Richard Rodgers (left) and Lorenz Hart were responsible for a large number of 1930s standards, including "Blue Moon" (1934), "My Romance" (1935) and "My Funny Valentine" (1937).
Jazz standards are musical compositions that are widely known, performed and recorded by jazz artists as part of the genre's musical repertoire. This list includes compositions written in the 1930s that are considered standards by at least one major fake book publication or reference work. Some of the tunes listed were already well known standards by the 1940s, while others were popularized later. Where appropriate, the years when the most influential recordings of a song were made are indicated in the list.
George Gershwin's songs have gained lasting popularity among both jazz and pop audiences. Among standards composed by him are "The Man I Love" (1924), "Embraceable You" (1930), "I Got Rhythm" (1930) and "Summertime" (1935).
The chord progression from Gershwin's "I Got Rhythm". Sequenced stride piano version, with elaboration. The chord progression, known as "rhythm changes", has been used as the basis of numerous jazz compositions, including many standards.
"Body and Soul"[4][5][6][7] is a song composed by Johnny Green with lyrics by Frank Eyton, Edward Heyman and Robert Sour. The song was used in the successful Broadway revue Three's a Crowd and became an instant hit, despite being banned from the radio for almost a year for its sexually suggestive lyrics.[2] The first jazz recording was by Louis Armstrong in 1930. Coleman Hawkins' 1939 recording consisted of three minutes of improvisation over the song's chord progression with only passing references to the melody. Hawkins's rendition was the first purely jazz recording that became a commercial hit[8] and was inducted into the Grammy Hall of Fame in 1973.[9] The song is the most recorded jazz standard of all time.[2]
"But Not for Me"[10] was introduced by Ginger Rogers in the Broadway musical Girl Crazy. It was composed by George Gershwin with lyrics by Ira Gershwin. The song failed to achieve significant pop success, charting only once in 1942. However, it became popular in the jazz world, especially for female vocalists.[11]
"Confessin'"[4][12] was composed by Ellis Reynolds and Doc Daugherty, with lyrics by Al J. Neiburg. Louis Armstrong recorded it in 1930, and Rudy Vallée and Guy Lombardo both made the charts with their versions the same year.[13] Saxophonist Lester Young recorded it several times during his career.[13] Country singer Frank Ifield had a number one hit with the song in the United Kingdom in 1963.[13] The song is also known as "I'm Confessin' (That I Love You)".[13]
"Embraceable You"[14] was originally composed by George Gershwin for an unfinished operettaEast to West in 1928. It became a big hit after Ginger Rogers introduced it in the Broadway musical Girl Crazy, and was first recorded by Fred Rich and His Orchestra. Lyrics were written by Ira Gershwin. Billie Holiday's 1944 recording was inducted into the Grammy Hall of Fame in 2005.[9]
"I Got Rhythm"[10] was composed by George Gershwin for the Broadway musical Girl Crazy, with lyrics by Ira Gershwin. First-timer Ethel Merman's performance on Girl Crazy stole the limelight from leading lady Ginger Rogers. The song's I-vi-ii-V7 chord progression has been used in countless jazz compositions, and is commonly known as "rhythm changes".[20] George Gershwin's last concert composition, Variations on "I Got Rhythm" was based on this song.[21]
"Lazy River",[4][22] a song by Hoagy Carmichael and Sidney Arodin,[23] was a hit for the Mills Brothers in 1941.[24] The Si Zentner Orchestra recorded it in 1962 and used it as their theme song.[24] Online music guide Allmusic describes it as "[e]asily one of the true pop classics of all time".[25] It is also known as "Up a Lazy River" or "Up the Lazy River".[23]
"Love for Sale"[10] is a song from Cole Porter's Broadway musical The New Yorkers. Its prostitution-themed lyrics were considered bad taste at the time, and the song was banned from the radio. The ban, however, only increased the song's popularity.[26] Porter himself was actually pleased that it could not be sung over the air.[27] In the original musical the song was first sung by Kathryn Crawford and later by Elizabeth Welch.[26] It was first recorded by Fred Waring and His Pennsylvanians. The song took time to catch on as a jazz standard, possibly because it was 72 measures long. When Sidney Bechet recorded it in 1947, the song was not yet a regular jazz number.[26]
