[557 Jazz Standards Pdf 11
Facunda Ganesh
Jazz standards are musical compositions that are an important part of the musical repertoire of jazz musicians, in that they are widely known, performed, and recorded by jazz musicians, and widely known by listeners. There is no definitive list of jazz standards, and the list of songs deemed to be standards changes over time. Songs included in major fake book publications (sheet music collections of popular tunes) and jazz reference works offer a rough guide to which songs are considered standards.
The most recorded standard composed by a jazz musician, and one of the most covered songs of all time, is Duke Ellington's and Juan Tizol's "Caravan" with over 500 uses.[2][3] Originally, the most recorded jazz standard was W. C. Handy's "St. Louis Blues" for over 20 years from the 1930s onward, after which Hoagy Carmichael's "Stardust" replaced it.[4] Following this, the place was held by "Body and Soul" by Johnny Green.[5]
The origins of jazz are in the musical traditions of early twentieth-century New Orleans, including brass band music, the blues, ragtime and spirituals,[10] and some of the most popular early standards come from these influences. Ragtime songs "Twelfth Street Rag" and "Tiger Rag" have become popular numbers for jazz artists, as have blues tunes "St. Louis Blues" and "St. James Infirmary". Tin Pan Alley songwriters contributed several songs to the jazz standard repertoire, including "Indiana" and "After You've Gone". Others, such as "Some of These Days" and "Darktown Strutters' Ball", were introduced by vaudeville performers. The most often recorded standards of this period are W. C. Handy's "St. Louis Blues", Turner Layton and Henry Creamer's "After You've Gone" and James Hanley and Ballard MacDonald's "Indiana".[11]
A period known as the "Jazz Age" started in the United States in the 1920s. Jazz had become popular music in the country, although older generations considered the music immoral and threatening to old cultural values.[12] Dances such as the Charleston and the Black Bottom were very popular during the period, and jazz bands typically consisted of seven to twelve musicians. Important orchestras in New York were led by Fletcher Henderson, Paul Whiteman and Duke Ellington. Many New Orleans jazzmen had moved to Chicago during the late 1910s in search of employment; among others, the New Orleans Rhythm Kings, King Oliver's Creole Jazz Band and Jelly Roll Morton recorded in the city. However, Chicago's importance as a center of jazz music started to diminish toward the end of the 1920s in favor of New York.[13]
In the early years of jazz, record companies were often eager to decide what songs were to be recorded by their artists. Popular numbers in the 1920s were pop hits such as "Sweet Georgia Brown", "Dinah" and "Bye Bye Blackbird". The first jazz artist to be given some liberty in choosing his material was Louis Armstrong, whose band helped popularize many of the early standards in the 1920s and 1930s.[7]
Some compositions written by jazz artists have endured as standards, including Fats Waller's "Honeysuckle Rose" and "Ain't Misbehavin'". The most recorded 1920s standard is Hoagy Carmichael and Mitchell Parish's "Stardust".[14] Several songs written by Broadway composers in the 1920s have become standards, such as George and Ira Gershwin's "The Man I Love" (1924), Irving Berlin's "Blue Skies" (1927) and Cole Porter's "What Is This Thing Called Love?" (1929). However, it was not until the 1930s that musicians became comfortable with the harmonic and melodic sophistication of Broadway tunes and started including them regularly in their repertoire.[13]
Broadway theatre contributed some of the most popular standards of the 1930s, including George and Ira Gershwin's "Summertime" (1935), Richard Rodgers and Lorenz Hart's "My Funny Valentine" (1937) and Jerome Kern and Oscar Hammerstein II's "All the Things You Are" (1939). These songs still rank among the most recorded standards of all time.[14] The most popular 1930s standard, Johnny Green's "Body and Soul", was introduced in Broadway and became a huge hit after Coleman Hawkins's 1939 recording.[5]
1930s saw the rise of swing jazz as a dominant form in American music. Duke Ellington and his band members composed numerous swing era hits that have later become standards: "It Don't Mean a Thing (If It Ain't Got That Swing)" (1932), "Sophisticated Lady" (1933) and "Caravan" (1936), among others. Other influential band leaders of this period were Benny Goodman and Count Basie.
