion From The Garden Of Eden | 00:00 Tools | |
51987044 | Play | Three Little Feelings (Part 3) | 00:00 Tools | |
10216410 | Play | Milesign | 00:00 Tools | |
10216079 | Play | Come Sunday | 00:00 Tools | |
10216190 | Play | Round Midnight | 00:00 Tools | |
10216107 | Play | Venice | 00:00 Tools | |
51987045 | Play | Tour de Force | 00:00 Tools | |
51987046 | Play | The Star Spangled Banner | 00:00 Tools | |
10216119 | Play | Sun Dance | 00:00 Tools | |
10216068 | Play | Little David's Fugue | 00:00 Tools | |
10216270 | Play | Monday In Milan [aka Blue Milanese] | 00:00 Tools | |
51987047 | Play | Three Little Feelings (Part 2) | 00:00 Tools | |
10216512 | Play | Prelude No 13 (From the Well-Tempered Clavier, Boo | 00:00 Tools | |
10216082 | Play | Marching | 00:00 Tools | |
10216090 | Play | D&E | 00:00 Tools | |
10216044 | Play | Festival Sketch | 00:00 Tools | |
10216043 | Play | Variants On A Theme Of John Lewis: Variant 2 | 00:00 Tools | |
10216039 | Play | Variants on a Theme of John Lewis: Variant 1 | 00:00 Tools | |
10216115 | Play | One Never Knows | 00:00 Tools | |
10216185 | Play | Introduction | 00:00 Tools | |
10216038 | Play | The Rose Truc | 00:00 Tools | |
10216083 | Play | Variants On A Theme Of John Lewis: Variant 3 | 00:00 Tools | |
51987055 | Play | Monday in Milan | 00:00 Tools | |
10216124 | Play | Midsommer | 00:00 Tools | |
10216453 | Play | Softly as in a Morning Sunrise | 00:00 Tools | |
10216122 | Play | Cortege | 00:00 Tools | |
10216205 | Play | From me to you | 00:00 Tools | |
87227680 | Play | Body and Soul (Original Mix) | 00:00 Tools | |
10216026 | Play | Bluesology | 00:00 Tools | |
10216349 | Play | Cover The Waterfront | 00:00 Tools | |
51987052 | Play | Period Suite 1&2 | 00:00 Tools | |
51987050 | Play | General Enconter | 00:00 Tools | |
51987049 | Play | Delaunay's Dilemma (Album Version) | 00:00 Tools | |
51987087 | Play | Body and Soul (Remastered 2016) | 00:00 Tools | |
89249146 | Play | Fugue No. 4 "A Little Slam In Diamonds" | 00:00 Tools | |
10216246 | Play | Fugue Nr. 5 | 00:00 Tools | |
10216312 | Play | Fugue Nr. 16 | 00:00 Tools | |
51987051 | Play | Donnies Theme | 00:00 Tools | |
10216186 | Play | Zebra, Lion, Camel | 00:00 Tools | |
10216567 | Play | Prelude Nr. 16 | 00:00 Tools | |
10216462 | Play | Adam and Eve Pas de Deux | 00:00 Tools | |
10216088 | Play | Variants On A Theme Of Thelonius Monk: Variant 2 | 00:00 Tools | |
51987069 | Play | Winter Tale [Long Version] | 00:00 Tools | |
10216180 | Play | Prelude Nr. 3 | 00:00 Tools | |
10216299 | Play | Prelude No.3 Nina's Convention | 00:00 Tools | |
10216195 | Play | Prelude Nr. 8 | 00:00 Tools | |
10216032 | Play | De and E Blues - D & E | 00:00 Tools | |
10216108 | Play | Variants On A Theme Of Thelonius Monk: Variant 3 | 00:00 Tools | |
10216103 | Play | Variants On A Theme Of Thelonius Monk: Variant 4 | 00:00 Tools | |
10216539 | Play | Fugue Nr. 1 | 00:00 Tools | |
10216404 | Play | Fugue Nr. 2 | 00:00 Tools | |
51987065 | Play | Valeria [Edited Version] | 00:00 Tools | |
10215999 | Play | I Can't Get Started (feat. Bill Perkins) | 00:00 Tools | |
10216058 | Play | That Afternoon In Paris | 00:00 Tools | |
10216566 | Play | Walrus, Ape | 00:00 Tools | |
10216022 | Play | Vendome | 00:00 Tools | |
10216172 | Play | Fugue No.3 Ivo's Convention | 00:00 Tools | |
10216289 | Play | Prelude Nr. 2 | 00:00 Tools | |
10216321 | Play | Prelude Nr. 6 | 00:00 Tools | |
10216390 | Play | Prelude Nr. 9 | 00:00 Tools | |
10216465 | Play | Fugue Nr. 3 | 00:00 Tools | |
51987054 | Play | Strange but True | 00:00 Tools | |
10216179 | Play | Prelude No.13 Nancy's Convention | 00:00 Tools | |
10216483 | Play | Prelude Nr. 21 | 00:00 Tools | |
10216409 | Play | Fugue Nr. 22 | 00:00 Tools | |
51987061 | Play | I Remember Clifford (Remastered 2016) | 00:00 Tools | |
87227682 | Play | Come Sunday (Black, Brown and Beige) | 00:00 Tools | |
10216463 | Play | Fugue Nr. 11 | 00:00 Tools | |
10216407 | Play | That! Afternoon In Paris (LP Version) | 00:00 Tools | |
10216574 | Play | Count Every Star | 00:00 Tools | |
10216376 | Play | Prelude No.10 Lateefa's Convention | 00:00 Tools | |
10216419 | Play | Prelude Nr. 22 | 00:00 Tools | |
10216450 | Play | Fugue Nr. 6 | 00:00 Tools | |
10216080 | Play | Fuge No. 8 | 00:00 Tools | |
10216311 | Play | That Slavic Smile | 00:00 Tools | |
10216495 | Play | Blues From Mahalia | 00:00 Tools | |
10216243 | Play | Prelude Nr. 4 | 00:00 Tools | |
10216094 | Play | Fugue No.2 | 00:00 Tools | |
10216551 | Play | J.S.Bach, WTC 1, Fugue No 16 | 00:00 Tools | |
10216562 | Play | Prelude Nr. 13 | 00:00 Tools | |
10216224 | Play | Fugue Nr. 7 | 00:00 Tools | |
10216208 | Play | Fugue Nr. 9 | 00:00 Tools | |
51987057 | Play | Saint Germain Des Pres | 00:00 Tools | |
10216275 | Play | Prelude Nr. 11 | 00:00 Tools | |
10216500 | Play | Fugue Nr. 10 | 00:00 Tools | |
10216174 | Play | Sweet Georgie Brown | 00:00 Tools | |
10216460 | Play | Pt. 2 Finale | 00:00 Tools | |
51987058 | Play | Prelude No 03 (From the Well-Tempered Clavier, Boo | 00:00 Tools | |
10216024 | Play | Love Me Or Leave Me (feat. Bill Perkins) | 00:00 Tools | |
51987059 | Play | A Morning in Paris | 00:00 Tools | |
51987092 | Play | Le Cannet | 00:00 Tools | |
10216293 | Play | Rabbit, Skunk | 00:00 Tools | |
10216037 | Play | Modern Jazz Quartet Plays No Sun In Venice: Cortege | 00:00 Tools | |
10216442 | Play | Reality | 00:00 Tools | |
10216370 | Play | Variant II Monk | 00:00 Tools | |
10216133 | Play | Prelude No.15 Laura's Convention | 00:00 Tools | |
10216559 | Play | Fugue No.10 Elliot's Convention | 00:00 Tools | |
10216203 | Play | Prelude No.11 Yvonne d' Malglieve's Convention | 00:00 Tools | |
89249147 | Play | Baby Bay | 00:00 Tools | |
10216537 | Play | Fugue No.15 Mardin's Convention | 00:00 Tools | |
10216074 | Play | Prelude No.2 | 00:00 Tools | |
87227685 | Play | Afternoon In Paris (instrumental) | 00:00 Tools | |
10216380 | Play | Fugue Nr. 21 | 00:00 Tools | |
10216127 | Play | Fugue No.7 | 00:00 Tools | |