"Memories of You"[4][28][29] first appeared in the musical revue Blackbirds of 1930. It was composed by Eubie Blake and lyrics were written by Andy Razaf. It was introduced by Minto Cato on Broadway[30] and the first recording was made by Ethel Waters in 1930.[31] Louis Armstrong's 1930 recording was Lionel Hampton's debut performance as a vibraphonist and rose to number 18 on the charts.[30] Hampton later recorded the tune again with Benny Goodman's jazz orchestra; this version has made the song a popular clarinet number.[30]
"Mood Indigo"[4][10][32][33] is a jazz song composed by Barney Bigard and Duke Ellington, with lyrics by Irving Mills. Bigard has admitted borrowing parts of the song from a composition called "Dreamy Blues" by his teacher Lorenzo Tio.[34] The lyrics were written by Mitchell Parish, who then sold them to Mills's publishing company for a fixed price.[35][36] When the song became a hit, Parish was therefore left without royalties.[37] Ellington's 1930 recording was inducted into the Grammy Hall of Fame in 1975.[9]
"On the Sunny Side of the Street"[4][10][38][39][40] was written by composer Jimmy McHugh and lyricist Dorothy Fields for the Broadway musical Lew Leslie's International Revue. Harry Richman sang it in the original revue.[41] Although the musical was a flop, "On the Sunny Side of the Street" became instantly popular. Richman and Ted Lewis charted with it in 1930,[41] and Louis Armstrong recorded his version in 1934. The song is readily associated with Armstrong today.[42]Tommy Dorsey and Jo Stafford both brought the song to the charts in 1945.[41]Jeremy Wilson argues that the song may actually have been composed by Fats Waller, who then sold the rights for it.[41]
1931
"All of Me"[4][10][43][44] was written by Gerald Marks and Seymour Simons. It was introduced on the radio by vaudeville performer Belle Baker who also performed the song on stage in Detroit's Fisher Theatre, reportedly breaking into tears in mid-performance.[45] The first hit recording was made by Mildred Bailey with Paul Whiteman and His Orchestra, and by February 1932 both Louis Armstrong and Ben Selvin had risen to the charts with the song in addition to Whiteman.[45] The song was rarely performed after 1932 until Frank Sinatra recorded it in 1948 and performed it in the 1952 film Meet Danny Wilson.[45]
"I Surrender Dear" is the title song of a 1931 film starring Bing Crosby. It was composed by Harry Barris with lyrics by Gordon Clifford. Bing Crosby performed the song in the film, and his recording with the Gus Arnheim Orchestra became his first solo hit and helped him get a contract for his first radio show.[46] The first jazz vocalist to record the song was Louis Armstrong in 1931.[46]Thelonious Monk recorded it as the sole standard on his 1956 album Brilliant Corners.[46]
"Just Friends"[10][47] is a ballad composed by John Klenner with lyrics by Sam M. Lewis. It was introduced by Red McKenzie and His Orchestra. The song rose to the charts twice in 1932; Russ Columbo's recording with Leonard Joy's Orchestra peaked at number fourteen, as did a rendition by Ben Selvin and His Orchestra later the same year. Popularized in modern jazz by Charlie Parker's 1950 recording, the song became popular among West Coast cool jazz artists in the mid-1950s. Chet Baker's 1955 version is considered the definitive vocal performance.[48]
"Out of Nowhere"[4][10][49] was introduced by Bing Crosby and became his first number one hit as a solo artist. The lyrics for the Johnny Green composition were written by Edward Heyman. Coleman Hawkins's 1937 recording with Benny Carter and Django Reinhardt was long the definitive version. The song's harmony has been reused in many jazz compositions, such as Tadd Dameron's "Casbah" and Fats Navarro's "Nostalgia".[50]
"When It's Sleepy Time Down South"[51] is a song about the Great Migration, written by Clarence Muse, Leon René and Otis René. It was originally offered to Duke Ellington, who did not consider the song to be his style and declined.[52] Louis Armstrong later adopted it as his theme song[53] and recorded it almost a hundred times during his career.[54] The song is also known as "Sleepy Time Down South".[51]
Virtuoso pianist Art Tatum mostly played Broadway and popular standards. He usually radically reworked the songs and had the ability to make standards sound like new compositions. Tatum's influential piano solos include "Tiger Rag", "Willow Weep for Me" and "Over the Rainbow".
