Standards All Jazz Fans Should Know

If you’re a jazz fan, it is likely you already know what a jazz standard is. If so, good for you! But don’t go anywhere just yet – we have some information you might find interesting later on in this post. If you don’t know what a jazz standard is, this next paragraph is for you, so keep on reading.

A jazz standard is a song that is regularly performed or recorded by jazz artists. Because these songs are played a lot, they are easily recognized by many jazz fans or music lovers in general. Those are pretty much the basics; a jazz standard is simply a popular song that tends to frequently reappear in the repertoires of a wide range of musicians.

The one thing that even jazz fans might not know is that a standard doesn’t have to be written by a jazz composer. A number of jazz standards were originally written for Broadway or Hollywood musicals, or they were Tin Pan Alley songs. In Europe, some standards were even purported to be folk or ethnic songs.

Now that we have determined what a jazz standard is, here are some examples of popular standards all jazz fans should know. Whether you’re new to jazz or a long-time fan, we’re pretty sure you will know some of these songs.

Jazz Standards By Decade

Since there are so many songs out there, we’re going to list a few jazz standards by decade to make things a little easier.

Jazz Standards from the 1920s or The “Jazz Age”

Here are a few popular standards that originated during the 20s.

Jazz Standards from the 1930s

Here are some jazz standards that were written in the 30s.

Jazz Standards from the 1940s

These songs were created during the 40s.

Jazz Standards from the 1950s

These songs came out of the Rock ‘n’ Roll era.

Jazz Standards from the 1960s

Here are a few popular tunes from the 60s.

Jazz Standards from the 1970s and 1980s

These last two decades delivered a handful of hits.

Of course, this is just as small taste of the jazz standards that are out there. So tell us: what are your favorites?

Post by Devon F.

Ralph Moore Performs A John Coltrane Tribute

John Coltrane was a legend in his own right. Easily considered one of the greatest musicians of the modern era, Coltrane revolutionized jazz with his intense improvisations, multi-tonic changes and globally inspired sound.

Ralph Moore is a legend as well. The tenor saxophonist is known for his solid, straight-ahead and inspiring style. He’s a heavyweight in the jazz world and he’s played alongside amazing musicians like Dizzy Gillespie, Horace Silver, Freddie Hubbard, McCoy Tyner, Roy Hargrove and Oscar Peterson.

Both men have forged solid jazz legacies in their own memorable and unique ways.

On Saturday, March 16, Ralph Moore had the chance to honor the man who influenced his tenor sax tone and playing style—John Coltrane.

Moore and his quartet headlined the 47th annual Lakeland Jazz Festival with a tribute to John Coltrane at 8 P.M. The Ralph Moore Quartet featured Moore on tenor sax, Xavier Davis on piano, Rodney Whitaker on acoustic bass and Sean Dobbins on drums.

A special pre-concert discussion with the quartet took place at 7 P.M. Hosted by WCPN radio host Dan Polletta, this portion of the show was only for ticket holders.

Post written by Devon F.


photo: Benjamin Lehman http://benjaminlehman.com

What it’s Like to Tour as a Jazz Musician

What is life like for a jazz musician while they’re touring? Is it full of plush, 5-star restaurants with valet services, or is it a life of hole-in-the-wall clubs that you get to by taking a cab? Well, the answer may surprise you.

Any jazz musician today, Grammy winning or not, is actually living between both of these lifestyles. There will be some months filled with touring through some of Europe’s most prestigious hotels, playing for large, high paying crowds, filled with many who have seen our musicians perform in the past. Other times one of our guys could go back to playing in a small town night club that seats, at most, 40 patrons. It all depends on the time of year and what the venue owners are looking for at that moment.

The one thing that never changes about where our musicians perform however, is the fan base. Whether it’s the Ritz-Carlton or a club that can barely afford Ritz Crackers, the love for jazz music is the same. That’s what keeps them playing and gets them excited for the next tour coming up.

Touring life itself is filled with quick meals and even quicker travel times. A successful jazz musician who’s “on the road” has to be both incredibly quick and flexible in regard to their schedules. Anything can change and anything can certainly happen while touring; from sudden room changes and traffic backups to even instruments breaking or losing pieces. Any musician will tell you they keep a bottle of super glue on them for a reason!