51987064 | Play | Kansas City Breaks | 00:00 Tools | |
10216014 | Play | Easy Living (feat. Bill Perkins) | 00:00 Tools | |
10216086 | Play | La Ronde | 00:00 Tools | |
10216428 | Play | Concorde | 00:00 Tools | |
10216191 | Play | Fugue Nr. 13 | 00:00 Tools | |
10216556 | Play | Teaching and Temptation | 00:00 Tools | |
51987062 | Play | Criss-Cross - Variant IV | 00:00 Tools | |
10216429 | Play | Variant III Lewis | 00:00 Tools | |
10216432 | Play | Fugue No.13 Ertegun's Convention | 00:00 Tools | |
10216431 | Play | Fugue No.11 Krukowski's Convention | 00:00 Tools | |
10216472 | Play | Fugue Nr. 4 | 00:00 Tools | |
51987091 | Play | Variants on a Theme of John Lewis (Django): Variant III | 00:00 Tools | |
10216333 | Play | Lamb, Leopard | 00:00 Tools | |
10216193 | Play | Two Lyric Pieces - Pierrot / Colombine | 00:00 Tools | |
10216320 | Play | Mountain Sheep, Deer | 00:00 Tools | |
51987194 | Play | If I Were Eve | 00:00 Tools | |
51987101 | Play | Hornpipe for the Queen | 00:00 Tools | |
10216173 | Play | Criss-Cross - Variant I | 00:00 Tools | |
10216099 | Play | Midsömmer | 00:00 Tools | |
10216468 | Play | Criss-Cross - Variant II | 00:00 Tools | |
89249148 | Play | Dancing in The Dark | 00:00 Tools | |
10216218 | Play | Criss-Cross - Variant III | 00:00 Tools | |
10216478 | Play | Rhythms Of The Rainbow | 00:00 Tools | |
10216356 | Play | Fugue No.19 Hodeir's Convention | 00:00 Tools | |
51987067 | Play | Prelude No 11 (From the Well-Tempered Clavier, Boo | 00:00 Tools | |
51987083 | Play | Variants on a Theme of John Lewis (Django): Variant I | 00:00 Tools | |
51987063 | Play | Fugue No 03 (From the Well-Tempered Clavier, Book | 00:00 Tools | |
51987089 | Play | Promenade in Paris | 00:00 Tools | |
87227683 | Play | Two Bass Hit | 00:00 Tools | |
10216178 | Play | Variant III Monk | 00:00 Tools | |
10216572 | Play | Variant I Lewis | 00:00 Tools | |
10216525 | Play | You're On My Mind | 00:00 Tools | |
87227681 | Play | love two point oh | 00:00 Tools | |
10216317 | Play | Prelude No.19 Mirjana's Convention | 00:00 Tools | |
10216125 | Play | Prelude To Odds (extrait du film "Odds Against Tomorrow") | 00:00 Tools | |
10216210 | Play | Autumn Leaves | 00:00 Tools | |
51987086 | Play | Animal Dance | 00:00 Tools | |
10216140 | Play | Prelude No.7 | 00:00 Tools | |
51987068 | Play | Fugue No 13 (From the Well-Tempered Clavier, Book | 00:00 Tools | |
10216515 | Play | Prelude No.12 | 00:00 Tools | |
51987128 | Play | Variants on a Theme of Thelonious Monk (Criss-Cross): Variant IV | 00:00 Tools | |
87227684 | Play | Django (Arr. D. Balakrishnan for String Quartet) | 00:00 Tools | |
51987103 | Play | 2 Degrees East - 3 Degrees Wes | 00:00 Tools | |
51987093 | Play | Distractions | 00:00 Tools | |
51987076 | Play | DJango - Variant II | 00:00 Tools | |
10216207 | Play | Variant IV Monk | 00:00 Tools | |
51987070 | Play | Passing Time | 00:00 Tools | |
10216260 | Play | Variant II Lewis | 00:00 Tools | |
10216322 | Play | Variant I Monk | 00:00 Tools | |
51987071 | Play | Man's Best Friend | 00:00 Tools | |
51987072 | Play | Prelude № 1 | 00:00 Tools | |
10216149 | Play | Rouge | 00:00 Tools | |
51987073 | Play | Fugue No 11 (From the Well-Tempered Clavier, Book | 00:00 Tools | |
51987074 | Play | Just To Be With You | 00:00 Tools | |
10216571 | Play | FUGUE No.8 | 00:00 Tools | |
51987081 | Play | Lyonhead | 00:00 Tools | |
51987085 | Play | DJango - Variant I | 00:00 Tools | |
51987203 | Play | Variants on a Theme of John Lewis (Django) - Variant I | 00:00 Tools | |
10216430 | Play | J.s. bach preludes and fugues, | 00:00 Tools | |
51987077 | Play | Fugue № 2 | 00:00 Tools | |
51987078 | Play | Fugue № 1 | 00:00 Tools | |
51987110 | Play | Variants on a Theme of Thelonious Monk (Criss-Cross): Variant II | 00:00 Tools | |
51987079 | Play | Prelude № 2 | 00:00 Tools | |
51987080 | Play | Prelude No 10 (From the Well-Tempered Clavier, Boo | 00:00 Tools | |
51987082 | Play | Prelude No 15 (From the Well-Tempered Clavier, Boo | 00:00 Tools | |
10216034 | Play | Skylark (feat. Bill Perkins) | 00:00 Tools | |
51987084 | Play | Fuge No 9 | 00:00 Tools | |
51987226 | Play | Slater's Theme | 00:00 Tools | |
10216198 | Play | I Can`t Get Started | 00:00 Tools | |
51987094 | Play | DJango - Variant III | 00:00 Tools | |
51987115 | Play | Confirmation | 00:00 Tools | |
10216276 | Play | Pierrot | 00:00 Tools | |
10216161 | Play | Prelude No 13 | 00:00 Tools | |
51987099 | Play | Fugue No.18 Four Diamonds | 00:00 Tools | |
51987088 | Play | Fugue No 15 (From the Well-Tempered Clavier, Book | 00:00 Tools | |
10216332 | Play | Fugue No 19 (From the Well-Tempered Clavier, Book | 00:00 Tools | |
10216143 | Play | Prelude No.3 | 00:00 Tools | |
51987129 | Play | Variants on a Theme of Thelonious Monk (Criss-Cross): Variant III | 00:00 Tools | |
89249149 | Play | Fugue No.12 | 00:00 Tools | |
10216129 | Play | Bad Company | 00:00 Tools | |
89249150 | Play | Fugue No.14 | 00:00 Tools | |
51987090 | Play | Prelude No 19 (From the Well-Tempered Clavier, Boo | 00:00 Tools | |
10216089 | Play | Almost Like Being In Love (feat. Bill Perkins) | 00:00 Tools | |
51987149 | Play | Lonely Woman | 00:00 Tools | |
51987143 | Play | Visitor From Mars | 00:00 Tools | |
51987146 | Play | Stardust | 00:00 Tools | |
51987104 | Play | Sait-On Jamais | 00:00 Tools | |
10216538 | Play | And Her Name Is....Sarah | 00:00 Tools | |
51987095 | Play | Pick Up the Pieces | 00:00 Tools | |
10216280 | Play | Grand Encounter: Almost Like Being In Love | 00:00 Tools | |
10216142 | Play | Ballad Medley: Old Folks; What's New?; How Deep Is The Ocean | 00:00 Tools | |
51987096 | Play | Extinction | 00:00 Tools | |
51987105 | Play | Prelude No.14 The Over Call | 00:00 Tools | |
10216279 | Play | Fugue No.17 Three Hearts | 00:00 Tools | |
51987107 | Play | Prelude No.18 Black Wood | 00:00 Tools | |
89249151 | Play | Variants on a Theme of Thelonious Monk (Criss-Cross): Variant I | 00:00 Tools | |
10216002 | Play | Rouge (feat. John Lewis) | 00:00 Tools | |
51987098 | Play | Fugue № 6 | 00:00 Tools | |