"April in Paris"[4][10][57] is a Broadway show tune from Walk a Little Faster, composed by Vernon Duke with lyrics by Yip Harburg. It was sung by Evelyn Hoey in the musical, but did not become popular until after the Broadway production ended and blues singer Marian Chase started including it in her repertoire.[58] The first recording was by Freddy Martin and His Orchestra in December 1933. Thelonious Monk's 1947 piano trio rendition helped popularize the song as a jazz vehicle.[58] Count Basie's 1955 recording became his biggest hit[58] and was inducted into the Grammy Hall of Fame in 1985.[9]
"How Deep Is the Ocean? (How High Is the Sky?)",[59] a song written by Irving Berlin, was first made a hit by Paul Whiteman and His Orchestra with vocalist Jack Fulton. The song's jazz popularity was established by Benny Goodman's 1941 recording with singer Peggy Lee. Coleman Hawkins made a popular jazz version in 1943, and Charlie Parker recorded it as a ballad in 1947.[60]
"I Don't Stand a Ghost of a Chance with You"[4][61][62] was composed by Victor Young with lyrics by Bing Crosby and Ned Washington. The first recording by Crosby became an immediate hit, reaching number five on the pop singles chart. Saxophonist Chu Berry made an influential jazz recording with Cab Calloway in 1940. The song's name is often shortened to "Ghost of a Chance".[63]
"Night and Day"[10] was written by Cole Porter for the musical Gay Divorce. It was introduced on stage by Fred Astaire, who also sang it in the 1934 film The Gay Divorcee, based on the musical. The song remained popular throughout the swing era and charted five times in the 1930s and 1940s. It became Frank Sinatra's first hit under his own name in 1942.[69]
"Willow Weep for Me"[4][44][70] is a song with music and lyrics by Ann Ronell. It was first recorded by Ted Fio Rito and His Orchestra and, two weeks later, by Paul Whiteman and His Orchestra.[71]Art Tatum recorded the piece six times; his 1949 performance on Piano Starts Here is often considered the definitive instrumental version of the song.[71][72] Count Basie's "Taxi War Dance" was based on the song's harmony.[71] Ronell dedicated the song to George Gershwin.[71]
1933
"Don't Blame Me"[4][10][73][74] was introduced in the musical revue Clowns in Clover and included in the 1933 film Dinner at Eight. The film is often mistakenly given as the song's origin. The first hit recordings were by Guy Lombardo and Ethel Waters in 1933. Nat King Cole recorded it several times as an instrumental, and had a hit with a 1944 vocal version. Charlie Parker made an influential ballad rendition in 1947. The song was composed by Jimmy McHugh with lyrics by Dorothy Fields.[75]
"I Cover the Waterfront", composed by Johnny Green with lyrics by Edward Heyman, was inspired by the 1932 novel of the same name by Max Miller. The song was included in the score of the 1933 film I Cover the Waterfront, and was first recorded by Abe Lyman and His Orchestra. Louis Armstrong, Joe Haymes, Eddy Duchin and composer Green all made recordings of the song in 1933, and Haymes's and Duchin's versions made the pop charts. Billie Holiday recorded the song many times during her career. Art Tatum recorded it as a solo piano piece in 1949 and returned to it several times.[76]
"It's Only a Paper Moon"[4][77][78] is a song from the short-lived Broadway show The Great Magoo, composed by Harold Arlen with lyrics by Yip Harburg and Billy Rose. Originally titled "If You Believed in Me", the current title was introduced in the 1933 film Take a Chance. The song first charted in 1933 with Paul Whiteman's and Cliff Edwards's recordings. Nat King Cole recorded a trio performance of it in 1943, and both Ella Fitzgerald and Benny Goodman charted with the song in 1945.[79]
"Sophisticated Lady"[4][10][81][82] is a jazz composition by Duke Ellington. Lyrics were later added by Irving Mills and Mitchell Parish. Ellington's recording rose to number three on the charts. Glen Gray and Don Redman also charted with the song in 1933. Lawrence Brown and Toby Hardwick have claimed to have composed parts of the music; according to Stuart Nicholson's Ellington biography, the original composer credits included Ellington, Brown, Hardwick and Mills, but only Ellington was credited when the song was published.[83]
"Yesterdays"[4][44][84] was composed by Jerome Kern for the Broadway musical Roberta, with lyrics by Otto Harbach. It was introduced by Irene Dunne. Not as popular in the pop world as "Smoke Gets in Your Eyes" from the same musical, it has enjoyed much more success in jazz circles. The song is often associated with Billie Holiday, who recorded it in 1944.[85]
1934
"Autumn in New York"[4][86] was written for the Broadway musical Thumbs Up! by Vernon Duke, who contributed both music and lyrics for the song. Introduced on stage by J. Harold Murray and first recorded by Richard Himber and His Ritz-Carlton Hotel Orchestra, it was not until 1947 that the song became a hit with Jo Stafford's and Frank Sinatra's recordings. It became a popular jazz number in the 1950s after Charlie Parker recorded it for his album Charlie Parker with Strings.[87]