When it comes time to eating while on tour, jazz musicians tend to eat around 5, as most of their shows don’t start until 6:30 or 7 at night. This does not mean, however, that these same musicians don’t eat after the show; oh how wrong you would be! Any musician, jazz or not, will tell you that the post-show cravings for food is nearly unmatched by any other activity. Due to the fact that most sit-down establishments are closed by the time the show ends, many jazz musicians have found that an after performance diet consists of visiting the nearest hamburger or pizza joint!

A quick moving, life of luxury and fast food. This is the life of a jazz musician while they’re touring. Performance halls may change in their pedigree, but the fast happening, crowd loving jazz life is the same anywhere our guys play.

Have any touring stories of your own? Let us know down in the comments below!

On the Radio with Donna Summer

Often a song can pack so much sound and history that you can close your eyes and be transported.  Donna Summer’s “On the Radio” is a song so amazing that it serves as a marker for all songs of the disco century.  The song has the DNA of everything that made disco great. Listening to Donna Summer’s classic “On the Radio” puts you right back in the glitter and dance of disco long ago.

The song has a storied past. Initially written by her producer Giorgio Moroder and first played for her at his house in early 1979, the song failed to move Summer. Moroder put the song on the shelf knowing that someday it would be just right for her.  

Months later Moroder was working on the soundtrack for the movie “Foxes” and could not get the song out of his head.   He approached Summer again and asked her to listen one more time. This time she felt it and agreed to re-write the lyrics and record the song.  

Not an easy re-write, she is quoted as saying the whole song came from the lyric “It must have fallen out of a hole in your old brown overcoat.”  She wrote the song about lost love and the emotions that remain. From that point on, she knew where and how the song should go. A hit was born. The slow-ballad beginning that gives way to that incredible disco drum beat pushed the song to the top of the charts.  The song became so popular so fast that they included the track on her upcoming album release. They named the album “On the Radio: Greatest Hits Volumes I and II.”

Donna Summer’s loved the song “On the Radio” and commented that she always felt the song was a legato Italian melody at its heart.  Hearing the song again feels like being in a time machine traveling to an era that has not lost any of its detail or flare. Donna Summer’s “On the Radio: Greatest Hits Volumes I and II” is a fantastic song collection and worthy of inclusion on anyone’s playlist.

 

Post Written By Michael Brigger 

Jorma Kaukonen: Front Row Seat to the 60’s.

Jorma Kaukonen: Front Row Seat to the 60’s.

Few decades in America are as defined and culturally rich as the 1960’s.  The era is responsible for some of the greatest music in the history of rock.  Listen to any 60’s band and you are immediately taken back in time. The music was a reflection of the passion and protest of the people.  The mental shift that took place in the 60’s can still can be felt present day. There are many legendary stories that can be told of the generation.  Jorma Kaukonen’s new book entitled “Been So Long: My Life and Music” is a front row seat into a world of music, drugs, and fame in the hippie 60’s.  

In “Been So Long: My Life and Music,” Jorma Kaukonen reflects about his life,    music and the artistry that defined the 60’s and found success.  This Rock & Roll Hall of Fame artist is best known for being the legendary guitarist for Jefferson   Airplane. He was a major part of the super-group that produced hits like, “Somebody to Love” and “White Rabbit”.  These are era defining songs that still get constant radio play 50 years later. Getting his start with other great San Francisco artists like Jimmy Hendrix, and Janis Joplin, Kaukonen was there from the          beginning. He played Altamonte, Monterey and Woodstock. These concerts are at the heart of 60’s music and this guy was around to see it all.

In the book Kaukonen draws a contrast between the artists and the fans who flocked to their shows.  He writes that the artists were not all drug induced artist like many have come to think. While drugs, alcohol, and a fear of monogamy were always present, these artists were professional musicians.  He states that he and his music peers did not look at themselves as hippies or drop-outs. They were successful artists that had reached a high level of success and the money that comes with it. They were not living in a beat-up old Volkswagen.  These were mega stars with mansions in San Francisco. They had rich people problems. They did not share the same life as their fans.