10216294 | Play | Two Lyric Pieces: a) Pierrot, b) Colombine | 00:00 Tools | |
10216027 | Play | 2 Degrees East - 3 Degrees West (feat. Bill Perkins) | 00:00 Tools | |
51987102 | Play | Billie's Bounce | 00:00 Tools | |
51987197 | Play | delauny's dilemma | 00:00 Tools | |
51987205 | Play | A Time for Tears | 00:00 Tools | |
51987175 | Play | Lela | 00:00 Tools | |
10216373 | Play | Tomorrow | 00:00 Tools | |
51987116 | Play | Queen's Gambit Accepted: Var. 16 On Harpsichord | 00:00 Tools | |
51987117 | Play | Montage | 00:00 Tools | |
51987121 | Play | Set 'Em Up | 00:00 Tools | |
10216157 | Play | Prelude No.12 The Opening Bid | 00:00 Tools | |
10216517 | Play | Fugue No.12 One No Trump | 00:00 Tools | |
51987259 | Play | Delauney's Dilemma | 00:00 Tools | |
51987269 | Play | Variants on a Theme of Thelonious Monk (Criss-Cross) - Variant II | 00:00 Tools | |
89249152 | Play | Fugue No.20 Five Clubs | 00:00 Tools | |
10216452 | Play | Prelude No.20 Five Aces | 00:00 Tools | |
51987227 | Play | Variants on a Theme of John Lewis (Django) - Variant II | 00:00 Tools | |
51987232 | Play | Variants on a Theme of John Lewis (Django) - Variant III | 00:00 Tools | |
10216328 | Play | Fugue No.19 | 00:00 Tools | |
10216225 | Play | Fugue No.20 | 00:00 Tools | |
10216245 | Play | Fugue No.17 | 00:00 Tools | |
89249153 | Play | Fugue No.9 | 00:00 Tools | |
51987196 | Play | Adam & Eve Pas De Deux | 00:00 Tools | |
51987157 | Play | The Sheriff | 00:00 Tools | |
10216480 | Play | Prelude No.24 | 00:00 Tools | |
51987108 | Play | Prelude № 21 | 00:00 Tools | |
51987109 | Play | Fugue № 7 | 00:00 Tools | |
51987159 | Play | Variants on a Theme of John Lewis (Django) I | 00:00 Tools | |
51987111 | Play | Prelude To Odds… (extrait du film Odds Against Tomorrow) | 00:00 Tools | |
51987127 | Play | Crazy Love | 00:00 Tools | |
51987112 | Play | Prelude To Odds | 00:00 Tools | |
10216181 | Play | Fontessa | 00:00 Tools | |
51987131 | Play | Var. 25 On Piano And Harpsichord | 00:00 Tools | |
10216406 | Play | Never Stop | 00:00 Tools | |
51987113 | Play | Body And Soul - LP Version | 00:00 Tools | |
51987114 | Play | Heartbeat | 00:00 Tools | |
51987118 | Play | I Should Care - LP Version | 00:00 Tools | |
51987119 | Play | You're Not Telling Me | 00:00 Tools | |
10216095 | Play | 2 Degrees East - 3 Degrees West (Featuring Bill Perkins) | 00:00 Tools | |
51987120 | Play | What's New | 00:00 Tools | |
51987122 | Play | Prelude No.17 The Ribid | 00:00 Tools | |
10216437 | Play | Fugue No.14 Two Spades | 00:00 Tools | |
51987179 | Play | Variants on a Theme of Thelonius Monk : Variant I [Criss-Cross : Variant I] | 00:00 Tools | |
10216513 | Play | Prelude No.24 The Response | 00:00 Tools | |
51987276 | Play | Variants on a Theme of Thelonious Monk (Criss-Cross) - Variant I | 00:00 Tools | |
51987277 | Play | Variants on a Theme of Thelonious Monk (Criss-Cross) - Variant III | 00:00 Tools | |
10216464 | Play | Prelude No.14 | 00:00 Tools | |
10216232 | Play | Equal Positions: Var. 23 On Harpsichord | 00:00 Tools | |
51987275 | Play | Variants on a Theme of Thelonious Monk (Criss-Cross) - Variant IV | 00:00 Tools | |
51987106 | Play | J.B. Blues | 00:00 Tools | |
10216435 | Play | Prelude No.17 | 00:00 Tools | |
89249154 | Play | New York 19 | 00:00 Tools | |
51987123 | Play | Fugue № 21 | 00:00 Tools | |
51987124 | Play | Fugue № 22 | 00:00 Tools | |
51987125 | Play | Prelude № 22 | 00:00 Tools | |
10216318 | Play | Fugue No.15 | 00:00 Tools | |
10216211 | Play | Fugue No.16 | 00:00 Tools | |
51987189 | Play | Variants on a Theme of Thelonius Monk (Criss Cross) I | 00:00 Tools | |
51987140 | Play | Var. 27 On Piano And Harpsichord | 00:00 Tools | |
51987141 | Play | Tahiti | 00:00 Tools | |
51987144 | Play | Two Knights Defense: Var. 24 On Harpsichord | 00:00 Tools | |
51987147 | Play | Rose of the Rio Grande | 00:00 Tools | |
51987130 | Play | Follow Our Hearts | 00:00 Tools | |
10216216 | Play | Modern Jazz Quartet Plays No Sun In Venice: The Golden Striker | 00:00 Tools | |
51987152 | Play | Var. 24 On Piano And Harpsichord | 00:00 Tools | |
51987132 | Play | After Dark | 00:00 Tools | |
51987176 | Play | Down | 00:00 Tools | |
10216509 | Play | The Modern Jazz Sextet: Dizzy Meets Sonny | 00:00 Tools | |
10216153 | Play | Natural Affection - Take 2 | 00:00 Tools | |
10216386 | Play | Grand Encounter: Love Me Or Leave Me | 00:00 Tools | |
51987133 | Play | Milestones | 00:00 Tools | |
87227690 | Play | Looking At The Caper (From 'Odds Against Tomorrow') | 00:00 Tools | |
51987134 | Play | The Well-tempered Clavier Book 1 PRELUDE No.1 | 00:00 Tools | |
51987135 | Play | Prelude to odds (Odds Against Tomorrow) | 00:00 Tools | |
10216222 | Play | Fugue No.23 Six Spades | 00:00 Tools | |
51987136 | Play | Prelude No.23 The Double | 00:00 Tools | |
10216273 | Play | Period Suite (1&2) | 00:00 Tools | |
10216137 | Play | Fugue No.13 | 00:00 Tools | |
10216301 | Play | Yardbird Suite | 00:00 Tools | |
10216281 | Play | Prelude No.23 | 00:00 Tools | |
10216441 | Play | TWO Lyric Pieces a)Pierot. b)Colombine | 00:00 Tools | |
10216170 | Play | Prelude No.19 | 00:00 Tools | |
10216306 | Play | Fugue No.3 | 00:00 Tools | |
10216422 | Play | Prelude No.20 | 00:00 Tools | |
51987138 | Play | 09 Prelude #9 in E | 00:00 Tools | |
51987137 | Play | Prelude № 9 | 00:00 Tools | |
10216263 | Play | Tune-Up | 00:00 Tools | |
10216532 | Play | Prelude No.16 | 00:00 Tools | |
51987139 | Play | Fugue № 4 | 00:00 Tools | |
10216560 | Play | Stranger [*] | 00:00 Tools | |
51987142 | Play | 04 Fugue #4 in C# Minor | 00:00 Tools | |
51987169 | Play | Var. 30 On Piano And Harpsichord | 00:00 Tools | |
51987168 | Play | Var. 19 On Piano And Harpsichord | 00:00 Tools | |
51987198 | Play | Teaching & Temptation | 00:00 Tools | |
51987165 | Play | Var. 21 On Piano And Harpsichord | 00:00 Tools | |
51987170 | Play | Modern Variation: Var. 25 On Harpsichord | 00:00 Tools | |
51987145 | Play | 09 Fugue #9 in E | 00:00 Tools | |
10216309 | Play | Prelude N 12 | 00:00 Tools | |