"Blue Moon",[10][88] composed by Richard Rodgers, was originally named "Prayer" and meant for the musical film Hollywood Party. Lorenz Hart rewrote the lyrics two times for Manhattan Melodrama, and eventually it was sung by Shirley Ross as "The Bad in Every Man". It was later released commercially as "Blue Moon", with yet another set of lyrics, and was first recorded by Glen Gray and the Casa Loma Orchestra. Hart disliked the final version, which nonetheless became his most popular song.[89] A 1961 rock and roll version by The Marcels sold a million copies and was included in the Rock and Roll Hall of Fame's list of 500 Songs that Shaped Rock and Roll.[90]
"Solitude"[4][10][92][93] is a Duke Ellington composition with lyrics by Eddie DeLange. Irving Mills received co-credit for the lyrics as Ellington's agent. Ellington claimed to have composed the song in 20 minutes. Two recordings made the charts in 1935, one by Ellington and one by the Mills Blue Rhythm Band. Ellington's first vocal recording was made in 1940 with singer Ivie Anderson. The song is also known as "In My Solitude".[94]
"Smoke Gets in Your Eyes"[4][10][95] is a song from Jerome Kern and Otto Harbach's Broadway musical Roberta. Paul Whiteman and His Orchestra's recording reached number one on the pop charts in 1934. A million-selling, Billboard Hot 100 number one version was recorded by doo-wop group The Platters in 1958. Kern originally composed the song as a fast tap-dance number for his 1927 musical Show Boat, and converted it into a ballad for Roberta. The song is particularly favored by piano players; Teddy Wilson made an early influential piano version in 1941.[96]
"Stars Fell on Alabama"[10][97] was written by composer Frank Perkins and lyricist Mitchell Parish. It was introduced by Guy Lombardo and His Royal Canadians, and the first jazz recording was made by Benny Goodman in 1934. Jack Teagarden recorded it many times; his first recording was made with Goodman's orchestra in 1934 and he performed it in a 1947 Boston Symphony Hall concert with Louis Armstrong's All Stars.[98]
"Stompin' at the Savoy"[4][10][99][100] is a jazz composition by Edgar Sampson with lyrics by Andy Razaf.[101] First recorded by Chick Webb in 1934, it was popularized by Benny Goodman's 1936 recording.[102] Both Webb and Goodman received composer co-credit for the song.[101] It was named after the Savoy Ballroom in New York; the song title is mentioned in a commemorative plaque the ballroom's former place.[102]
1935
Many 1930s standards were popularized by jazz singer Billie Holiday's recordings, including "These Foolish Things", "Embraceable You" and "Yesterdays".
"Begin the Beguine" is a show tune from Cole Porter's Broadway musical Jubilee, first recorded by Xavier Cugat and His Waldorf-Astoria Orchestra and popularized by Artie Shaw's recording in 1938. It is considerably longer than the average song of the time (104 bars instead of the usual 32 bar AABA form). Fred Astaire and Eleanor Powell's tap dance to the tune in the 1940 film Broadway Melody of 1940 became one of the most popular dance scenes on film.[103]
"In a Sentimental Mood"[4][10][104][105] is a jazz song with music by Duke Ellington and lyrics by Manny Kurtz and Irving Mills. Ellington's biographer James Lincoln Collier argues that the melody was originally composed by Toby Hardwick.[106] The song is among Ellington's most popular compositions.[106] Both Benny Goodman and the Mills Blue Rhythm Band charted with the song in 1936. At one point, it was used as the theme song of nine different radio shows.[106]
"Just One of Those Things" was introduced by June Knight and Charles Walters in Broadway musical Jubilee. The song was written by Cole Porter. Richard Himber and His Orchestra was the first to chart with the song in late 1935. Red Garland recorded it in London in 1936. Teddy Wilson made a 1944 recording with Coleman Hawkins and recorded it the following year with the Benny Goodman Sextet. The song is also known as "It Was Just One of Those Things".[107]
"My Romance"[4][44][108] is a song from Richard Rodgers and Lorenz Hart's Broadway musical Jumbo. Donald Novis and Gloria Grafton introduced the song on stage and recorded it with Paul Whiteman and His Orchestra.[109]Doris Day sang it in Jumbo's 1962 film version.[110]Ben Webster recorded the song several times as a ballad. Bill Evans Trio's 1961 recording on Waltz for Debby is among the many medium-tempo swing renditions of the song.[109]