Kaukonen’s “Been So Long: My Life and Music,”  is not filled with endless stories of drugs, sex and parties but a clear look at a time in music that caused huge and lasting change to our culture.  Kaukonen’s honest and humorous telling of his past experiences is an amazing look at a time that many wish they could relive. Now 77, Jorma Kaukonen is still touring and active on the music scene.  He also developed a musical retreat in rural Ohio called the Fur Peace Ranch. At the ranch, Kaukonen brings students and professional musicians together to get instruction and hear the stories first hand.

Written by Michael Brigger

Chet Baker: “My Funny Valentine”

From now until Valentine’s Day, we’re sharing some of our picks to get you in the mood.  Last time, we told you about “Our Love Is Easy” by Melody Gardot. Now, we’re giving you a jazz standard.

 

Chet Baker

“My Funny Valentine”

 

My funny Valentine, sweet comic Valentine

You make me smile with my heart

Your looks are laughable

Unphotographable

Yet you’re my favorite work of art

 

Of course, this made the list.  C’mon, you can’t have Valentine’s Day without it!  The funny thing about it is that “My Funny Valentine” started as a show tune written by Richard Rodgers and Lorenz Hart back in 1937, and it was introduced by child star, Mitzi Green.  It’s since become a popular jazz standard and has been performed by more than 600 artists. Baker was able to turn the tune into a jazz classic when he recorded an instrumental version with the Gerry Mulligan Quartet in 1952, and then a haunting vocal version in 1956.  He then would go on to revisit the song a number of times throughout his career.

Chesney Henry Baker Jr., or Chet Baker, was known for the melancholic, fragile tone of his trumpet playing and singing.  He began playing the trumpet at 10 and later went on to play in Army bands while he was a soldier.  During the 50s, he played with Charlie Parker and joined Gerry Mulligan’s quartet in 1952.

In 1954, Baker beat out Miles Davis and many others to win the Downbeat Jazz Poll. Over the next few years, Baker was a frontman for his own combo He played trumpet and sang.  Baker’s good looks, vibratoless, soft tenor voice and cool vibe pretty much put him on the fast track.  But his personal struggles would end up taking a toll on his career.

Despite the troubles, it’s been said that the period between 1977 and 1988 were Baker’s most prolific musical years.  He’s pretty much an icon for the “cool school” style of jazz.

What’s your favorite song for Valentine’s Day?  Let us know in the comments.

Melody Gardot “Our Love is Easy”

We’re sharing our Valentine’s Day song picks to help fill out your playlist for your date night or your self-care time.  Last time, we shared “I Only Have Eyes For You” by Carmen McRae. This time, we’re sharing a song from a contemporary artist.

Melody Gardot

“Our Love is Easy”

Deep within your heart,

You know it’s plain to see

Like Adam was to Eve,

You were made for me

They say the poisoned vine

Breeds a finer wine

Our love is easy

“Our Love is Easy” is from Gardot’s second studio album, My One and Only Thrill.  Her sound has been described as soft-edge, late-night jazz.  “Our Love is Easy” is the type of song you can listen to when you want to think about just how good and effortless your relationship is.  Even though this song was released in 2009, it has a classic and very memorable sound thanks to the composition and Gardot’s sultry voice.

It’s amazing how Gardot has flourished despite a major setback.  At 19, she was hit by an SUV while she was riding her bike. The accident pretty much shattered her body. She was unable to sit for more than 10 minutes, she experienced short-term memory loss and she developed an acute sensitivity to light and sound.

Fast forward to now.  Gardot has released eight albums, been nominated for a Grammy and has toured all over the world.  Music was pretty much her saving grace. And her love for it has helped her beat the odds. Gardot has been influenced by legends like Judy Garland, Janis Joplin, Miles Davis, Duke Ellington, Stan Getz and George Gershwin as well as Latin music artist, Caetano Veloso.

What’s your favorite song for Valentine’s Day? Let us know in the comments.

Carmen McRae, “I Only Have Eyes for You”

Last time, we shared one song to consider for your Valentine’s Day jazz playlist. That song was “I Just Want to Make Love to You” by Etta James. Now, we’re sharing another song to put you and your boo in the mood.

Carmen McRae

“I Only Have Eyes for You”

 

Are the stars out tonight?

I don’t know if it’s cloudy or bright

Cause I only have eyes for you, dear

The moon may be high

But I can’t see a thing in the sky

Cause I only have eyes for you

 

Covered by McRae in 1972 on her album, The Great American Songbook, “I Only Have Eyes for You” was written back in 1934 by composer Harry Warren and lyricist Al Dubin. The song is a jazz standard and has been tackled by a wide variety of musicians. McRae’s live version with Joe Pass is great if you’re looking for a swinging version of a classic love song.