51987148 | Play | Fugue №8 (Jazz Bach (From The Well-Tempered Clavier) 1984) | 00:00 Tools | |
51987150 | Play | If You Want My Love | 00:00 Tools | |
10216292 | Play | Modern Jazz Quartet Plays No Sun In Venice: Venice | 00:00 Tools | |
51987245 | Play | The Modern Jazz Society Presents A Concert Of Contemporary Music: Django | 00:00 Tools | |
10216402 | Play | Modern Jazz Quartet Plays No Sun In Venice: One Never Knows | 00:00 Tools | |
10216313 | Play | The Modern Jazz Sextet: Blues For Bird | 00:00 Tools | |
51987153 | Play | Footprints | 00:00 Tools | |
51987154 | Play | Night | 00:00 Tools | |
51987155 | Play | The Well-tempered Clavier Book 1 FUGUE NO.1 | 00:00 Tools | |
51987156 | Play | Well-Tempered Clavier, Book I - Prelude No. 3 | 00:00 Tools | |
10216438 | Play | Fugue No.24 Seven No Trumps | 00:00 Tools | |
89249155 | Play | Learn More | 00:00 Tools | |
51987223 | Play | Dear Old Stockholm [Cover] | 00:00 Tools | |
51987184 | Play | London's Got the Blues | 00:00 Tools | |
51987181 | Play | Fanfare No. 1 | 00:00 Tools | |
87227689 | Play | Fugue No.18 | 00:00 Tools | |
10216523 | Play | Fugue No.24 | 00:00 Tools | |
89249156 | Play | Prelude No.9 | 00:00 Tools | |
89249157 | Play | Aria Da Capo On Piano And Harpsichord | 00:00 Tools | |
51987187 | Play | I Love You Porgy | 00:00 Tools | |
10216098 | Play | Little Girl Blues | 00:00 Tools | |
10216518 | Play | Prelude No.4 | 00:00 Tools | |
51987158 | Play | Fugue № 9 | 00:00 Tools | |
10216231 | Play | Fugue No.4 | 00:00 Tools | |
51987160 | Play | Prelude № 4 | 00:00 Tools | |
51987188 | Play | Var. 18 On Piano And Harpsichord | 00:00 Tools | |
10216277 | Play | PRELUDE No.8 | 00:00 Tools | |
51987162 | Play | Never Entered My Mind | 00:00 Tools | |
51987190 | Play | Var. 28 On Piano And Harpsichord (1st Move) | 00:00 Tools | |
51987238 | Play | Variants On A Theme Of Thelonious Monk: Variant II | 00:00 Tools | |
51987163 | Play | Coilombine | 00:00 Tools | |
51987191 | Play | Manhattan Variation: Var. 30 On Harpsichord | 00:00 Tools | |
51987222 | Play | I Didn't Know What Time It Was | 00:00 Tools | |
51987241 | Play | Variants On A Theme Of Thelonious Monk: Variant III | 00:00 Tools | |
51987166 | Play | 04 Prelude #4 in C# Minor | 00:00 Tools | |
10216155 | Play | Ballad Medley: (a) Old Folks (b) What's New? (c) How Deep Is The Ocean? | 00:00 Tools | |
51987167 | Play | 05 Prelude #5 in D | 00:00 Tools | |
10216236 | Play | Fugue N 17 | 00:00 Tools | |
51987200 | Play | Var. 16 On Piano And Harpsichord | 00:00 Tools | |
51987195 | Play | Giuoco Piano: Var. 21 On Harpsichord | 00:00 Tools | |
10216253 | Play | What You Gonna Do? | 00:00 Tools | |
51987230 | Play | Period Suite | 00:00 Tools | |
10216508 | Play | Prelude N 14 | 00:00 Tools | |
51987171 | Play | Hellen Merrill | 00:00 Tools | |
51987201 | Play | Var. 28 On Piano And Harpsichord (2nd Move) | 00:00 Tools | |
10216235 | Play | Fugue N 14 | 00:00 Tools | |
10216434 | Play | Fugue N 23 | 00:00 Tools | |
10216497 | Play | Fugue N 18 | 00:00 Tools | |
51987173 | Play | Django (LP Version) | 00:00 Tools | |
87227686 | Play | Morpheus | 00:00 Tools | |
10216554 | Play | Travellin' | 00:00 Tools | |
87227688 | Play | Monty the Penguin (Advert.Ge) | 00:00 Tools | |
10216507 | Play | Fugue N 24 | 00:00 Tools | |
10216522 | Play | Prelude N 24 | 00:00 Tools | |
10216233 | Play | Prelude N 23 | 00:00 Tools | |
10216219 | Play | Fugue N 20 | 00:00 Tools | |
10216268 | Play | Prelude N 20 | 00:00 Tools | |
51987204 | Play | Old Fianchetto: Var. 19 On Harpsichord | 00:00 Tools | |
10216499 | Play | Three Little Words | 00:00 Tools | |
10216351 | Play | Prelude N 18 | 00:00 Tools | |
51987206 | Play | Queen To Knight Eight-Check: Var. 29 On Harpsichord | 00:00 Tools | |
51987207 | Play | A Social Call | 00:00 Tools | |
51987208 | Play | King's Indian Defense: Var. 17 On Harpsichord | 00:00 Tools | |
51987209 | Play | Midsummer | 00:00 Tools | |
10216048 | Play | La Ronde Suite (Bass) | 00:00 Tools | |
10216029 | Play | La Ronde Suite (Vibes) | 00:00 Tools | |
10216418 | Play | Parker's Mood | 00:00 Tools | |
10216416 | Play | Modern Jazz Quartet Plays No Sun In Venice: The Rose Truc | 00:00 Tools | |
10216459 | Play | The Modern Jazz Sextet: Mean To Me | 00:00 Tools | |
10216287 | Play | The Modern Jazz Quartet At The Opera House: Norman Granz Introduction | 00:00 Tools | |
51987177 | Play | Afternoon In Paris - LP Version | 00:00 Tools | |
10216175 | Play | Variants On A Theme Of John Lewis (Django) - II | 00:00 Tools | |
10216171 | Play | Variants On A Theme Of John Lewis (Django) - I | 00:00 Tools | |
10216202 | Play | Variants On A Theme Of John Lewis (Django) - III | 00:00 Tools | |
89249158 | Play | Prelude № 15 | 00:00 Tools | |
89249159 | Play | Flat Top Cat | 00:00 Tools | |
10216204 | Play | Variants On A Theme Of Thelonious Monk (Criss-Cross) - I | 00:00 Tools | |
10216196 | Play | Variants On A Theme Of Thelonious Monk (Criss-Cross) - II | 00:00 Tools | |
10216130 | Play | Variants On A Theme Of Thelonious Monk (Criss-Cross) - III | 00:00 Tools | |
51987180 | Play | Aria On Piano | 00:00 Tools | |
10216141 | Play | Pyramid (Blues for Junior) | 00:00 Tools | |
10216215 | Play | Over The Rainbow - from the film The Wizard of Oz | 00:00 Tools | |
51987182 | Play | P.O.V. | 00:00 Tools | |
51987183 | Play | And in the Beginning | 00:00 Tools | |
51987217 | Play | Discovered Trap: Var. 26 On Harpsichord | 00:00 Tools | |
10216394 | Play | It Don't Mean a Thing (If You Ain't Got That Swing) | 00:00 Tools | |
51987186 | Play | Sweet Georgie Brown (LP Version) | 00:00 Tools | |
51987161 | Play | S'il vous plait | 00:00 Tools | |
10216126 | Play | Two Lyric Pieces: Pierrot | 00:00 Tools | |
51987219 | Play | Prelude № 5 | 00:00 Tools | |
51987220 | Play | Yugoslav Variation: Var. 20 On Harpsichord | 00:00 Tools | |
51987287 | Play | Variants On A Theme Of Thelonious Monk: Variant I | 00:00 Tools | |
51987192 | Play | Fugue №2, c-moll - WTC , I (J.S.Bach) | 00:00 Tools | |
