"C'EST SI BON" EARTHA KITT (1953)

The moment a song is born, the world is different. It’s now a part of our lives. We sing it in the shower. We dance to it at our wedding. We get pumped with it. We break up to it. We memorize it. We try to forget it. We rediscover it. This month, I’m joining Arron Wright’s Twitter music challenge: ##Popiversary2. Because why the hell not. Songs deserve their own anniversaries, too.

Year: 1953

1953. The Korean armistice is signed. Color t.v. is invented. Roman Holiday hits the big screen. The “buy now, pay later” approach starts to spread. And the Yankees win the World Series. Life seems pretty darn good. Perhaps Eartha Kitt’s version of “C’est Si Bon” couldn’t have come at a better time than this. A sign of the carefree spirit and optimism of the times.

There are few voices as seductive and sultry as Eartha Kitt’s, which gave “C’est Si Bon” a flirtatious edge that wasn’t there before. In this version, she pairs with Henri René and his Orchestra. They seem almost catatonic compared to Eartha. She even seems more French than they do, because Eartha wasn’t just singing it, she embodied it. It’s why this recording takes on so much meaning and importance – even if you don’t know a lick of French.

“C'est si bon. De partir n'importe où. Bras dessus, bras dessous. En chantant des chansons.”

"BLUE SKIES" ELLA FITZGERALD (1958)

The moment a song is born, the world is different. It’s now a part of our lives. We sing it in the shower. We dance to it at our wedding. We get pumped with it. We break up to it. We memorize it. We try to forget it. We rediscover it. This month, I’m joining Arron Wright’s Twitter music challenge: ##Popiversary2. Because why the hell not. Songs deserve their own anniversaries, too.

Year: 1958

In 1958, Ella recorded her famous Ella Fitzgerald Sings the Irvin Berlin Song Book. The album pays homage to a legend whose songs make up a large part of the Great American Songbook. The album is also a mindblowing review of a voice like no other. Ella simply did things with her voice that nobody else could do – or even thought to do. Her vocals lived at a complex crossroads web of jazz, scat and experimentation.

Released as a bonus track on reissues of the album, “Blue Skies” showcases multiple facets of Ella’s vocals. There’s the silky, velvety smooth side. And then there’s the playful, scat-infused side that’s the antithesis of its counterpart. There are times, in fact, where Ella’s voice resembles an instrument, transcending the boundaries of traditional singing. It’s clear as the blue sky: Berlin may have written the song, but Ella owns it through and through.

“Blue days, All of them gone. Nothing but blue skies From now on.”

"LAUNDROMAT MONDAY" JOE JACKSON (1983)

This month, I’m jumping into the #APlaceInTheSong challenge from @JukeboxJohnny2. Great songs have that special ability to describe places in a way that makes us feel like we’re right there. Each day, I’ll pick a track that I think accomplishes that feat.

Confession, I never heard this song until this week – a whole 40 years after its release. I also never heard of the album, or the movie Mike’s Murder for that matter. This is one of the great things about music. We never stop discovering. Joe Jackson’s immense catalog is rich and diverse, crossing between many different genres, sometimes within a single album. “Cosmopolitan” has that new wave touch. “Memphis” has a classic rock / surf rock feel. And “Laundromat Monday” is Joe Jackson on his jazz agenda.

I never saw the movie, but “Laundromat Monday” is intriguing as a soundtrack cut. It has a theatrical feel that makes it seem ripe for a Broadway musical. It’s very Joe Jackson. Simple character-based storytelling. Piano-driven accents. And energetic vocal chants. Best of all, the notion of a laundromat Monday feels like a thing, but in its own mundane manner. It’s what I love most about Joe Jackson’s music.

“Each quarter I've made is lost in washing machines. I'm gonna change the world, I could be President If I could just work out where all my Mondays went.”

"BEWITCHED, BOTHERED, AND BEWILDERED" ELLA FITZGERALD (1956)

For the next 30 days, I’ll be taking the #AprilAcrossAmerica challenge, picking one song a day as I make my way across the country and across genres at the same time.