"These Foolish Things"[4][44][113] is a song from the British musical comedy Spread it Abroad, written by Harry Link, Holt Marvell and Jack Strachey. It was introduced by French actor Jean Sablon, who also recorded it in French as "Ces petites choses".[114] Billie Holiday recorded it in 1936 with Teddy Wilson and His Orchestra. Benny Goodman had a #1 hit with the song in 1936.[114] Lester Young made a 1952 recording with Oscar Peterson's trio, replacing the original melody almost completely.[115] The song is also known as "These Foolish Things Remind Me of You".[114]
1936
"Caravan"[10][116][117] is a jazz song with Middle Eastern influences, composed by Duke Ellington and Juan Tizol with lyrics by Irving Mills. It is mostly associated with Ellington, who recorded it many times in different arrangements.[118] It was a permanent part of Ellington's concert repertoire and was always played as the second number.[119] Barney Bigard made the first recording in 1936 with a band composed of members of Ellington's orchestra.[120] The first vocal version to become a hit was made by Billy Eckstine in 1946.[121]
"I Can't Get Started"[4][10][122] was introduced by Bob Hope in the Broadway musical Ziegfeld Follies of 1936.[123] It was composed by Vernon Duke with lyrics by Ira Gershwin. Bunny Berigan's 1937 version became his most popular recording[124] and was inducted into the Grammy Hall of Fame in 1975.[9] Due to the success of Berigan's version, the piece is especially popular among trumpeters.[123] Billie Holiday recorded the song in 1938 with Lester Young, and Young made a recording with his own trio in 1942.[123] The song is also known as "I Can't Get Started with You".[123]
"Sing, Sing, Sing" is often associated with swing jazz bands, especially Benny Goodman's. The piece was performed in Goodman's 1938 Carnegie Hall concert[127] and was often used as the closing number in his live performances.[128] Written by Louis Prima and originally titled "Sing, Bing, Sing" as a reference to Bing Crosby,[127] the song is also known as "Sing, Sing, Sing (With a Swing)".[129]
"The Way You Look Tonight"[4][44][134] was introduced by Fred Astaire in the film Swing Time. It was composed by Jerome Kern with lyrics by Dorothy Fields. Astaire's recording reached number one on the charts and the song won the Academy Award for Best Original Song. Billie Holiday recorded it with Teddy Wilson's orchestra in 1936. Benny Goodman made a version with Peggy Lee in 1942 and Art Blakey's Jazz Messengers recorded their version in 1954. Johnny Griffin performed the piece with John Coltrane and Hank Mobley on the 1957 album A Blowin' Session.[135] Kern wrote the song's melody in counterpoint with "A Fine Romance"; the songs are sung together on the film's closing scene.[136]
"A Foggy Day"[10] was written by George and Ira Gershwin for the musical film A Damsel in Distress. It was introduced in the film by Fred Astaire, whose recording rose to number three on the charts. Bob Crosby's orchestra charted with the song in 1938.[140] The song is associated with London and begins with the chimes of Big Ben.[141] It is also called "A Foggy Day in London Town".[140]
"Have You Met Miss Jones?"[4][10][142] is a ballad from the Broadway comedy I'd Rather Be Right, introduced on stage by Joy Hodges and Austin Marshall.[143] The song was composed by Richard Rodgers with lyrics by Lorenz Hart. Its bridge may have served as an inspiration to John Coltrane's 1959 composition "Giant Steps".[144] Female singers often sing it as "Have You Met Sir Jones?".[143]
"My Funny Valentine"[4][10][145] is Richard Rodgers and Lorenz Hart's show tune from the Broadway musical Babes in Arms. It was introduced on stage by Mitzi Green. Hal McIntyre and His Orchestra was the first to chart with the song in 1945.[146] Frank Sinatra recorded a hit version in 1955, and later the song became readily associated with his live performances. Other influential versions were recorded by Chet Baker (on My Funny Valentine, 1954) and Miles Davis (on Cookin', 1956).[146]
"Nice Work If You Can Get It[4] was written by George and Ira Gershwin for the musical film A Damsel in Distress. It was introduced in the film by Fred Astaire and has been recorded many times by jazz singers and pianists.[147]
"Once in a While"[10][148] is a composition by Michael Edwards with lyrics by Bud Green. It became a hit for Tommy Dorsey and His Orchestra, whose recording stayed at the top of the charts for 14 weeks. It was later taken to the charts by Horace Heidt in 1937, Louis Armstrong in 1938, Patti Page in 1952 and doo-wop group The Chimes in 1961.[149]Rahsaan Roland Kirk is credited with reviving interest in the song among jazz musicians with his 1965 recording, which mixed the original with Middle Eastern harmony.[149][150]
"One O'Clock Jump" is an instrumental twelve-bar blues composition by Count Basie. Used as the signature piece of Basie's band, it is strongly associated with the swing era and remains one of the best-known compositions of the period.[151] Saxophonist Buster Smith wrote a part of the composition, but was denied co-credit by Basie.[152][153] "One O'Clock Jump" was taken to the charts by Harry James in 1938 and by the Metronome All-Stars in 1941. Benny Goodman gave an influential performance of it in his 1938 Carnegie Hall concert.[154]