10216100 | Play | Two Lyric Pieces: Columbine | 00:00 Tools | |
51987193 | Play | Variants On A Theme Of John Lewis: Variant I | 00:00 Tools | |
51987285 | Play | Variants On A Theme Of Thelonious Monk: Variant IV | 00:00 Tools | |
51987164 | Play | Versailles | 00:00 Tools | |
51987225 | Play | Var. 27 On Piano And Harpsichord (Coda) | 00:00 Tools | |
51987234 | Play | Romance | 00:00 Tools | |
51987235 | Play | Check Mate: Aria Da Capo On Harpsichord | 00:00 Tools | |
10216535 | Play | Fugue N 12 | 00:00 Tools | |
10216385 | Play | Prelude N 17 | 00:00 Tools | |
10216065 | Play | Django- Variant I | 00:00 Tools | |
51987202 | Play | Var. 17 On Piano And Harpsichord | 00:00 Tools | |
51987172 | Play | La Ronde Suite | 00:00 Tools | |
51987236 | Play | I Love You Porgy (bonus track) | 00:00 Tools | |
10216466 | Play | Slow Motion Blues | 00:00 Tools | |
10216528 | Play | Modern Jazz Quartet Plays No Sun In Venice: Three Windows | 00:00 Tools | |
10216339 | Play | The Modern Jazz Society Presents A Concert Of Contemporary Music: Little David’s Fugue | 00:00 Tools | |
10216382 | Play | P.o.v. - Take 2 | 00:00 Tools | |
51987210 | Play | Bored & Lonely | 00:00 Tools | |
10216510 | Play | Grand Encounter: I Can’t Get Started | 00:00 Tools | |
10216387 | Play | The Modern Jazz Sextet: Tour De Force | 00:00 Tools | |
51987211 | Play | Sky Runner | 00:00 Tools | |
89249160 | Play | Piece For Guitar & Strings. | 00:00 Tools | |
51987178 | Play | One Bass Hit | 00:00 Tools | |
10216192 | Play | Variants On A Theme Of Thelonious Monk (Criss-Cross) - IV | 00:00 Tools | |
87227693 | Play | Variants On A Theme Of John Lewis (Django) | 00:00 Tools | |
51987213 | Play | Fugue № 19 | 00:00 Tools | |
51987214 | Play | Saint-Germain-Des-Prés - Live | 00:00 Tools | |
51987215 | Play | Softly As in a Morning Sunrise... | 00:00 Tools | |
51987254 | Play | Prelude № 8 | 00:00 Tools | |
51987221 | Play | Django Live 2000 | 00:00 Tools | |
51987255 | Play | Fugue № 16 | 00:00 Tools | |
10216455 | Play | Two Lyric Pieces: a)Pierrot b)Colombine | 00:00 Tools | |
51987252 | Play | Prelude № 12 | 00:00 Tools | |
51987216 | Play | Down Two Spades - Live | 00:00 Tools | |
89249161 | Play | Now’s The Time (Live) | 00:00 Tools | |
51987218 | Play | Prelude № 16 | 00:00 Tools | |
51987260 | Play | Var. 26 On Piano And Harpsichord | 00:00 Tools | |
51987262 | Play | End Game: Var. 27 On Harpsichord | 00:00 Tools | |
89249162 | Play | What You Gonna Do | 00:00 Tools | |
51987224 | Play | Fugue № 8 | 00:00 Tools | |
51987263 | Play | Prelude № 3 | 00:00 Tools | |
51987228 | Play | 05 Fugue #5 in D | 00:00 Tools | |
87227696 | Play | Two Lyric Pieces: Pierrot / Colombine | 00:00 Tools | |
51987229 | Play | September Song (LP Version) | 00:00 Tools | |
51987231 | Play | Variants On A Theme Of John Lewis: Variant III | 00:00 Tools | |
51987273 | Play | Plastic Dreams | 00:00 Tools | |
51987237 | Play | 16 Prelude #16 in G Minor | 00:00 Tools | |
10216274 | Play | Neenah | 00:00 Tools | |
51987282 | Play | In A Little Spanish Town | 00:00 Tools | |
10216213 | Play | Two Degrees East, Three Degree | 00:00 Tools | |
51987243 | Play | 16 Fugue #16 in G Minor | 00:00 Tools | |
89249163 | Play | The Rose True | 00:00 Tools | |
51987239 | Play | Lover Man | 00:00 Tools | |
51987240 | Play | Variants On A Theme Of John Lewis: Variant II | 00:00 Tools | |
51987242 | Play | Two Degrees East - Three Degrees West | 00:00 Tools | |
10216353 | Play | The Modern Jazz Society Presents A Concert Of Contemporary Music: The Queen’s Fancy | 00:00 Tools | |
10216490 | Play | Stranger | 00:00 Tools | |
10216314 | Play | Mirjana - Take 2 | 00:00 Tools | |
51987290 | Play | Kilostone | 00:00 Tools | |
10216272 | Play | The Modern Jazz Quartet At The Opera House: D And E Blues | 00:00 Tools | |
51987244 | Play | Deception | 00:00 Tools | |
10216461 | Play | The Modern Jazz Quartet At The Opera House: ‘Round Midnigh | 00:00 Tools | |
10216144 | Play | Grand Encounter: Easy Living | 00:00 Tools | |
51987246 | Play | Two Degrees East, Three Degrees West - LP Version | 00:00 Tools | |
51987247 | Play | Horses | 00:00 Tools | |
51987248 | Play | Ocho Rios | 00:00 Tools | |
51987249 | Play | Prelude No 13 - OST 'Le Dernier Jour' | 00:00 Tools | |
51987250 | Play | Prelude No 13 - OST "Le Dernier Jour" | 00:00 Tools | |
51987251 | Play | Fugue No 11 | 00:00 Tools | |
87227691 | Play | Afternoon in Paris (1949) | 00:00 Tools | |
89249164 | Play | Boogie Woman | 00:00 Tools | |
87227692 | Play | Ornaments | 00:00 Tools | |
89249165 | Play | Prelude № 19 | 00:00 Tools | |
10216511 | Play | Prelude No.5 | 00:00 Tools | |
51987253 | Play | The Opening Bid - Live | 00:00 Tools | |
51987256 | Play | Fugue № 5 | 00:00 Tools | |
10216147 | Play | On The Scene | 00:00 Tools | |
51987257 | Play | Milano - Live | 00:00 Tools | |
51987258 | Play | Morning In Paris - Live | 00:00 Tools | |
10216278 | Play | FUGUE No.5 | 00:00 Tools | |
89249166 | Play | Fugue № 14 | 00:00 Tools | |
89249167 | Play | Prelude No.4 - Two Clubs | 00:00 Tools | |
89249168 | Play | Fugue № 10 | 00:00 Tools | |
87227694 | Play | Constellation | 00:00 Tools | |
51987261 | Play | Fugue № 3 | 00:00 Tools | |
51987264 | Play | The Stranger [*] | 00:00 Tools | |
89249169 | Play | Fugue № 13 | 00:00 Tools | |
87227695 | Play | Romaine | 00:00 Tools | |
51987271 | Play | 08 Prelude #8 in Eb Minor | 00:00 Tools | |
51987265 | Play | The Festivals (LP Version) | 00:00 Tools | |
89249170 | Play | Lester Swings | 00:00 Tools | |
89249171 | Play | What Kind Of Love Is This | 00:00 Tools | |
51987266 | Play | I've Missed You | 00:00 Tools | |
89249172 | Play | Bohemian Rhapsody | 00:00 Tools | |
89249173 | Play | Thou Swell | 00:00 Tools | |
87227697 | Play | Tune Up | 00:00 Tools | |
51987267 | Play | I Remember Clifford - Original Mix | 00:00 Tools | |
51987268 | Play | Why Are You Blue | 00:00 Tools | |
51987270 | Play | Prelude № 10 | 00:00 Tools | |
10216392 | Play | Well-Tempered Clavier, Book I - Arr. John Lewis: Prelude No. 3 | 00:00 Tools | |
