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Episode 10
what you don't know about "love will find a way"
Episode 10
what you don't know about "love will find a way"
Episode Release Date: November 2, 2026
Watch/Listen to Episode 10 on YouTube Monday, November 2, 2026
Composed by: Eubie Blake | Lyrics by: Noble Sissle (1921)
Performance: Jared Thompson, Kevin Anker, Fred Withrow, Mike Kessler
Interview Guest: Musician/Composer/Bandleader Jared Thompson
2-Minute Read: The Path to a Standard
A Groundbreaking Milestone on the Broadway Stage
Composed in 1921 by Eubie Blake with lyrics by Noble Sissle for their landmark musical "Shuffle Along," “Love Will Find a Way” shattered theatrical conventions. Daring to present an earnest, unburlesqued romantic ballad between two Black leads, the number defied contemporary Jim Crow stage expectations and became an immediate cultural turning point.
The Traffic Jam on 63rd Street
"Shuffle Along" overcame a shoestring budget and a remote, out-of-the-way theater to become a massive cultural sensation. The crowds were so large that the NYPD had to convert 63rd Street into a one-way street to handle the daily traffic jams.
From Opening-Night Gamble to Popular Sheet Music
Though creators famously worried the theater would erupt in protest, audiences instead demanded encores, helping fuel the show’s historic 504-performance run. Distributed nationwide via sheet music and early acoustic recordings by groups like The Seven Black Dots, the sweeping melody quickly moved from Broadway into parlor pianos across the country.
The Ancestor of Modern Soul
Decades before Motown and modern R&B, “Love Will Find a Way” proved that Black American popular songs could claim the entire emotional spectrum of romance, dignity, and vulnerability without apology or minstrel tropes.
Links of Interest
Premium Blend Indy's 2026 "Live at The Jazz Kitchen" album on Bandcamp
Sean Imboden Large Ensemble: "Uncharted Realms" (physical CD)
Emma Hedrick's Album: "Newcomer" available for purchase at Emma's page
Indianapolis Jazz Collective: "Jazz on Christmas" Album on Apple Music
"Unfiltered", by Tony Winston and the Dirty Ashtrays on Spotify
Orchestral Score Selections from "Shuffle Along" (at 3:15, where "Love Will Find a Way" begins)
1931, Noble Sissle with his band, performing "Little White Lies" and "Happy Feet"
Original Recording of Noble Sissle singing, Eubie Blake playing "Love Will Find a Way"
1978, Eubie Blake, singing and playing "Love Will Fnd a Way" (great piano solo after he covers the chorus)
Episode 9
what you don't know about "Makin' whoopee"
Episode 9
what you don't know about "Makin' whoopee"
Episode Release Date: October 26, 2026
Watch/Listen to Epsiode 9 on YouTube
Composed by: Walter Donaldson | Lyrics by: Gus Kahn (1928)
Performance: Mike Kessler, Caroline Smith, Allan Adifils, Kevin Anker, Fred Withrow
Interview Guest: Musician/Educator Mike Kessler
2-Minute Read: The Path to a Standard
From Broadway Satire to Roaring Twenties Sensation
Introduced by comedian Eddie Cantor in Florenz Ziegfeld’s 1928 Broadway smash Whoopee!, Walter Donaldson and Gus Kahn’s comic masterwork offered an irreverent, deadpan look at marriage. Using contemporary slang for sexual intimacy, the song chronicled the arc from newlywed bliss to courtroom divorce, immediately capturing the social liberation of the Jazz Age.
The Screen Transformation and Jazz Rebirth
Cantor reprised his hypochondriac role in Hollywood’s early two-color Technicolor film adaptation in 1930, cementing the tune in national pop culture. By the postwar era, small jazz combos embraced its clean AABA architecture and moderate swing feel, culminating in Ray Charles and Betty Carter’s canonical 1961 soul-jazz duet that reimagined the lyric as an authentic marital argument.
An Evergreen Survival of Wry Realism
Unlike the gilded, high-society wit of Cole Porter, Gus Kahn’s Chicago roots gave the lyric a grounded, practical humor that resonated deeply with everyday audiences. Adapted across decades by artists from Ella Fitzgerald to Willie Nelson, “Makin’ Whoopee” remains an indestructible vehicle for comedic storytelling and musical improvisation.
Links of Interest
1930, Eddie Cantor, original first verse lyrics, Makin' Whoopee in "Whoopee!"