"They Can't Take That Away from Me"[10] is a song from the musical film Shall We Dance, composed by George Gershwin with lyrics by Ira Gershwin. It was introduced by Fred Astaire, whose recording with the Johnny Green Orchestra stayed at number one for ten weeks. A famous version was recorded by Charlie Parker in 1950 and released on Charlie Parker with Strings.[157]
"Cherokee"[159][160] is a jazz song originally written by Ray Noble as a part of a larger Indian Suite. It became a hit for Charlie Barnet in 1939 as an instrumental. Barnet adopted an extended version of it into his theme song, credited to himself and titled "Redskin Rhumba". Don Byas recorded the piece in 1945, and the same year Charlie Parker used its harmonic progression in his composition "Ko-Ko". Buddy DeFranco's "Swinging the Indian" is also based on the same chord progression. The song is also known as "Indian Love Song".[161]
"Heart and Soul"[162][163] is a Hoagy Carmichael composition with lyrics by Frank Loesser. It was first performed by Larry Clinton and His Orchestra featuring Bea Wain in the short film A Song Is Born; their version charted at number one in 1939.[164] The song has been recorded by Ella Fitzgerald, Dean Martin, and Dave Brubeck, among others.[164] It has become a popular piece among amateur pianists.[165]
"Love Is Here to Stay" was George Gershwin's last composition, written for the musical film The Goldwyn Follies. Lyrics were provided by Ira Gershwin. The song gained little attention from The Goldwyn Follies and is better known for the 1951 film An American in Paris.[166] The song was originally titled "Our Love Is Here to Stay"; Ira Gershwin later said that he would have wanted to change the title back to the original one if the song had not already become popular under its new name.[167]
"The Nearness of You"[4][168] was composed by Hoagy Carmichael with lyrics by Ned Washington. It was meant to be included in the film Romance in the Rough, which was never produced. The first hit version was made by Glenn Miller and His Orchestra in 1940. Sarah Vaughan recorded the song in 1949 and several times afterwards. Charlie Parker recorded it live with Woody Herman's Orchestra in 1951.[169]
"Prelude to a Kiss"[10][172][173] is a jazz ballad composed by Duke Ellington with lyrics by Irving Mills and Mack Gordon. It was first recorded as an instrumental by the Duke Ellington Orchestra featuring Johnny Hodges, who later recorded it with his own orchestra and vocalist Mary McHugh. The composition was based on a melody by Ellington's saxophonist Otto Hardwick.[174]
"September Song"[4][175][176] was introduced by Walter Huston in the Broadway musical Knickerbocker Holiday. It was composed by Kurt Weill with lyrics by Maxwell Anderson. Later hit recordings were made by Frank Sinatra in 1946 and Sarah Vaughan in 1954. Artie Shaw recorded it in 1945 with a big band featuring saxophonist Chuck Gentry. Don Byas made a 1946 recording with his quartet. Guitarist Django Reinhardt recorded the song four times, starting in 1947.[177]
'Thanks for the Memory" was introduced in the film The Big Broadcast of 1938 which earned the Academy Award for Best Original Song of 1938. It was composed by Ralph Rainger with lyrics by Leo Robin and performed in the film by Bob Hope and Shirley Ross.[178] Hit recordings were made by Shep Fields and his Rippling Rhythm Orchestra and by Bob Hope himself who adopted the composition as his signature song at the close of his USO tours in Europe during World War II.[179][180][181] Over the decades the song was frequently recorded and remains a standard in the jazz repertoire to this day.[182][183]
"You Go to My Head" was written by composer J. Fred Coots and lyricist Haven Gillespie and introduced by Glen Gray and the Casa Loma Orchestra, who charted at number nine in 1938. Teddy Wilson with vocalist Nan Wynn charted with it in 1938, as did Larry Clinton and His Orchestra with Bea Wain. The song's harmonic sophistication has been praised by critics, who often describe Coots as a "one-hit wonder" despite his "Santa Claus Is Coming to Town" being even more popular in terms of mass appeal.[184]
1939
Clarinetist and bandleader Benny Goodman popularized many of the 1930s standards, including "Darn That Dream", "How Deep Is the Ocean", and "Stompin' at the Savoy".
"All the Things You Are"[4][10][44][185] is a song from Jerome Kern and Oscar Hammerstein II's Broadway musical Very Warm for May. Kern first felt the song, with its constantly shifting tonal centers, was too complex for mass appeal. However, it has enjoyed lasting popularity since then and is now one of the most recorded standards.[186] The song's chord progression has been used for such tunes as "Bird of Paradise" by Charlie Parker and "Prince Albert" by Kenny Dorham.
