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Miles Davis on 60 minutes

This arrangement was a particularly meaningful undertaking for me, and one into which I poured an enormous amount of care and affection.

Following the yellow brick road on this musical journey, I had the pleasure of collaborating with Alex Frank and Joe Bagg, along with my father, Brad Dechter, whose string treatment brought extraordinary color, warmth, and depth to the small group arrangement.

I’m deeply grateful to my dad, Alex, Joe, and all of the remarkable musicians and collaborators who contributed their artistry to this recording: Ryan Shaw for his masterful drum work, Bryan Carter for his consummate conducting, the marvelous string section in Nashville led by concertmaster Eli Bishop, and executive producer Christian Wiggs for guiding the recording sessions with such professionalism.

Special thanks as well to Scott Gilman, who worked tirelessly alongside Alex and me in co-producing the track, and whose dedication, musical sensitivity, and deft craftsmanship as an engineer helped shape the recording every step of the way. We’re also indebted to Dave Darlington for his exceptional mastering work and for bringing the recording across the finish line. Additional thanks to Liz Finch, whose immaculate music preparation and copy work were an invaluable part of bringing this recording together.

And finally, my heartfelt thanks to the Wizard himself, Mr. Jeff Goldblum. It was a tremendous honor to be entrusted with reimagining this beloved classic, and I’m profoundly grateful for the creative freedom he extended to everyone involved throughout the process.

At the center of it all is Jeff’s singular performance. For a song interpreted so many times across generations, he brings something unmistakably his own and deeply personal to these timeless lyrics. And, in true Peter Sellers “Dr. Strangelove” fashion, he effortlessly shifts between roles, playing the part of Antonio Carlos Jobim between takes as the Wizard, as evidenced by his ever-tasteful piano stylings.

This project was truly a labor of love for everyone involved, and I sincerely hope you enjoy listening to it as much as we enjoyed creating it.

This arrangement was a particularly meaningful undertaking for me, and one into which I poured an enormous amount of care and affection.

Following the yellow brick road on this musical journey, I had the pleasure of collaborating with Alex Frank and Joe Bagg, along with my father, Brad Dechter, whose string treatment brought extraordinary color, warmth, and depth to the small group arrangement.

I’m deeply grateful to my dad, Alex, Joe, and all of the remarkable musicians and collaborators who contributed their artistry to this recording: Ryan Shaw for his masterful drum work, Bryan Carter for his consummate conducting, the marvelous string section in Nashville led by concertmaster Eli Bishop, and executive producer Christian Wiggs for guiding the recording sessions with such professionalism.

Special thanks as well to Scott Gilman, who worked tirelessly alongside Alex and me in co-producing the track, and whose dedication, musical sensitivity, and deft craftsmanship as an engineer helped shape the recording every step of the way. We’re also indebted to Dave Darlington for his exceptional mastering work and for bringing the recording across the finish line. Additional thanks to Liz Finch, whose immaculate music preparation and copy work were an invaluable part of bringing this recording together.

And finally, my heartfelt thanks to the Wizard himself, Mr. Jeff Goldblum. It was a tremendous honor to be entrusted with reimagining this beloved classic, and I’m profoundly grateful for the creative freedom he extended to everyone involved throughout the process.

At the center of it all is Jeff’s singular performance. For a song interpreted so many times across generations, he brings something unmistakably his own and deeply personal to these timeless lyrics. And, in true Peter Sellers “Dr. Strangelove” fashion, he effortlessly shifts between roles, playing the part of Antonio Carlos Jobim between takes as the Wizard, as evidenced by his ever-tasteful piano stylings.

This project was truly a labor of love for everyone involved, and I sincerely hope you enjoy listening to it as much as we enjoyed creating it.

This arrangement was a particularly meaningful undertaking for me, and one into which I poured an enormous amount of care and affection.

Following the yellow brick road on this musical journey, I had the pleasure of collaborating with Alex Frank and Joe Bagg, along with my father, Brad Dechter, whose string treatment brought extraordinary color, warmth, and depth to the small group arrangement.

I’m deeply grateful to my dad, Alex, Joe, and all of the remarkable musicians and collaborators who contributed their artistry to this recording: Ryan Shaw for his masterful drum work, Bryan Carter for his consummate conducting, the marvelous string section in Nashville led by concertmaster Eli Bishop, and executive producer Christian Wiggs for guiding the recording sessions with such professionalism.