Day 12: Newport News, VA

When most people think of Ella Fitzgerald’s residence, they usually think of New York. Harlem, more specifically. And later, a move out to the west coast in Beverly Hills. But it all started in her birthplace: Newport News, VA. There are few singers that possess such a high standard in terms of both tone and technique. When it comes down to it, her voice is just so easy to listen to her warm tone, unique diction, and her ability to improvise like her voice is an instrument.

Ella’s rendition of the show tune classic “Bewitched, Bothered, and Bewildered” is one of her first recordings that I had the pleasure of hearing. Pure beauty coupled with technical prowess. There have been dozens of renditions recorded over the years, but what’s striking is how far superior Ella’s version is compared to the others. It belongs in a separate class of its own, making the others – from the likes of Doris Day, Mel Torme, The Platters, Barbara Streisand, Rod Stewart & Cher, among others – feel almost like karaoke.

“Love's the same old sad sensation. Lately I've not slept a wink Since this half-pint imitation Put me on the blink.”

"CANTALOUPE ISLAND" HERBIE HANCOCK (1964)

For the month of January, I’m selecting some of the most memorable and influential songs of the 60’s. While they all hail from the same decade, these are some of my favorite songs of any era. They remind me that the 60’s were so much more than just Woodstock and psychedelic rock. It was a flourishing period for blues, folk, progressive and straight-ahead rock. #31DaysOf60sSongs

I have friends who are able to effortlessly articulate their love for jazz and the intricacies and perspectives that different artists bring to the genre and all its variations. I also have friends who haven’t been truly indoctrinated beyond the obvious Kind of Blue / Love Supreme brand of jazz. These casual fans know what they love, but may not necessarily know why. I’m one of the latter. I don’t always understand why I like certain recordings, let alone have the ability to put it into words. Nonetheless I can’t ignore the huge amount of jazz contributions that happened during this decade, including the work of four jazz legends from the Miles Davis Quintet on “Cantaloupe Island”.

This is a Herbie Hancock composition with his legendary piano hook front and center. You don’t need to be an aficionado to know it, appreciate it and be hooked by it. Hancock’s steady groove on piano is an instantly recognizable element. But it’s not even the main course. It’s the bed and Freddie Hubbard’s buoyant cornet solo is like an ecstatic child jumping up and down on it like it’s a trampoline. Thirty years later, apparently Us3 felt the same way, using Hancock’s masterpiece as the launchpad for a hip-hop rewrite in “Cantaloop (Flip Fantasia)”.

"TAKE CARE OF BUSINESS" NINA SIMONE (1965)

For the month of January, I’m selecting some of the most memorable and influential songs of the 60’s. While they all hail from the same decade, these are some of my favorite songs of any era. They remind me that the 60’s were so much more than just Woodstock and psychedelic rock. It was a flourishing period for blues, folk, progressive and straight-ahead rock. #31DaysOf60sSongs

A romantic fling during the summer before freshman year of college was one of those coming-of-age seasons for me. If someone were to make a movie about my life, that summer would undoubtedly be a part of the script. The girl had incredible taste in music. She introduced me to a wide variety of music, including a new up-and-coming band called Dee-Lite, the early catalog of Siouxsie & the Banshees. and the incomparable Nina Simone. I didn’t think about it at the time, but all these artists were female-led. If she hadn’t played those treasured Nina Simone records, it’s quite possible it would’ve take me decades to discover gems like “Take Care of Business”.

That voice. There’s nothing else like it. Simone’s fiery and feisty persona thankfully translated to equally fiery and feisty vocals. She gives heralded performances throughout the I Put A Spell On You album, including the title track, “Feeling Good”, “Ne Me Quitte Pas” and my favorite track: “Take Care of Business”. On the latter, she sings with a soulful swagger, while the string and horn arrangements create a tango-like quality to the song. “Take Care of Business” showcases the simple genius of using word repetitions to create strong melodies.