"Darn That Dream"[44][187] was composed by Jimmy Van Heusen for the Broadway musical Swingin' the Dream. Lyrics were written by Eddie DeLange. Although the musical was a disappointment, Benny Goodman's version of the song featuring vocalist Mildred Bailey was a number one hit.[188]
"Frenesi"[4][189][190] is a Latin jazz composition by Alberto Dominguez. Originally composed for the marimba, jazz arrangements were later made by Leonard Whitcup and others. A 1940 hit version recorded by Artie Shaw with an arrangement by William Grant Still was inducted into the Grammy Hall of Fame in 2000.[9]
"I Thought About You"[4][44][193][194] was composed by Jimmy Van Heusen with lyrics by Johnny Mercer. Mildred Bailey recorded the first hit version with the Benny Goodman Orchestra. Guitarist Johnny Smith recorded it in the 1950s for the Roost label. Miles Davis included the song on his 1961 album Someday My Prince Will Come.[195]
"In the Mood"[196][197] is a jazz composition by Joe Garland based on Wingy Manone's "Tar Paper Stomp". Andy Razaf wrote the lyrics for the song. Garland recorded "In the Mood" with Edgar Hayes and offered it to Artie Shaw, who never recorded the piece. It was popularized by the Glenn Miller Orchestra in 1939. The final arrangement was the result of work by Garland, Miller, Eddie Durham, and pianist Chummy MacGregor, although only Miller profited from its financial success.[198] The song remains popular and is almost always performed as an instrumental.[199]
"Over the Rainbow"[10][205] is a ballad introduced by Judy Garland in the film The Wizard of Oz, composed by Harold Arlen with lyrics by Yip Harburg. It was an immediate hit: four different versions, including Garland's, rose to top ten within a month after the film's release. An influential piano solo recording was made by Art Tatum in 1955, and a live solo piano recording was released by singer-songwriter Tori Amos in 1996. The song is also known as "Somewhere over the Rainbow".[206]
"Something to Live For"[207] is a jazz ballad written by Billy Strayhorn. Based on a poem the composer had written as a teenager,[208] the song was introduced by Duke Ellington's orchestra with composer Strayhorn on the piano. Ellington was co-credited with the composition.[209] The song has been recorded by Ella Fitzgerald, who has called it her favorite song.[210]
"What's New?"[4][10][44][211] started out as an instrumental titled "I'm Free", composed by Bob Haggart when he was playing in Bob Crosby's Orchestra, and was later retitled when Johnny Burke wrote lyrics for it. The song was introduced by Crosby, and other hit versions from 1939 include Bing Crosby's and Benny Goodman's renditions.[212] Australian singer Catherine O'Hara recorded the song in 1966 with her own lyrics, also titled "I'm Free".[212]
"Woodchopper's Ball"[213] is a jazz composition by Joe Bishop and Woody Herman. Introduced by the Woody Herman Orchestra, it was the band's first and biggest hit selling over a million records.[214][215] The original recording was inducted into the Grammy Hall of Fame in 2002.[9] The composition is also known as "At the Woodchopper's Ball".[215]
George Gershwin was an American composer and pianist whose compositions spanned popular, jazz and classical genres. Among his best-known works are the orchestral compositions Rhapsody in Blue (1924) and An American in Paris (1928), the songs "Swanee" (1919) and "Fascinating Rhythm" (1924), the jazz standards "Embraceable You" (1928) and "I Got Rhythm" (1930), and the opera Porgy and Bess (1935), which included the hit "Summertime".
Edward Kennedy "Duke" Ellington was an American jazz pianist, composer, and leader of his eponymous jazz orchestra from 1923 through the rest of his life.
Paul Samuel Whiteman was an American Jazz bandleader, composer, orchestral director, and violinist.
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 and jazz reference works offer a rough guide to which songs are considered standards.
Girl Crazy is a 1930 musical by George Gershwin with lyrics by Ira Gershwin and book by Guy Bolton and John McGowan. Ethel Merman made her stage debut in the first production and co-lead Ginger Rogers became an overnight star. Rich in song, it follows the story of Danny Churchill who has been sent to fictional Custerville, Arizona, to manage his family's ranch. His father wants him there to focus on matters more serious than alcohol and women but Danny turns the place into a dude ranch, importing showgirls from Broadway and hiring Kate Forthergill as entertainer. Visitors come from both coasts and Danny falls in love with the local postmistress, Molly Gray.
"Take the 'A' Train" is a jazz standard by Billy Strayhorn that was the signature tune of the Duke Ellington orchestra.
"I Got Rhythm" is a piece composed by George Gershwin with lyrics by Ira Gershwin and published in 1930, which became a jazz standard. Its chord progression, known as the "rhythm changes", is the foundation for many other popular jazz tunes such as Charlie Parker's and Dizzy Gillespie's bebop standard "Anthropology ".
"Summertime" is an aria composed in 1934 by George Gershwin for the 1935 opera Porgy and Bess. The lyrics are by DuBose Heyward, the author of the novel Porgy on which the opera was based, and Ira Gershwin.
