In 1968, Monk teamed up with Jon Hendricks to record In Walked Bud, his Bud Powell tribute first recorded for Blue Note in 1947.

In this hour of Jazz at 100, we will survey the 1960s recordings of jazz singers Betty Carter, Eddie Jefferson, Sheila Jordan, Nancy Wilson, Shirley Horn, Carmen McRae, Jon Hendricks and Johnny Hartman.

Her 1965 version of This Is Always illustrates this range of qualities.

It is a masterpiece of invention and of the virtuoso jazz singers ability to paint in sound using a wide brush.

It is a special pleasure to listen to Carter use what she knows as a modernist improviser, not to bop or romp but to slow-simmer a late-night ballad.

She does bop the song, mind you, but here the verb to bop means to swing easy in a half speed, slow-dance mode.

Even when her weighting of a lyric is almost surreal, its significance is utterly explicit and sarcastically subversive.

The latter quality has allowed her to skate on the thin ice of quite banal standard material, much of which has acquired a veneer of seriousness from nowadays being heard only as instrumentals- Brian Morton Richard Cook.

He made a few good records during the decade Mercy, Mercy, Mercy is one of the highlights of the LP Body And Soul, alongside a lively version of Miless So What.

Theres still a certain resistance to vocalese even fans who have overcome a suspicion of scat singing draw a line but Jeffersons musicianship is palpable on every track and his buoyant delivery pushes through some slightly questionable lyrics.

Eddie Jefferson Sextet (Dave Burns-tp, James Moody-tsfl, Barry Harris-p, Steve Davis-b, Bill English-d, Eddie Jefferson-voc).

At the end of phrases, she deploys a superbly controlled vibrato.

On the LP Portrait of Sheila Jordan Bobby Timmonss Dat Dere is given just to voice and bass (and bassist Steve Swallow is superb), while Hum Drum Blues is set against rhythm only, as if she were a horn.

It would be Cannonballs quintet with me filling in as a sort of easy-going third horn on some nice songs that havent already been heard to death on records.

The arrangement here is tasteful and unobtrusive; it makes way for soloists in swinging combination.

Her voice has the radiant energy for which she is loved, and she is perfectly matched by the muted Nat Adderley and by Cannonballs eloquent alto, with which she engages in confidential night-talk in the language of jazz.

Nancy Wilson with Cannonball Adderley Quintet (Nat Adderley-cor, Cannonball Adderley-as, Joe Zawinul-p, Sam Jones-b, Louis Hayes-d, Nancy Wilson-voc).

From Nancy WilsonCannonball Adderley.

The Jazz Singers).

For her, spaces, pauses and sighs speak just as eloquently as notes and chords.

Though she follows Holidays manner almost to the letter on some songs, notably Them There Eyes, this is all Carmen McRae.

From Carmen McRae Sings Lover Man And Other Billie Holiday Classics.

Neither Thelonious Monk nor John Coltrane recorded often with vocalists, however there were meaningful exceptions in the 1960s.

Shirley Horn Travelin Light Rar