Special thanks as well to Scott Gilman, who worked tirelessly alongside Alex and me in co-producing the track, and whose dedication, musical sensitivity, and deft craftsmanship as an engineer helped shape the recording every step of the way. We’re also indebted to Dave Darlington for his exceptional mastering work and for bringing the recording across the finish line. Additional thanks to Liz Finch, whose immaculate music preparation and copy work were an invaluable part of bringing this recording together.

And finally, my heartfelt thanks to the Wizard himself, Mr. Jeff Goldblum. It was a tremendous honor to be entrusted with reimagining this beloved classic, and I’m profoundly grateful for the creative freedom he extended to everyone involved throughout the process.

At the center of it all is Jeff’s singular performance. For a song interpreted so many times across generations, he brings something unmistakably his own and deeply personal to these timeless lyrics. And, in true Peter Sellers “Dr. Strangelove” fashion, he effortlessly shifts between roles, playing the part of Antonio Carlos Jobim between takes as the Wizard, as evidenced by his ever-tasteful piano stylings.

This project was truly a labor of love for everyone involved, and I sincerely hope you enjoy listening to it as much as we enjoyed creating it.

A little bit of “Maybe” from Annie. @jjbagg 🎹…La La La. #Jazzsinger #jazz #singer #annie

I’ve posted a bit about our trip down under to play at the Sydney Opera House (and some other incredible venues across Australia). “The Cat” was a staple of our sets, so here’s me playing along with a transcription I did of Jimmy Smith’s iconic version (about a chorus and a half). 🐱🎹

Full transcription available on my Patreon (link in bio!)

www.patreon.com/Joe_Bagg

Here’s a commissioned solo of Roberto Gervasi soloing over the Bud Powell tune “Bouncin’ With Bud”. Check out my Patreon; there are over 350 transcriptions & it’s super cheap - $7 a month gets you 4 transcriptions a month, with access to all my previous transcriptions in PDF form along with a private Soundslice link.

Patreon: www.patreon.com/Joe_Bagg

Here’s Till Broenner working out on with an Aebersold on the Cole Porter tune “Love For Sale”. Check out his Instagram @tillbroenner_official & also check out my Patreon; there are over 350 transcriptions & it’s super cheap - $7 a month gets you 4 transcriptions a month, with access to all my previous transcriptions in PDF form along with a private Soundslice link.

Patreon: www.patreon.com/Joe_Bagg

Squeezed this in before Joe got on the plane for Australia. Miss him already 💕 join me tomorrow at the 1905 for the Mount Hood Jazz Festival, April 22, my birthday!…la la la. #jazzsinger #mthoodjazzfestival #jazz @the_1905 @jjbagg

Here’s Bennie Maupin’s Bass clarinet solo and Herbie Hancock‘s synthesizer on Herbie‘s composition “Vein Melter” from his classic 1973 album “Headhunters”. Check out my Patreon; there are over 350 transcriptions & it’s super cheap - $7 a month gets you 4 transcriptions a month, with access to all my previous transcriptions in PDF form along with a private Soundslice link.

Patreon: www.patreon.com/Joe_Bagg

Here’s Herbie Hancock playing Rhodes on his composition “Vein Melter” from his classic 1973 album “Headhunters”. This was a commissioned transcription - contact me if you’d like something transcribed & be sure to check out my Patreon; there are over 350 transcriptions & it’s super cheap - $7 a month gets you 4 transcriptions a month, with access to all my previous transcriptions in PDF form along with a private Soundslice link.

Patreon: www.patreon.com/Joe_Bagg

Here’s Ben Webster’s solo on the tune “Did You Call Her Today?”. Any guesses what song this tune is based on? This is from the classic 1962 record “Ben and Sweets” with Harry “Sweets” Edison on trumpet, Hank Jones on piano, George Duvivier on bass and Clarence Johnson on drums. Check out my Patreon; there are over 350 transcriptions & it’s super cheap - $7 a month gets you 4 transcriptions a month, with access to all my previous transcriptions in PDF form along with a private Soundslice link.

Patreon: www.patreon.com/Joe_Bagg

Here are Dizzy Gillespie’s piano intros he played on the Charlie Parker tunes “Billie’s Bounce” & “Now’s The Time”. Recorded for the Savoy label on 11/26/45 with Charlie Parker on alto sax, Curly Russell on bass, Max Roach on drums & Dizzy (credited as Hen Gates) on piano. Check out my Patreon; there are over 350 transcriptions & it’s super cheap - $7 a month gets you 4 transcriptions a month, with access to all my previous transcriptions in PDF form along with a private Soundslice link.

Patreon: www.patreon.com/Joe_Bagg