"In a Sentimental Mood" is a jazz composition by Duke Ellington. He composed the piece in 1935 and recorded it with his orchestra during the same year. Lyrics were written by Manny Kurtz; Ellington's manager Irving Mills gave himself a percentage of the publishing, so the song was credited to all three. Other popular versions in 1935/36 were by Benny Goodman and by Mills Blue Rhythm Band. The opening notes of the song's melody resemble Gershwin's 1926 "Someone To Watch Over Me".
"The Man I Love" is a popular standard with music by George Gershwin and lyrics by his brother Ira. Part of the 1924 score for the Gershwin musical comedy Lady, Be Good, the song was deleted from that show and put into the Gershwins' 1927 government satire Strike Up the Band, which closed out-of-town. It was considered for, then rejected from, the 1928 Ziegfeld hit Rosalie.
"Someone to Watch Over Me" is a 1926 song composed by George Gershwin with lyrics by Ira Gershwin, assisted by Howard Dietz who penned the title. It was written for the musical Oh, Kay! (1926), with the part originally sung on Broadway by English actress Gertrude Lawrence while holding a rag doll in a sentimental solo scene. The musical ran for more than 200 performances in New York and then saw equivalent acclaim in London in 1927, all with the song as its centerpiece. Lawrence released the song as a medium-tempo single which rose to number 2 on the charts in 1927.
Liza (All the Clouds'll Roll Away)" is a song composed by George Gershwin with lyrics by Ira Gershwin and Gus Kahn. It was introduced in 1929 by Ruby Keeler (as Dixie Dugan) in Florenz Ziegfeld's musical Show Girl. The stage performances were accompanied by the Duke Ellington Orchestra. On the show's opening night in Boston on June 25, 1929, Keeler's husband and popular singer Al Jolson suddenly stood up from his seat in the third row and sang a chorus of the song, much to the surprise of the audience and Gershwin himself. Jolson recorded the song a few days later on July 6, 1929, and his rendition rose to number nine on the charts of the day.
In the late 1960s, Latin jazz, combining rhythms from African and Latin American countries, often played on instruments such as conga, timbale, güiro, and claves, with jazz and classical harmonies played on typical jazz instruments broke through. There are two main varieties: Afro-Cuban jazz was played in the US right after the bebop period, while Brazilian jazz became more popular in the 1960s. Afro-Cuban jazz began as a movement in the mid-1950s as bebop musicians such as Dizzy Gillespie and Billy Taylor started Afro-Cuban bands influenced by such Cuban and Puerto Rican musicians as Xavier Cugat, Tito Puente, and Arturo Sandoval. Brazilian jazz such as bossa nova is derived from samba, with influences from jazz and other 20th-century classical and popular music styles. Bossa is generally moderately paced, with melodies sung in Portuguese or English. The style was pioneered by Brazilians João Gilberto and Antônio Carlos Jobim. The related term jazz-samba describes an adaptation of bossa nova compositions to the jazz idiom by American performers such as Stan Getz and Charlie Byrd.
By the end of the 1940s, the nervous energy and tension of bebop was replaced with a tendency towards calm and smoothness, with the sounds of cool jazz, which favoured long, linear melodic lines. It emerged in New York City, as a result of the mixture of the styles of predominantly white swing jazz musicians and predominantly black bebop musicians, and it dominated jazz in the first half of the 1950s. The starting point were a series of singles on Capitol Records in 1949 and 1950 of a nonet led by trumpeter Miles Davis, collected and released first on a ten-inch and later a twelve-inch as the Birth of the Cool. Cool jazz recordings by Chet Baker, Dave Brubeck, Bill Evans, Gil Evans, Stan Getz and the Modern Jazz Quartet usually have a "lighter" sound which avoided the aggressive tempos and harmonic abstraction of bebop. Cool jazz later became strongly identified with the West Coast jazz scene, but also had a particular resonance in Europe, especially Scandinavia, with emergence of such major figures as baritone saxophonist Lars Gullin and pianist Bengt Hallberg. The theoretical underpinnings of cool jazz were set out by the blind Chicago pianist Lennie Tristano, and its influence stretches into such later developments as Bossa nova, modal jazz, and even free jazz. See also the list of cool jazz and West Coast musicians for further detail.
Swing jazz emerged as a dominant form in American music, in which some virtuoso soloists became as famous as the band leaders. Key figures in developing the "big" jazz band included bandleaders and arrangers Count Basie, Cab Calloway, Jimmy and Tommy Dorsey, Duke Ellington, Benny Goodman, Fletcher Henderson, Earl Hines, Glenn Miller, and Artie Shaw. Duke Ellington and his band members composed numerous swing era hits that have become standards: "It Don't Mean a Thing " (1932), "Sophisticated Lady" (1933) and "Caravan" (1936), among others.
The period from the end of the First World War until the start of the Depression in 1929 is known as the "Jazz Age". Jazz had become popular music in America, although older generations considered the music immoral and threatening to cultural values. 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.
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