Monk's Body and Soul

Somehow we forgot about the unique Monk take of "Body and Soul." Played solely by Monk, one can appreciate his quirky and playful approach to standards. Hat and Beard was likely having a lot of fun on the keyboard as he sought to take the material into new directions. His toying around with dissonant or unexpected notes shows a lighter, more humorous approach to "Body and Soul."

Esperanza Spalding's Body and Soul (2008)

Esperanza Spalding's "Body and Soul" from this live performance is still magical. Although somehow less captivating than her Spanish version, we have always enjoyed the early recordings and performances of Esperanza. For some reason, we lost interest in her later albums and stopped following her career.

Drum and Bass Body and Soul

Interesting to hear Esperanza Spalding sing "Body and Soul" in the original English with just bass and drums. Such a bare arrangement and instrumentation accentuates her singing and the haunting melancholy of this song. 

Ben Webster's Body and Soul

Ben Webster's "Body and Soul" is another gem of jazz of the 1930-1945 period. Schuller identifies it as an innovative take on the standard, but five years too late. Coleman Hawkins beat Webster to the punch with his legendary 1939 recording, transforming it into his own song. Webster does something similar here, particularly when he sped up the tempo. 

Shepp's Body And Soul

A particularly rousing rendition of one of my favorite jazz standards, "Body and Soul." Archie Shepp is usually not my cup of tea for free jazz, but this is heavenly. Shepp's approach is reminiscent of Coleman Hawkins in the best sense, yet still utterly his own unique voice. Although free jazz is not my area of expertise, there's always something new to discover in free jazz interpretations of standards. Another great example: Ornette Coleman tackling "Embraceable You."

Body and Soul

 Esperanza Spalding

Coleman Hawkins here did a version of the jazz standard, "Body and Soul," that revolutionized jazz and interpretations of the song. Ken Burns Jazz tries to give this seminal recording import as being one of the earliest "pre-bop" jazz records. Regardless of how influential it was for the creation of bebop, the next evolution of jazz after swing, it is one of those timeless melodies and features brilliant blowing from Hawkins.

Billie Holiday here does a beautiful vocal rendition. "My days have grown so lonely, for you I cry..." Another beautiful moment: "I'm all for you body and soul." She also does a great live recording from a show in 1945 that's worth listening hearing. "I spend my days in longing, I'm wondering why it's me you're longing..." Also, check out her 1957 recording from her later days, when her voice was losing itself. She is accompanied by an accomplished guitarist, however.

John Coltrane's rendition of the song, featuring McCoy Tyner's skeletal characteristic piano, makes this my favorite version. Tyner's piano style always gets to me, and hearing Coltrane's solos is another delight. He does not take the song into a different direction, except for a more modern (1960s modern, that is) update. Tyner's unique block chord style, however, does give the enchanting song some unique aspects, as well as his moving solos.

Esperanza Spalding's Spanish version here is beautiful, but I can do without the scatting. She does a great job playing the song in 5/4 time but remains in the original key, soaring to great heights with her mesmerizing voice.