"CORCOVADO" GETZ/GILBERTO/GILBERTO/JOBIM

For the month of January, I’m selecting some of the most memorable and influential songs of the 60’s. While they all hail from the same decade, these are some of my favorite songs of any era. They remind me that the 60’s were so much more than just Woodstock and psychedelic rock. It was a flourishing period for blues, folk, progressive and straight-ahead rock. #31DaysOf60sSongs

I was first introduced to Getz/Gilberto and the iconic “The Girl From Ipanema” from an old girlfriend. I was a recent college grad living in New York City. Life was moving so fast. But that Bossa Nova record helped slow things down a little for me. It helped me to see the old beauty of New York – to appreciate all the landmarks, personas and stories that helped shape it. During that time I was listening to a lot of Euro dance variations like the Daft Punk world of French house. It was the soundtrack of the clubs my crew frequented. So, listening to Getz/Gilberto in my old girlfriend’s upper westside prewar apartment was a welcome reprieve. Everyone knows “The Girl From Ipanema”, but the record has many other gems, including “Corcovado”.

“Corcovado” is a beautiful mesh of two worlds. Written by Antonio Carlos Jobim, it has been rearranged and recorded by several dozen artists from all kinds of genres. On this version, Stan Getz’s smooth sax adds a smoky jazz room feel to the Bossa Nova bed from Jobim’s piano and Joao Gilberto’s acoustic guitar. Gilberto’s wife Astrud joins him on vocals that are as majestic as the quiet nights and stars that are paid homage to in the lyrics. “Corcovado” is a beautiful love song that intermingles various cultures and genres to establish an unforgettable mood.

“Da janela vê-se o Corcovado. O Redentor que lindo.”

"LIVING FOR THE CITY" STEVIE WONDER (1973)

Pick four songs from any band and you can tell a lot about their sound. This summer, I’m featuring #RockBlocks, four picks from bands across various genres. They might be wildly different from each other, but what binds them together is the fact that they’re all a part of my life soundtrack.

I can’t think of another music artist in all of history that intermingled different genres better than Stevie Wonder. The thing that often occurs when artists attempt to fuse disparate styles is a sense of disjointedness. But that’s never been the case with Stevie’s music. All of his multi-genre compositions are highlighted by a sense of cohesion and unity. I love the Innervisions album because this was the recording where Stevie’s crossover tendencies were at their height. And “Living For the City” is my favorite example.

It starts with funk. Then it slides into R&B with a side of soul and a sprinkle of rock. As if that wasn’t ambitious enough, “Living For the City” then slips into a momentary jazz exploration before getting back into its funk grooves. Just before the song ends, Stevie crosses over one more time with a gospel choir-inspired harmony. While “Living For the City” chronicled the story of a Mississippi boy’s journey to New York City, the musical styles cleverly reflect back the city’s rich and diverse soundscape.

“This place is cruel, nowhere could be much colder. If we don't change, the world will soon be over. Living just enough, stop giving just enough for the city.”

"I PUT A SPELL ON YOU" NINA SIMONE (1965)

For Women’s History Month, I’m selecting some of my favorite songs from some of the most talented and influential women in music. From frontwomen to singer-songwriters to iconic performers, I’m picking one song a day on Mental Jukebox until the end of March.

That voice. It’s the unbelievable combination of versatility and pure soul. Like synthesizers or guitar effects pedals, Nina Simone’s versatility transforms to anything she wants it to be. On a song like “I Put a Spell On You”, we hear a wide array—from sweet honey to scorching fire. And the kicker: there’s an unforgettable moment at the 1:55 mark when Nina’s voice mimics the sax in one of the most arresting improvisations ever recorded.

“I put a spell on you. Because you're mine.”

"SOMEONE TO WATCH OVER ME" ELLA FITZGERALD (1950)

For Women’s History Month, I’m selecting some of my favorite songs from some of the most talented and influential women in music. From frontwomen to singer-songwriters to iconic performers, I’m picking one song a day on Mental Jukebox until the end of March.

