He listened to Dizzy Gillespie, played one time with Cecil Taylor, and was championed early on by the jazz critics Robert Shelton and Nat Hentoff, whose words of praise were used on Dylan’s first and second album covers respectively. In his memoir Chronicles volume one he writes of the jazz music that he listened to, and of its close affinity with the folk world to which he was drawn to in the New York of the early 60s. So here it is – jazz versions of Bob Dylan songs.ĭylan’s formative world was filled with jazz. It was too large a subject in itself and demanded a separate post. The music world was getting bigger every day.Ī while ago I wrote a post on covers of Bob Dylan songs, but in doing so I left out jazz. “Tattoo Bride,” “A Drum Is a Woman,” “Tourist Point of View” and “Jump for Joy” – all by Duke Ellington – they sounded like sophisticated folk music. There were a lot of similarities between some kinds of jazz and folk music. I tried to discern melodies and structures. Records by George Russell or Johnny Cole, Red Garland, Don Byas, Roland Kirk, Gil Evans – Evans had recorded a rendition of “Ella Speed,” the Leadbelly song. I’d listen to a lot of jazz and bebop records, too.
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