Notes
- ↑ Squeeze Me at jazzstandards.com - retrieved on 19 May 2009
 | This article about a jazz standard or composition written in the 1920s is a stub. You can help Wikipedia by expanding it. |
"Squeeze Me" is a 1925 jazz standard composed by Fats Waller. It was based on an old blues song called "The Boy in the Boat". The lyrics were credited to publisher Clarence Williams, although Andy Razaf has claimed to have actually written the lyrics. [1]
The song has been recorded by numerous artists, including Louis Armstrong, Mildred Bailey, Count Basie, Eddie Condon, Harry James, James P. Johnson, Bessie Smith, Jimmy Smith, Willie "The Lion" Smith, Dinah Washington, Tuba Skinny and Maria Muldaur.
| | This article about a jazz standard or composition written in the 1920s is a stub. You can help Wikipedia by expanding it. |
"Lover" is a popular song composed by Richard Rodgers with lyrics by Lorenz Hart. It was sung in the movie Love Me Tonight (1932) by Jeanette MacDonald.
"Lullaby of Birdland" is a jazz standard and popular song composed by George Shearing with lyrics by George David Weiss.
"Tenderly" is a popular song published in 1946 with music by Walter Gross and lyrics by Jack Lawrence. Written in the key of E♭ as a waltz in 3
4 time, it has since been performed in 4
4 and has become a popular jazz standard. Notable versions have been recorded by singers, such as Sarah Vaughan, Billie Holiday, and Nat King Cole, and pianists, such as Art Tatum, Bill Evans and Peruchín.
"Teach Me Tonight" is a popular song that has become a jazz standard. The music was written by Gene De Paul, the lyrics by Sammy Cahn. The song was published in 1953.
"Moonlight in Vermont" is a popular song about the U.S. state of Vermont, written by John Blackburn (lyrics) and Karl Suessdorf (music) and published in 1944. It was introduced by Margaret Whiting in a 1944 recording.
"(Back Home Again in) Indiana" is a song composed by James F. Hanley with lyrics by Ballard MacDonald that was published in January 1917. Although it is not the state song of Indiana, it is perhaps the best-known song that pays tribute to the Hoosier state.
"Granada" is a song written in 1932 by Mexican composer Agustín Lara. The song is about the Spanish city of Granada and has become a standard in music repertoire.
"Moody's Mood for Love" is a 1952 song by Eddie Jefferson, whose melody is derived from an improvised solo by jazz saxophonist James Moody on a 1949 recording of the 1935 song "I'm in the Mood for Love". The song is structured as a duet, with a man proclaiming his love for a woman, and the woman responding in kind.
"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.
"I Love You" is a song written by Cole Porter in 1944 for his stage musical Mexican Hayride. The New York Times reviewed the show, saying, among other things: "Of Mr. Porter's score, the best number bears the title almost startling in its forthrightness, "I Love You," and is the property of Mr. Evans".
"Just Squeeze Me " is a 1941 popular song composed by Duke Ellington, with lyrics by Lee Gaines. The song has been recorded numerous times by a number of artists in the years since, having become a jazz standard. Hit recordings have been by Paul Weston & His Orchestra and by The Four Aces.
"Just a Closer Walk with Thee" is a traditional gospel song and jazz standard that has been performed and recorded by many artists. Performed as either an instrumental or vocal, "A Closer Walk" is perhaps the most frequently played number in the hymn and dirge section of traditional New Orleans jazz funerals. The title and lyrics of the song allude to the Biblical passage from 2 Corinthians 5:7 which states, "We walk by faith, not by sight" and James 4:8, "Come near to God and He will come near to you."
"I Ain't Got Nobody" is a popular song copyrighted in 1915. Roger A. Graham (1885–1938) wrote the lyrics, Spencer Williams composed it, and Roger Graham Music Publishing published it. It was first recorded by Marion Harris, and became a perennial standard, recorded many times over the following generations, in styles ranging from pop to jazz to country music. The 2008 film Be Kind Rewind uses the version recorded by Booker T. & the M.G.'s, although two covers were recorded for the film as well: a piano solo version by Jean-Michel Bernard, and a Fats Waller-esque version by Mos Def.
"Cherokee" (also known as "Cherokee (Indian Love Song)") is a jazz standard written by the British composer and band leader Ray Noble and published in 1938. It is the first of five movements in Noble's "Indian Suite" (Cherokee, Comanche War Dance, Iroquois, Seminole, and Sioux Sue).
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. Other influential bandleaders of this period were Benny Goodman and Count Basie.
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.