The swing era lasted until the mid-1940s, and produced popular tunes such as Duke Ellington's "Cotton Tail" (1940) and Billy Strayhorn's "Take the 'A' Train" (1941). With the big bands struggling to keep going during World War II, a shift was happening in jazz in favor of smaller groups. Some swing era musicians, such as Louis Jordan, later found popularity in a new kind of music, called "rhythm and blues", that would evolve into rock and roll in the 1950s.[15]
Bebop emerged in the early 1940s, with Charlie Parker, Dizzy Gillespie and Thelonious Monk leading the way. It appealed to a more specialized audiences than earlier forms of jazz, with sophisticated harmonies, fast tempos and often virtuoso musicianship. Bebop musicians often used 1930s standards, especially those from Broadway musicals, as part of their repertoire.[15] Among standards written by bebop musicians are Gillespie's "Salt Peanuts" (1941) and "A Night in Tunisia" (1942), Parker's "Anthropology" (1946), "Yardbird Suite" (1946) and "Scrapple from the Apple" (1947), and Monk's "'Round Midnight" (1944), which is currently one of the most recorded jazz standards composed by a jazz musician.[16]
The jazz fusion movement fused jazz with other musical styles such as rock and classical music. Its golden age was 1970s. Famous fusion artists, such as Weather Report, Chick Corea and Return to Forever, Herbie Hancock and The Headhunters, The Manhattan Transfer, and the Mahavishnu Orchestra, achieved cross-over popularity, although public interest in the genre faded at the turn of the 1980s. Fusion's hits were Daodato's "Also Sprach Zarathustra (2001)" (1973),[18] and Bob James's "Night on Bald Mountain" (1974), and Herbie Hancock's "Chameleon" (1973). Weather Report and The Manhattan Transfer covered Joe Zawinul's jazz standard "Birdland". Linda Ronstadt's What's New, Chaka Kahn's Echoes of an Era, and Carly Simon's Torch were 80s jazz standard albums.[19]
Plus, if you want one convenient place to learn jazz standards, improve your jazz chops, and network with a bunch of musicians who love learning jazz as much as you do, then you need to check out the Learn Jazz Standards Inner Circle.
A snowball starts off small, but as it rolls through the snow, it grows larger and larger. As it grows, its surface area increases, allowing it to pick up more and more snow. The more snow it accumulates, the more snow it is able to accumulate in the future.
Learning jazz standards works in exactly the same way. Many jazz standards are built from the same chord changes and progressions. In a sense, when you learn one jazz song, you are learning the parts of many other jazz songs.
The following 50 jazz standards contain many elements that appear in most songs throughout the jazz world. Though the key might change or the time signature may be different, the components of many jazz songs are the same.
Louis Armstrong recorded a famous version that made it to the #1 spot on the US charts in 1931. The most famous version was recorded by Billie Holiday in 1941. Also, Frank Sinatra recorded this same tune various times throughout his career.
This gem from Henry Mancini is known for its delicate, lyrical melody and subtle harmonic complexity. The tune was written for the 1962 film of the same name and is an example of how cinematic music can be transformed into a jazz standard.
This is one of the songs that embody the charisma and elegance of jazz. Its memorable melody, romantic lyricism, and accessible harmonic progression have made it a beloved standard in jazz and other music circles.
This tune has rich harmonies and a lyrical melody. Its intricate chord changes and structure embody the essence of 1940s pop music. This jazz song is a challenge to play at fast tempos due to the parallel minor seventh chords that move in minor thirds at the end of the A sections.
This tune is an evocative ballad known for its deeply emotional melody and harmonic richness. The tune invites musicians to delve into its poignant narrative, often resulting in expressive and introspective performances. Check out:
Composed by Antonio Carlos Jobim, this bossa nova classic helped popularize Brazilian music in the US in the 1960s. Its sensual melody, laid-back groove, and evocative lyrics have made it one of the more beloved jazz songs worldwide.
This Isham Jones and Marty Symes tune showcases the romantic side of the jazz tradition. Known for its sweet melody and simple yet effective chord changes, it provides a platform for both lyrical and up-tempo improvisation.
This Freddie Hubbard composition stands as a testament to his talent not only as a trumpeter but also as a composer. With its buoyant melody and unique harmonic structure, it offers a delightful challenge for improvisation, highlighting the more playful and imaginative side of the genre.
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