1957 Louis Armstrong on "Cheek to Cheek" duet album with Ella Fitzgerald
1965 UK version, Ray Charles, "Makin' Whoopee" live
Norah Jones, with Wynton Marsalis and Willie Nelson on "Here We Go Again" tribute to Ray Charles
Episode 8
what you don't know about "look for the silver lining"
Episode 8
what you don't know about "look for the silver lining"
Episode Release Date: October 19, 2026
Watch/Listen to Epsiode 8 on YouTube
Composed by: Jerome Kern | Lyrics by: Buddy DeSylva (1919)
Performance: Candice Tugby, Kevin Anker, Fred Withrow, Mike Kessler
Interview Guest: Musician/Educator Candice Tugby
2-Minute Read: The Path to a Standard
From Broadway Salvage to Post-War Catharsis
Originally composed by Jerome Kern for the unproduced 1919 flop Zip, Goes a Million, the shelved melody found new life in Florenz Ziegfeld’s 1920 musical smash Sally. Introduced by Marilyn Miller with Buddy DeSylva’s lyrics, the song provided earned emotional solace to an American public emerging from wartime grief and the 1918 influenza pandemic.
The Cool Jazz Dismantling and Modern Rebirth
While Judy Garland cemented the tune’s rich theatrical memory in 1946, Chet Baker radically transformed it in 1954. Baker stripped away the showtune exterior, using a delicate, whispered vocal and minimalist trumpet phrasing to convert Kern’s arching thirty-two-bar structure into an intimate, existential cool-jazz meditation.
An Enduring Refuge Through Centuries of Crisis
Kern’s composition thrives because it demands active perseverance rather than hollow cheer. From Great Depression soup lines and World War II radio broadcasts to modern recordings by Tony Bennett and Bill Charlap, the piece remains a timeless vehicle for jazz improvisation and a universal symbol of hope.
Links of Interest
December 1920 Marion Harris Columbia Recording
1946 Judy Garland "Till the Clouds Roll By" Musical/Film cover
Chet Baker's Landmark 1954 Recording on "Chet Baker Sings" Album
2015 Tony Bennett-Bill Charlap Grammy-Winning Album "The Silver Lining"
Episode 7
what you don't know about "on the banks of the wabash, far away"
Episode 7
what you don't know about "on the banks of the wabash, far away"
Episode Release Date: October 12, 2026
Watch/Listen to Epsiode 7 on YouTube
Composed by: Paul Dresser (1897)
Performance: Amy Azzara, Emma Hedrick, Gabe Schonman
Interview Guests: Amy Azzara, Emma Hedrick, Gabe Schonman
2-Minute Read: The Path to a Standard
From Heartland Parlors to National Phenomenon
Composed in 1897 by Terre Haute native Paul Dresser, On the Banks of the Wabash, Far Away became a mammoth commercial sensation, selling over half a million sheet-music copies in months. Dresser translated authentic riverbank memories into an indelible lyrical template—sycamores, moonlight, and new-mown hay—that established the emotional vocabulary for Midwestern nostalgia.
The Swing-Era Transformation and Vocal Rebirth
While its formal Victorian waltz structure initially resisted syncopation, modern vocal arrangers proved the melody’s durability. Most notably, The Mills Brothers modernized the ballad in 1940, beginning in solemn, rubato four-part parlor harmony before snapping into a driving four-to-the-bar swing rhythm that bridged nineteenth-century sentiment with modern jazz phrasing.
A Lasting Heartland Blueprint and Borrowed Equity
Adopted as Indiana’s official state song in 1913, Dresser’s anthem forged an enduring musical blueprint. Its poetic imagery fueled decades of commercial songcraft—from Tin Pan Alley hits like Wabash Blues to the Speedway's surrogate anthem—cementing Dresser’s river ballad as a foundational cornerstone of early American song.
Links of Interest
The American Quartet's "Perfectly Timed" Recording of On the Banks of the Wabash, Far Away"
Record Label: Victor (issued on 10-inch 78 RPM shellac, Victor 17397).
Recording Date: March 14, 1913 (recorded in Camden, New Jersey; matrix B-12676-3). An earlier trial take had been attempted on December 5, 1912, but the issued master was cut on March 14, 1913. Coincidental Landmark Timing: The master was cut on March 14, 1913—the exact day the Indiana General Assembly officially passed the act adopting "On the Banks of the Wabash, Far Away" as the official Indiana state song.