51987272 | Play | Var. 3 On Piano | 00:00 Tools | |
89249174 | Play | Twi Degrees East | 00:00 Tools | |
87227698 | Play | Blue Room | 00:00 Tools | |
51987283 | Play | Undercover Girl Blues | 00:00 Tools | |
10216310 | Play | It All Depends On You | 00:00 Tools | |
51987284 | Play | Let's Fall In Love | 00:00 Tools | |
10216541 | Play | Grand Encounter: Skylark | 00:00 Tools | |
10216120 | Play | Django- Variant II | 00:00 Tools | |
51987286 | Play | Keep the Faith | 00:00 Tools | |
10216116 | Play | Django- Variant III | 00:00 Tools | |
87227699 | Play | D&E Blues | 00:00 Tools | |
10216319 | Play | Natural Affection - Take 1 | 00:00 Tools | |
89249175 | Play | Fugue No.05 | 00:00 Tools | |
87227700 | Play | Mate In Two Moves: Var. 28 On Harpsichord | 00:00 Tools | |
87227701 | Play | Close your eyes | 00:00 Tools | |
51987288 | Play | Trieste (LP Version) | 00:00 Tools | |
51987289 | Play | Stompin' At The Savoy | 00:00 Tools | |
10216134 | Play | Little Girl Blue (Bonus Track) | 00:00 Tools | |
89249176 | Play | The Modern Jazz Sextet: : Ballad Medley: (a) Old Folks (b) What’s New? (c) How Deep Is The Ocean? | 00:00 Tools | |
87227702 | Play | The Modern Jazz Society Presents A Concert Of Contemporary Music: Midsommer | 00:00 Tools | |
10216393 | Play | La Ronde - Take 3 | 00:00 Tools | |
10216334 | Play | P.O.V. - Take 3 | 00:00 Tools | |
10216421 | Play | La Ronde - Take 2 | 00:00 Tools | |
51987291 | Play | Tillamook Two - LP Version | 00:00 Tools | |
51987292 | Play | Prelude No 1 | 00:00 Tools | |
51987293 | Play | Valeria [Edited Version] - Edited Version | 00:00 Tools | |
51987294 | Play | I Remember Clifford - LP Version | 00:00 Tools |
John Aaron Lewis (May 3, 1920 – March 29, 2001) was an American jazz pianist, composer and arranger, best known as the musical director of the Modern Jazz Quartet. John Lewis was born in La Grange, Illinois, and raised in Albuquerque, New Mexico, and began learning classical music and piano at the age of seven. His family was musical and had a family band that allowed him to play frequently and he also played in a Boy Scout music group.] Even though he learned piano by playing the classics, he was exposed to jazz from an early age because his aunt loved to dance and he would listen to the music she played. He attended the University of New Mexico, where he led a small dance band that he formed and double majored in Anthropology and Music. Eventually, he decided not to pursue Anthropology because he was advised that careers from degrees in Anthropology did not pay well. In 1942, Lewis entered the army and played piano alongside Kenny Clarke, who influenced him to move to New York once their service was over. Lewis moved to New York in 1945 to pursue his musical studies at the Manhattan School of Music and eventually graduated with a master's degree in music in 1953. Although his move to New York turned his musical attention more towards jazz, he still frequently played and listened to classical works and composers such as Chopin, Bach and Beethoven. Once Lewis moved to New York, he and Clarke tried out for Dizzy Gillespie's bop-style big band by playing a song called "Bright Lights" that Lewis had written for the band they played for in the army. They both were asked to join Gillespie's band, and the tune they originally played for Gillespie, renamed "Two Bass Hit", became an instant success. Lewis composed, arranged and played piano for the band from 1945 until 1948 after the band made a concert tour of Europe. When Lewis returned from the tour with Gillespie's band, he left it to work individually. Lewis was an accompanist for Charlie Parker and played on some of Parker's famous recordings, such as "Parker's Mood" (1948) and "Blues for Alice" (1951), but also collaborated with other prominent jazz artists such as Lester Young, Ella Fitzgerald and Illinois Jacquet. In an article about Dexter Gordon for WorldPress.com, reviewer Ted Panken suggests that ". . . Higgins’s buoyant ride cymbal and subtle touch propels the soloists through the master take of "Milestones," a John Lewis line for which Miles Davis took credit on his 1947 Savoy debut with Charlie Parker on tenor."[7] Panken seems certain of his claim but does not offer corroboration to a charge that Davis took credit for music that was not his own. Lewis also was part of Miles Davis's Birth of the Cool sessions. While in Europe, Lewis received letters from Davis urging him to come back to the United States and collaborate with the trumpeter, Gil Evans, Gerry Mulligan and others on the second session of Birth of the Cool.[8] From when he returned to the U.S. in 1948 through 1949, Lewis joined Davis's nonet and is considered "one of the more prolific arrangers with the 1949 Miles Davis Nonet". For the Birth of the Cool sessions, Lewis arranged "S'il Vous Plait", "Rouge", "Move" and "Budo". Lewis, vibraphonist Milt Jackson, drummer Clarke and bassist Ray Brown had been the small group within the Gillespie big band, and they frequently played their own short sets when the brass and reeds needed a break or even when Gillespie's band was not playing. The small band received a lot of positive recognition and it led to the foursome forming a full-time working group, which they initially called the Milt Jackson Quartet in 1951 but in 1952 renamed the Modern Jazz Quartet. The Modern Jazz Quartet The Modern Jazz Quartet was formed out of the foursome's need for more freedom and complexity than Gillespie's big band, dance-intended sound allowed. While Lewis wanted the MJQ to have more improvisational freedom, he also wanted to incorporate some classical elements and arrangements to his compositions. Lewis noticed that the style of bebop had turned all focus towards the soloist, and Lewis, in his compositions for the MJQ, attempted to even out the periods of improvisation with periods that were distinctly arranged. Lewis assumed the role of musical director from the start, even though the group claimed not to have a leader. It is commonly thought that "John