Life's Mosaic – Cedar Walton & John & Paula Hackett

The underlying tempo of this song is quite fast, but the long notes of the melody make it very singable and open to individual melodic interpretation. This song has an extended AABC form, with 14-measure A and C sections and a 16-measure bridge. After C there is a four-measure interlude where the meter changes to 6/8; this reappears as an ending and is also played (without vocals) as an intro before a vamp that sets up the head. This 6/8 phrase ends with a fermata every time.

Lyric description: An impressionistic, elegant lyric that celebrates both the colorful diversity of life and the potential unity of humanity.

Vanessa Rubin interprets the melody essentially as written, embellishing it only slightly particularly in the second four measures of the A section. There's a tight three-horn arrangement on this recording, including two A sections of vocal scat together with the horns before the out head. This version stays Latin throughout; some others go to swing in the second half of A and B.

Mark Murphy's recording is in the original instrumental key of B minor. It's quite fast and goes to swing in the last 6 measures of A and the bridge. The ending is a break for the vocal, with the rhythm section coming in on the last chord. Murphy showcases his unique phrasing throughout.

Another tight arrangement in yet another key. The intro in this version is a bit slower than the rest of the song; both the interlude and ending ritard into the final chord. The second half of A and the bridge are again swung; like some instrumental versions, the rhythm section plays "3 against 2" hits through the bridge. Miles Griffith's interpretation of the melody is relatively straightforward (though adding the rhythmic hits at the end of A) before he snaps into a madcap scat solo.

This version has quite a different feel from all the others: much more subdued and mysterious, with almost a "broken time" feel throughout. All the elements of the arrangement are there—such as the rhythm section hits and the change of feel in the bridge—but always subtle and smoothed-over. There is no fermata in the intro or interlude; the former (with wordless vocal) goes right into a vamp to set up the head.