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.
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]
"
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
"
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]
1938
"
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
"
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]
^Wilson, Jeremy.
"September Song". JazzStandards.com. Retrieved 20 February 2009.
^The Big Broadcast of 1938 - "Thanks For the Memory" sung in the film by Bob Hope and Shirley Ross with the Shep Fields Orchestra in Hollywood Musicals Year by Year by Stanley Green, Milwaukee WI, 1990 & 1999
ISBN0-634-00765-3 on books.google.com