Lewis, for reasons of his contributions to the band, was apparently the first among the equals". Davis even once said that "John taught all of them, Milt couldn't read at all, and bassist Percy Heath hardly". It was Lewis who elevated the group's collective talent because of his individual musical abilities. Lewis gradually transformed the group away from strictly 1940's bebop style, which served as a vehicle for an individual artist's improvisations, and instead oriented it toward a more refined, polished, chamber style of music. Lewis's compositions for The Modern Jazz Quartet developed a "neoclassical style" of jazz that combined the bebop style with "dynamic shading and dramatic pause more characteristic of jazz of the '20s and '30s". Francis Davis, in his book In the Moment: Jazz in the 1980s, wrote that by "fashioning a group music in which the improvised chorus and all that surrounded it were of equal importance, Lewis performed a feat of magic only a handful of jazz writers, including Duke Ellington and Jelly Roll Morton, had ever pulled off—he reconciled the composer's belief in predetermination with the improviser's yen for free will". Lewis also made sure that the band was always dressed impeccably. Lewis believed that it was important to dress the way that they came across in their music: polished, elegant and unique. Lewis once said in an interview with Down Beat magazine: "My model for that was Duke Ellington. [His band] was the most elegant band I ever saw". From 1952 through 1974, he wrote and performed with and for the quartet. Lewis's compositions were paramount in earning the MJQ a worldwide reputation for managing to make jazz mannered without cutting the swing out of the music. Gunther Schuller for High Fidelity Magazine wrote: It will not come as a surprise that the Quartet's growth has followed a line parallel to Lewis' own development as a composer. A study of his compositions from the early "Afternoon in Paris" to such recent pieces as "La Cantatrice" and "Piazza Navona" shows an increasing technical mastery and stylistic broadening. The wonder of his music is that the various influences upon his work—whether they be the fugal masterpieces of Bach, the folk-tinged music of Bartók, the clearly defined textures of Stravinsky's "Agon", or the deeply felt blues atmosphere that permeates all his music—these have all become synthesized into a thoroughly homogeneous personal idiom. That is why Lewis' music, though not radical in any sense, always sounds fresh and individual. During the same time period, Lewis held various other positions as well, including head of faculty for the summer sessions held at the Lenox School of Jazz in Lenox, Massachusetts from 1957 to 1960, director of the annual Monterey Jazz Festival in California from 1958 to 1983, and its musical consultant, and "he formed the cooperative big band Orchestra U.S.A., which performed and recorded Third Stream compositions (1962–65)". Orchestra U.S.A., along with all of Lewis's compositions in general, were very influential in developing "Third Stream" music, which was largely defined by the interweave between classical and jazz traditions. He also formed the Jazz and Classical Music Society in 1955, which hosted concerts in Town Hall in New York City that assisted in this new genre of classically influenced jazz to increase in popularity. Furthermore, Lewis was also commissioned to compose the score to the film Sait-On Jamais. The MJQ disbanded in 1974 because Jackson felt that the band was not getting enough money for the level of prestige the quartet had in the music scene. During this break, Lewis taught at the City College of New York and at Harvard University. Lewis was also able to travel to Japan, where CBS commissioned his first solo piano album. While in Japan, Lewis also collaborated with Hank Jones and Marian McPartland, with whom he performed piano recitals on various occasions. In 1981, the Modern Jazz Quartet re-formed for a tour of Japan and the United States, although the group did not plan on performing regularly together again. Since the MJQ was no longer his primary career, Lewis had time to form and play in a sextet called the John Lewis Group. A few years later, in 1985, Lewis collaborated with Gary Giddins and Roberta Swann to form the American Jazz Orchestra. Additionally, he continued to teach jazz piano to aspiring jazz students, which he had done throughout his career. His teaching style involved making sure the student was fluent in "three basic forms: the blues, a ballad, and a piece that moves". He continued teaching late into his life. In the 1990s, Lewis partook of various musical ventures, including participating in the Re-birth of the Cool sessions with Gerry Mulligan in 1992, and "The Birth of the Third Stream" with Gunther Schuller, Charles Mingus and George Russell,[29] and recorded his final albums with Atlantic Records, Evolution and Evolution II, in 1999 and 2000 respectively. He also continued playing sporadically with the MJQ until 1999, when Jackson died. Lewis performed a final concert at Lincoln Center in New York and played a repertoire that represented his full musical ability—from solo piano to big-band and everything in between. John Lewis died in New York City on March 31, 2001, at the age of 80, after a long battle with prostate cancer. Music Style and influence Leonard Feather's opinion of Lewis's work is representative of many other knowledgeable jazz listeners and critics: "Completely self-sufficient and self-confident, he knows exactly what he wants from his musicians, his writing and his career and he achieves it with an unusual quiet firmness of manner, coupled with modesty and a complete indifference to critical reaction." Lewis was not only this way with his music, but his personality exemplified these same qualities. Lewis, who was significantly influenced by the arranging style and carriage of Count Basie, played with a tone quality that made listeners and critics feel as though every