Vocal Lineup: For this session, the group featured Harry Macdonough (lead tenor), John H. Bieling (tenor), Steve Porter (baritone), and William F. Hooley (bass) with orchestra accompaniment.
Sean Imboden Large Ensemble: "Uncharted Realms" (physical CD)
Emma Hedrick's Album: "Newcomer" available for purchase at Emma's page
Indianapolis Jazz Collective: "Jazz on Christmas" Album on Apple Music
Episode 6
what you don't know about "softly, as in a morning sunrise"
Episode 6
what you don't know about "softly, as in a morning sunrise"
Episode Release Date: October 5, 2026
Watch/Listen to Epsiode 6 on YouTube
Composed by: Sigmund Romberg | Lyrics by: Oscar Hammerstein II (1928)
Performance: Rich Cohen, Kevin Anker, Thomas Brinkley, Mike Kessler
Interview Guest: Musician Rich Cohen
2-Minute Read: The Path to a Standard
From Operetta Romance to Modern Jazz
Introduced in Romberg and Hammerstein’s 1928 Broadway operetta The New Moon, Softly, As in a Morning Sunrise began as a classical-style minor-key romantic piece written in a Tango style. Despite its theatrical origins, post-war jazz musicians recognized that its clean harmonic framework provided an exceptional palette for modern chord substitution and modal exploration.
The Cool Jazz and Hard Bop Revival
The tune became a staple of modern jazz in the 1950s. The Modern Jazz Quartet adopted it in 1955 as a showcase for their counterpoint-heavy chamber swing, while Sonny Rollins demonstrated its muscular rhythmic potential during his legendary 1957 live trio recordings at the Village Vanguard. The tune's dynamic tension—moving between a somber C-minor opening and a soaring E-flat major bridge—gave modern improvisers ideal dynamic range.
A Modal Masterpiece
In 1960 and 1961, John Coltrane adopted the tune on soprano saxophone (captured both on Coltrane's Sound and live at the Village Vanguard), stripping away its operetta past and turning it into an open, relentless modal workout. By the mid-1960s, recordings by artists like organist Larry Young firmly placed Romberg’s composition alongside the most respected instrumental platforms in hard bop and modal jazz.
Links of Interest
Softly As in a Morning Sunrise 1928 • Nat Shilkret, Franklyn Baur
Softly As in a Morning Sunrise 1938 • Artie Shaw Orchestra
Softly As in a Morning Sunrise 1961 • John Coltrane
Softly As in a Morning Sunrise 2010 • Lauren Bush Quartet
Episode 5
what you don't know about
"(back home again in) indiana"
Episode 5
what you don't know about
"(back home again in) indiana"
Episode Release Date: September 28, 2026
Watch/Listen to Epsiode 5 on YouTube
Composed by: James F. Hanley | Lyrics by: Ballard MacDonald (1917)
Episode Performance: Shawn O'Connor, Eric Baker, Kevin Anker, Fred Withrow, Mike Kessler
Interview Guest: Educator-Musician Shawn O'Connor
2-Minute Read: The Path to a Standard
A Tin Pan Alley Classic and Racing Tradition
Published in 1917 by James F. Hanley and Ballard MacDonald, (Back Home Again in) Indiana was an immediate sheet-music and phonograph hit, recorded that same year by the Original Dixieland Jass Band. Borrowing melodic motifs from Paul Dresser's 1897 state song On the Banks of the Wabash, Far Away, the song entered American civic lore in 1946 when it became the permanent ceremonial anthem of the Indianapolis 500.
The Harmonic Engine of Modern Jazz
Behind its sentimental lyric lies one of the most functional, driving 32-bar chord progressions in American music. Louis Armstrong adopted the tune in the 1930s and kept it as a signature, high-energy set opener for his All Stars throughout his career, while Lester Young's relaxed 1930s and 40s recordings showcased how easily the progression accommodated linear, melodic swing.
The Birth of "Donna Lee" and Bebop
The song’s greatest impact on modern music occurred in 1947, when Charlie Parker and Miles Davis composed Donna Lee directly over the underlying chord changes of (Back Home Again in) Indiana. By superimposing complex, chromatic lines over Hanley’s 1917 harmonic framework, the tune became one of the most famous "contrafacts" in music history and a cornerstone of the bebop revolution.
