My Man/Mon Homme

Billie Holiday recorded "Mon Homme" multiple times in English. Of the recordings, her first with pianist Teddy Wilson remains the best. During this young period of her life, the 1930s, her voice was at it's peak and she was accompanied by one of the best bands of the 1930s. Moreover, the way she concludes this depressing, rather sexist song with such a happy, upbeat lilt is undeniably catchy. Despite all the problems and sacrifices she makes for this man, Lady Day sounds sincere and the uplifting tone of her ending verse emphasizes happiness. Much like the woman she describes in the song, Billie herself fell prey to many men who she devoted herself to but received little in return, contributing to her deteriorating state. After her verse, the listener is treated to a "cute" piano solo from Teddy Wilson that is delectable and then ending in a loud, bluesy way. Songs like "My Man" evince the reasons for Lady Day's popularity to this day: she lived the life these songs talked about. And it didn't hurt to have great sidemen to make the music swing. Listen here.

Edith Piaf's "Mon Homme" here, if you want to hear want the original French song sounds like. It lacks the jazzy swing Billie Holiday, so I am not a fan. However, if it had sounded closer to "C'est Si Bon" by Yves Montand, I would be all over this.

Autumn Leaves

"Les Feuilles Mortes" (The Dead Leaves) became "Autumn Leaves" in the United States since it was believed that the title was too depressing for American audiences in the 1950s. Composed by Joseph Kosma, a Hungarian-French composer, for the 1940s French film, Les Portes de la Nuit. Yves Montand first sang the song in the film.

French chanteuse Edith Piaf also sang the song in both its French and English forms.

The American lyrics were written by Johnny Mercer in 1947 and the earliest recording was made by Jo Stafford

American pianist Roger Williams recorded a hit instrumental version of the tune in 1955

Nat King Cole also had success with the song, his version being used in the credit sequence of a 1950s film, Autumn Leaves.

Ahmad Jamal peformed a jazz-inspired take of the song which was influential for the Cannonball Adderley/Miles Davis interpretation on Cannonball Adderley's Somethin' Else album in 1958. Miles Davis arranged the tune for Cannonball and lifted the bassline from Ahmad Jamal's version. Of course Jamal's version is Latin-tinged and distinctive because of it.

The Cannonball Adderley/Miles Davis take features Art Blakey on drums and Cannonball's bluesy soloing. The best version of the song in my book.

Bill Evans also recorded the song a number of times. Scott LaFaro's bass takes the song into some interesting directions. LaFaro's bass is so melodic it surpasses its role as rhythm.

 "Autumn Leaves" has become one of the most enduring jazz standards, performed by jazz musicians to this day. The chord progression itself uses a sequence quite common in jazz and is quite easy for a jazz musician to practice improvising over.