note was deliberate. Schuller remembered of Lewis at his memorial service that "he had a deep concern for every detail, every nuance in the essentials of music". Lewis became associated with representing a modernized Basie style, exceptionally skilled at creating music that was spacious, powerful and yet, refined. In an interview with Metronome magazine, Lewis himself said: My ideals stem from what led to and became Count Basie's band of the '30s and '40s. This group produced an integration of ensemble playing which projected—and sounded like—the spontaneous playing of ideas which were the personal expression of each member of the band rather than the arrangers or composers. This band had some of the greatest jazz soloists exchanging and improvising ideas with and counter to the ensemble and the rhythm section, the whole permeated with the fold-blues element developed to a most exciting degree. I don't think it is possible to plan or make that kind of thing happen. It is a natural product and all we can do is reach and strive for it. It is considered, however, that Lewis was successful in exemplifying, in his arrangements and compositions, this skill that he admired. Because of his classical training, in addition to his exposure to bebop, Lewis was able to combine the two disparate musical styles and refine jazz so that there was a "sheathing of bop's pointed anger in exchange for concert hall respectability". Lewis was also influenced by the improvisations of Lester Young on the saxophone. Lewis had not been the first to be influenced by a horn player. Earl Hines in his early years looked to Louis Armstrong's improvisations for inspiration and Bud Powell looked to Charlie Parker. Lewis also claims to have been influenced by Hines himself. Lewis was also heavily influenced by European classical music. Many of his compositions for the MJQ and his own personal compositions incorporated various classically European techniques such as fugue and counterpoint, and the instrumentation he chose for his pieces, sometimes including a string orchestra. In the early 1980s, Lewis's influence came from the pianists he enjoyed listening to: Art Tatum, Hank Jones and Oscar Peterson. Piano style Len Lyons depicts Lewis's piano, composition and personal style when he introduces Lewis in Lyons' book The Great Jazz Pianists: "Sitting straight-backed, jaw rigid, presiding over the glistening white keyboard of the grand piano, John Lewis clearly brooks no nonsense in his playing, indulges in no improvisational frvolity, and exhibits no breach of discipline nor any phrase that could be construed as formally incorrect. Lewis, of course, can swing, play soulful blues and emote through his instrument, but it is the swing and sweat of the concert hall, not of smoke-filled, noisy nightclubs." Although Lewis is considered to be a bebop pianist, he is also considered to be one of the more conservative players. Instead of emphasizing the intense, fast tempoed bebop style, his piano style was geared towards emphasizing jazz as an "expression of quiet conflict".His piano style, bridging the gap between classical, bop, stride and blues, made him so "it was not unusual to hear him mentioned in the same breath with Morton, Ellington, and Monk". On the piano, his improvisational style was primarily quiet and gentle and understated. Lewis once advised three saxophonists who were improvising on one of his original compositions: "You have to put yourself at the service of the melody.... Your solos should expand the melody or contract it". This was how he approached his solos as well. He proved in his solos that taking a "simple and straightforward... approach to a melody could... put [musicians] in touch with such complexities of feeling", which the audience appreciated just as much as the musicians themselves. His accompaniment for other musicians' solos was just as delicate. Thomas Owens describes his accompaniment style by noting that "rather than comping—punctuating the melody with irregularly placed chords—he often played simple counter-melodies in octaves which combined with the solo and bass parts to form a polyphonic texture". Compositions and arrangements Similarly to his personal piano playing style, Lewis was drawn in his compositions to minimalism and simplicity.[34] Many of his compositions were based on motifs and relied on few chord progressions. Francis Davis comments: "I think too, that the same conservative lust for simplicity of forms that draws Lewis to the Renaissance and the Baroque draws him inevitably to the blues, another form of music permitting endless variation only within the logic of rigid boundaries". His compositions were influenced by 18th-century melodies and harmonies, but also showed an advanced understanding of the "secrets of tension and release, the tenets of dynamic shading and dramatic pause" that was reminiscent of classic arrangements by Basie and Ellington in the early swing era. This combining of techniques led to Lewis becoming a pioneer in Third Stream Jazz, which was combined classical, European practices with jazz's improvisational and big-band characteristics. Lewis, in his compositions, experimented with writing fugues and incorporating classical instrumentation. An article in The New York Times wrote that "His new pieces and reworkings of older pieces are designed to interweave string orchestra and jazz quartet as equals". High Fidelity magazine wrote that his "works not only show a firm control of the compositional medium, but tackle in a fresh way the complex problem of inprovisation with composed frameworks". Thomas Owen believes that "[Lewis'] best pieces for the MJQ are Django, the ballet suite The Comedy (1962, Atl.), and especially the four pieces Versailles, Three Windows, Vendome and Concorde... combine fugal imitation and non-imitative polyphonic jazz in highly effective ways. Read more on Last.fm. User-contributed text is available under the Creative Commons By-SA License; additional terms may apply.