Links of Interest
The Original Dixieland Jazz Band recording of (Back Home Again in) Indiana. If you listen to this AFTER listening to the Billy Murray/Haydn Quartet version (first one below in the block of YouTube links), you're sort of RIGHT IN THE MOMENT of early popular music's energetic rush away from parlor-appropriate music toward raucous, gin joint syncopation.
Sean Imboden Large Ensemble: "Uncharted Realms" (physical CD)
Emma Hedrick's Album: "Newcomer" available for purchase at Emma's page
Indianapolis Jazz Collective: "Jazz on Christmas" Album on Apple Music
(Back Home Again in) Indiana 1917 • Billy Murray and the Haydn Quartet
(Back Home Again in) Indiana 1939 • Bing Crosby Kraft Radio Show
(Back Home Again in) Indiana 1944 • Lester Young, Count Basie
"Donna Lee" 1947 • Charlie Parker, Miles Davis "Donna Lee" 1947
Episode 4
what you don't know about "blue skies"
Episode 4
what you don't know about "blue skies"
Episode Release Date: September 21, 2026
Watch/Listen to Epsiode 4 on YouTube
Composed by: Irving Berlin (1926)
Performance: Eric Baker, Shawn O'Connor, Kevin Anker, Fred Withrow, Mike Kessler
Interview Guest: Musician-Composer, Co-Host Eric Baker
2-Minute Read: The Path to a Standard
A Broadway Addition and Film History
Irving Berlin wrote Blue Skies as a last-minute interpolation into the 1926 Rodgers and Hart musical Betsy. On opening night, star Belle Baker famously performed 24 encores of the tune. It quickly became the only song from the show to outlive the production, achieving historic permanence just one year later when Al Jolson sang it in The Jazz Singer (1927) as one of the very first songs heard in a commercial talking picture.
Minor to Major Architecture
Berlin’s composition stands out for its structural design: it opens on a moody, descending minor-key progression before pivoting into a bright, major-key resolution. This harmonic contrast made it a favorite of the Swing Era, yielding iconic big-band recordings like Tommy Dorsey's 1941 chart (arranged by Sy Oliver, featuring vocals by Frank Sinatra). In 1958, Ella Fitzgerald’s recording for the Irving Berlin Songbook solidified the tune as a masterclass in vocal jazz and scat improvisation.
The Bebop Contrafact Foundation
Beyond vocal treatments, the underlying harmony of Blue Skies became integral to the development of modern jazz harmony. Bebop pianist and composer Thelonious Monk used the chord changes of Berlin's piece as the harmonic foundation to write his 1947 standard, In Walked Bud, proving the structural adaptability of Berlin's 1926 framework for the modern era.
Links of Interest
Blue Skies 1927 • Ben Selvin Orchestra
Blue Skies 1927 • Al Jolson in "The Jazz Singer" Talkie
Blue Skies 1935 • Benny Goodman and His Orchestra
Blue Skies 1978 • Willie Nelson
Episode 3
what you don't know about "after you've gone"
Episode 3
what you don't know about "after you've gone"
Episode Release Date: September 14, 2026
Watch/Listen to Epsiode 3 on YouTube
Composed by: Turner Layton | Lyrics by: Henry Creamer (1918)
Performance: Oliver Nelson, Kevin Anker, Thomas Brinkley, Mike Kessler
Interview Guest: Educator-Musician Oliver Nelson
2-Minute Read: The Path to a Standard
The Vaudeville Breakthrough
Written in 1918 by the pioneering Black songwriting team of Turner Layton and Henry Creamer, After You've Gone broke early commercial ground on Broadway and the vaudeville circuit. Premiered and popularized by singers Marion Harris and Sophie Tucker, its syncopated rhythm and straightforward lyric helped make it one of the earliest widespread popular hits written by African American composers.
The Up-Tempo Transformation
While originally composed as a dramatic, medium-tempo popular song, jazz musicians quickly recognized the engine inside its unusual 20-bar chord progression. Louis Armstrong’s 1929 Okeh recording doubled the tempo and altered the tune's trajectory forever, transforming it into a fiery proving ground for soloists. Subsequent landmark recordings by the Benny Goodman Trio in 1935 and Django Reinhardt with the Quintette du Hot Club de France in 1936 established the song as a worldwide benchmark for instrumental speed, swing, and improvisational agility.
A Universal Jam Session Anthem
Because the underlying harmony resolves with relentless momentum, After You've Gone evolved from an early 20th-century stage tune into one of the most frequently played jam session vehicles in jazz history. More than a century after its publication, its cyclical structure remains a foundational teaching piece and standard test of musicianship across every major jazz era.