There are few things in life more beautiful than Ella cracking open the Gershwin songbook and paying homage to some of the finest songs ever written. “Somebody to Watch Over Me” showcased the silkier, softer side to the legendary singer. In its coyness, it’s still a serenade of assurance and conviction. And like many jazz standards, it commands your utter silence to truly enjoy what’s unfolding.

“There's a saying old, says that love is blind. Still we're often told, seek and ye shall find.”

"ARMANDO'S RHUMBA" CHICK COREA (1976)

My friend, jazz aficionado and the immensely talented artist Jonathan Glass is contributing today’s Mental Jukebox pick from Chick Corea—in honor of a true legend’s passing last week. Not only is Jonathan intimately familiar with Chick Corea’s catalog and live performances, he also gifted one of his signature ink sketches to the legendary jazz pianist.

As pianist Renee Rosnes put it best, "It's hardest to think of Chick Corea in the past because no other musician was as ‘present’ as he". It’s hard to overlook Corea’s vast stylings, especially with the electronic fusion band, Return to Forever. But I choose a song that I first heard pianist virtuoso Helen Sung play at Smalls, "Armando's Rhumba", a song dedicated to Chick Corea's dad, Armando, (it should also be noted that Chick's full name is ARmando Anthony "Chick" Corea).

This song has elements of flamenco mixed with jazz as many of his "Spanish" albums do. Hearing Helen's version felt definitive, but I later heard Chick Corea play this song at Jazz At Lincoln Center with another pianist virtuoso, Chucho Valdes, as a duo concert. While Helen Sung's version felt like a tightly woven composition, Chick offered some gorgeous soloing. "Armando's Rhumba" is decidedly a jazz standard while proving once again that Chick's writing and playing had an openness to all styles of music.

"DEAR OLD STOCKHOLM" MILES DAVIS (1957)

In celebration of my son Miles’ birthday today, I’m continuing my “Dear…” series with a Miles Davis recording. This jazz rendition of a centuries old folk song is a remarkable exercise in restraint. It’s strikingly minimalist despite featuring absolute legends in Davis, Coltrane, Red Garland, among others. Every instrument has its own delicate moment on this recording—from Philly Joe Jones’ steady snare brushes to Garland’s chord splashes to the masterful improv meanderings of Coltrane and Davis.

"BLUE MOON" BILLIE HOLIDAY (1956)

One of the most distinctive voices of any genre. Billie Holiday’s voice is permanently engrained in musical history and in our hearts. When you don’t judge music technically, but emotionally, you realize that no one comes close to her style and the effect she has had on audiences and musicians alike. Here’s the thing about “Blue Moon”. It was sung by dozens of performers before her. But Billie, using her signature flair for improvisation, took a few liberties with the melody to make it her own and truly memorable.

“Blue moon, you knew just what I was there for. You heard me saying a prayer for someone I really could care for.”

"AUTUMN IN NEW YORK" ELLA FITZGERALD & LOUIS ARMSTRONG (1957)

Crunchy, rustling leaves. Crisp, cool air. Fall has always been the season I enjoy most in NYC. The slow, peaceful weather traits are a perfect complement to the pace and energy of the city. Like many of their collaborations, Ella and Armstrong are also a perfect combination. In “Autumn in New York”, the duo took the jazz standard and created a timeless rendition that feels as current as the day it was recorded.

“Glittering crowds and shimmering clouds in canyons of steel. They're making me feel I'm home.”

"MOOD INDIGO" NINA SIMONE (1966)

The summer before I headed off to college, I had a short fling with a girl who had amazing taste in music. She knew about Deelite before the rest of the world. And only listened to the deep cuts from bands like Siouxsie & the Banshees and Depeche Mode. But she also raved about Nina Simone and introduced me to this amazing talent. My girlfriend and I went off to separate colleges in the fall. We drifted apart, lived our own worlds, but Nina never left mine.

“That feelin' goes stealin' down to my shoes.”