Carmen McRae has been called one of the most influential jazz vocalists of the 20th century. She’s well known for her behind-the-beat phrasing and ironic interpretation of lyrics.

During her career, McRae worked with bandleaders like Benny Carter, Count Basie and Mercer Ellington. She also recorded with jazz greats like Louis Armstrong, Dave Brubeck, Joe Pass, and George Shearing. McRae spent several years as an intermission pianist and singer at Minton’s Playhouse in New York City, and from the mid-50s and on, she toured extensively around the world. She frequently performed at the Monterey Jazz Festival, the North Sea Jazz Festival in the Netherlands, and the Montreux Jazz Festival in Switzerland. She recorded over sixty albums during her career.

What’s your favorite song for Valentine’s Day? Let us know in the comments.

Etta James: “I Just Want to Make Love to You”

Valentine’s Day is right around the corner. You know what that means. Flowers, candy, dinner, unmentionables, all red everything — or maybe yours won’t mean any of those things. Regardless of how you do Valentine’s Day, the right jazz music is key to setting the mood. So, for the next few weeks, we’re going to share some songs that you might want to consider adding to your playlist for that special night or weekend. Some are standards and others are songs that you might not be familiar with.

 

Etta James

“I Just Want to Make Love to You”

 

I don’t want you to be no slave

I don’t want you to work all day

But I want you to be true

And I just wanna make love to you

Love to you, ooohooo

Love to you

 

James put her own sassy spin on this tune that was originally a blues song written by Willie Dixon back in 1954. It was first recorded as “Just Make Love to Me” by Muddy Waters. James recorded it in 1961 as a b-side for her début album, At Last! How could you not like these flirty and very direct lyrics?!? And James’ voice is enough to make any coy lover come right out of their shell.

Born in Los Angeles, California, on January 25, 1938, James was a gospel prodigy by the age of 5. By the age of 12, she started a trio and was soon working with the bandleader Johnny Otis. She eventually went solo in 1955. The 60s brought on popular hits like “At Last”, “Sunday Kind of Love”, “Something’s Got a Hold On Me” and “I Just Want to Make Love to You”.

James was well known for her suggestive stage antics and sassy attitude. Her career lasted right up until a few years before her death. That career included 29 studio albums, six Grammys and her induction into the Rock and Roll Hall of Fame in 1993.

What’s your favorite song for Valentine’s Day? Let us know in the comments.

Looking for the beat? Find it in the rhythm section.

Think of your favorite jazz piece.

You can probably hear it clearly in your head. Think of the tempo, the solos and how the song makes you feel. Now, think about how that piece would sound if you took away the drums, the double bass/electric guitar and the piano/keyboard. There’s no doubt that piece would most likely sound disjointed and not as dynamic as the piece that you fell in love with does.

That’s why the rhythm section is at the heart of every jazz song you hear. Without it, everything would just fall flat.

So what is a rhythm section?

A rhythm section, also known as a backup band, provides the rhythm, harmony and beat for a jazz band or ensemble. A typical rhythm section might have one or more guitars, a keyboard instrument or piano, a double bass or electric bass and drums. There’s no set number of instruments for a rhythm section. It can be made up of two or three instruments, or it can have several keyboardists, guitar players, string players and drummers.

Large rhythm sections are often led by a bandleader or a conductor. This person deciphers the tempo of each song, when the song starts, when the song gets slower, when the soloists are supposed to change and how a song a song will end.

In jazz groups and jazz fusion bands, the rhythm section members usually perform improvised solos. Drummers might “trade” short solo sections with a saxophone player or trumpet players. This is often referred to as “trading fours.” Drummers and horn players will alternate four-bar solo sections during a song. It’s common for them to trade eights, twos, ones, or other numbers depending on the style of the piece.

Some pieces that spotlight what rhythm sections do best are “Kind of Blue” by Miles Davis,
“Ornithology” by Charlie Parker, “Birdland” by Weather Report and “Actual Proof” by Herbie Hancock to name a few.

What are your picks for best rhythm section? Let us know in the comments.