Links of Interest
Sophie Tucker's 1927 recording of "After You've Gone" is linked here. The extraordinary guitar solo in that recording was performed by the legendary Eddie Lang, often credited as "The Father of Jazz Guitar." Lang, classically trained as a violinist, was THE guitar call for many early Jazz recordings and for iconic early Jazz era bandleaders and entertainers. Credited under his own name and sometimes under imaginative pseudonyms, Lang appeared with and/or played on recordings for Paul Whiteman, Bing Crosby, Louis Armstrong, Bix Biederbecke, Lonnie Johnson, Sophie Tucker, Ruth Etting, The Boswell Sisters, The Dorsey Brothers, King Oliver, Red Nichols and Joe Venturi. He played with Hoagy Carmichael in the 1930 recording session for "Georgia On My Mind," the first-ever recording of what would become Carmichael's second-most recorded composition.
Sean Imboden Large Ensemble: "Uncharted Realms" (physical CD)
Emma Hedrick's Album: "Newcomer" available for purchase at Emma's page
Indianapolis Jazz Collective: "Jazz on Christmas" Album on Apple Music
After You've Gone 1918 • Marion Harris
After You've Gone 1927 • Bessie Smith
After You've Gone 1935 • Benny Goodman Trio
After You've Gone 1998 • Wynton Marsalis
Episode 2
what you don't know about "love for sale"
Episode 2
what you don't know about "love for sale"
Episode Release Date: September 7, 2026
Watch/Listen to Epsiode 2 on YouTube
Composed by: Cole Porter (Music & Lyrics) 1930
Episode Performance: Sandy Lomax, Kevin Anker, Fred Withrow, Mike Kessler
Interview Guest: Vocalist Sandy Lomax
The 2-Minute Read: The Path to a Standard
A Scandalous Debut & The Radio Ban
Written by Cole Porter for the 1930 Broadway musical The New Yorkers, Love for Sale delivered a shock to the system. Penned entirely from the stark, matter-of-fact perspective of a streetwalker advertising her trade, the song was promptly banned by major radio networks. That censorship—steeped in the troubling racial double standards of the era's broadcast executives—only fueled its underground mystique, turning a forbidden Broadway tune into an enduring sensation.
The Jazz Musician's Proving Ground
To circumvent the vocal radio ban in the 1930s, dance orchestras began cutting instrumental versions, letting Porter’s dark, seductive melody speak for itself. Built upon a descending bassline, minor-tinged modal shifts, and an unusually modern harmonic palette, the song naturally evolved from a controversial theater piece into an after-hours instrumental staple. By the time Billie Holiday cut her definitive 1952 vocal session with Oscar Peterson and Miles Davis teamed with Cannonball Adderley and John Coltrane for their masterclass 1958 recording, Love for Sale had earned its rightful place as one of the most structurally rewarding compositions in modern jazz.
The Central Indiana Connection
Long before conquering Broadway and Paris, Cole Porter was born and raised in Peru, Indiana, just 75 miles north of Indianapolis. Despite composing timeless standards like Night and Day and I’ve Got You Under My Skin, Porter reportedly considered Love for Sale the work he was most proud of. Rooted in the soil of Miami County, Indiana, it remains a daring, unapologetic Hoosier masterpiece.
Links of Interest
On October 1, 2021, NPR's Morning Edition featured the Tony Bennett, Lady Gaga album project "Love for Sale," and we've linked that page here.
In our chat with Sandy Lomax, we asked her about pointers she might give to singers who are considering sitting in at a Jazz jam session (her comments are about half way through our interview). Sandy offers sage advice about ways to navigate the sometimes-intimidating, sometimes confusing construct. Sandy's comments put us in mind of a "Jazz Jam for singers" how-to document we came across back in 2019, from Ottawa-based JazzWorks Canada, and we've linked it below. It's intended to benevolently guide an interested singer on how to prepare for and participate in a vocalist-friendly Jazz jam session. If you're interested or you know someone who might be, there's GOOD STUFF in the document, which is titled: "So you want to sing at a JazzWorks jam session?"
Sean Imboden Large Ensemble: "Uncharted Realms" (physical CD)
Emma Hedrick's Album: "Newcomer" available for purchase at Emma's page
Indianapolis Jazz Collective: "Jazz on Christmas" Album on Apple Music
Love for Sale 1930 • Fred Waring (WITH lyrics!)
Love for Sale 1952 • Billie Holiday
Love for Sale 1958 • Miles Davis, Cannonball Adderley, John Coltrane, Bill Evans, Paul Chambers,
Jimmy Cobb
Love for Sale 2021 • Tony Bennett, Lady Gaga
Episode 1
what you don't know about "stardust"
Episode 1
what you don't know about "stardust"
Episode Release Date: (EARLY RELEASE) August 29, 2026
Watch/Listen to Epsiode 1 on YouTube
Composed by: Hoagy Carmichael (1927) | Lyrics by: Mitchell Parish (1929)
Episode Performance: Eric Baker, Shawn O'Connor, Fred Withrow, Mike Kessler
Interview Guest: David Allee, Owner of The Jazz Kitchen
2-Minute Read: The Path to a Standard
The Genesis at Gennett
Before it became the quintessential late-night ballad, Hoagy Carmichael conceived Stardust right here in Indiana. Refined and "workshopped" among Hoagy's associates over a period of almost three years, the song had been played in various forms—uptempo, ballad, medium tempo—around Bloomington, and in small collaborative groups in Central Indiana. When Hoagy gathered his "Pals" on October 31, 1927 to first record Stardust at the legendary Gennett Studios in Richmond, Indiana, he decided to take it in a medium-tempo Ragtime direction, no doubt influenced Louis Armstrong's recordings and Carmichael's time jamming with Bix Beiderbecke. The label on the Gennett recording calls the dance tempo/feel "Stomp," and that's how early listeners were introduced to the tune.
The Transformation
The destiny of Stardust shifted when Mills Music's Mitchell Parish added "official" lyrics in 1929 (some of which had origins in Bloomington among Hoagy's friends), and bandleader Isham Jones recorded the song as a slower ballad in 1930, unlocking the lush, wandering romanticism woven into Hoagy’s unconventional melody. In 1931, Louis Armstrong's recording changed everything: his instrumental improvisation and scat singing recalibrated Stardust, making it the ultimate proving ground for every major bandleader, instrumentalist, and vocalist of the 20th century. Nat King Cole's Stardust recording in 1956 on the Capitol label ultimately became the modern anchor point for contemporary references, and the arrangement by Gordon Jenkins (famously featuring the evocative opening harp glissando and rich violins) paid homage to the earliest concept of the song and name: an other-worldly, almost haunting echo of a memory, evoked by a melody.
The Central Indiana Connection
Born out of Carmichael's collegiate days at Indiana University and deeply rooted in the Hoosier jazz ecosystem, Stardust stands is the most recorded popular song in history (more than 1,500 official recordings)—bridging the gap between 1920s Midwestern syncopation and the timeless Great American Songbook.
Reading List & Links of Interest
Falco, Richard. "Stardust" Hoagy Carmichael (1927). Library of Congress National Recording Registry Essay, 2004. (Detailed harmonic analysis, iv to iv6 progression, "Potato Head Blues" quote, and Gennett Electrobeam session).
Sudhalter, Richard M. Stardust Melody: The Life and Music of Hoagy Carmichael. Oxford University Press, 2002. (Multi-year Bloomington workshop history, Stuart Gorrell proto lyrics, and Bix Beiderbecke connection).
Carmichael, Hoagy. The Stardust Road & Sometimes I Wonder. Da Capo Press, 1999.(Carmichael's memoirs detailing the Book Nook, early Indiana days, and Hollywood career).
Kennedy, Rick. Jelly Roll, Bix, and Hoagy: Gennett Records and the Rise of America's Musical Grassroots. Indiana University Press, 2013. (Richmond Starr Piano/Gennett studio history).
Sean Imboden Large Ensemble: "Uncharted Realms" (physical CD)
Emma Hedrick's Album: "Newcomer" available for purchase at Emma's page
Indianapolis Jazz Collective: "Jazz on Christmas" Album on Apple Music
Stardust 1927 • Hoagy Carmichael
Stardust 1930 • Isham Jones and His Orchestra
Sardust 1931 • Louis Armstrong
Stardust 1956 • Nat "King" Cole
Softly As in a Morning Sunrise 1928 • Nat Shilkret, Franklyn Baur
Softly As in a Morning Sunrise 1938 • Artie Shaw Orchestra
Softly As in a Morning Sunrise 1961 • John Coltrane
Softly As in a Morning Sunrise 2010 • Lauren Bush Quartet
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