This is adynamic list and may never be able to satisfy particular standards for completeness. You can help byediting the page to add missing items, with references toreliable sources.
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 aremusical compositions that are widely known, performed and recorded byjazz 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 majorfake 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 andRobert Sour. The song was used in the successful Broadway revueThree'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 byLouis 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 theGrammy 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 byGinger Rogers in the Broadway musicalGirl 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 byAl J. Neiburg. Louis Armstrong recorded it in 1930, andRudy Vallée andGuy Lombardo both made the charts with their versions the same year.[13] SaxophonistLester Young recorded it several times during his career.[13] Country singerFrank 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 unfinishedoperettaEast to West in 1928. It became a big hit after Ginger Rogers introduced it in the Broadway musicalGirl Crazy, and was first recorded byFred 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 musicalGirl Crazy, with lyrics by Ira Gershwin. First-timerEthel Merman's performance onGirl 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 andSidney Arodin,[23] was a hit for theMills Brothers in 1941.[24] TheSi Zentner Orchestra recorded it in 1962 and used it as their theme song.[24] Online music guideAllmusic 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 fromCole Porter's Broadway musicalThe New Yorkers. Itsprostitution-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 byKathryn Crawford and later byElizabeth Welch.[26] It was first recorded byFred Waring and His Pennsylvanians. The song took time to catch on as a jazz standard, possibly because it was 72 measures long. WhenSidney 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 revueBlackbirds of 1930. It was composed byEubie Blake and lyrics were written byAndy Razaf. It was introduced by Minto Cato on Broadway[30] and the first recording was made byEthel Waters in 1930.[31] Louis Armstrong's 1930 recording wasLionel Hampton's debut performance as a vibraphonist and rose to number 18 on the charts.[30] Hampton later recorded the tune again withBenny 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 byBarney Bigard andDuke Ellington, with lyrics byIrving Mills. Bigard has admitted borrowing parts of the song from a composition called "Dreamy Blues" by his teacherLorenzo Tio.[34] The lyrics were written byMitchell 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 musicalLew 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 andTed 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 andJo Stafford both brought the song to the charts in 1945.[41]Jeremy Wilson argues that the song may actually have been composed byFats Waller, who then sold the rights for it.[41]
"All of Me"[4][10][43][44] was written byGerald Marks andSeymour Simons. It was introduced on the radio byvaudeville performerBelle 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 byMildred Bailey withPaul Whiteman and His Orchestra, and by February 1932 both Louis Armstrong andBen Selvin had risen to the charts with the song in addition to Whiteman.[45] The song was rarely performed after 1932 untilFrank Sinatra recorded it in 1948 and performed it in the 1952 filmMeet Danny Wilson.[45]
"I Surrender Dear" is the title song of a 1931 film starringBing Crosby. It was composed byHarry Barris with lyrics byGordon Clifford. Bing Crosby performed the song in the film, and his recording with theGus 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 albumBrilliant Corners.[46]
"Just Friends"[10][47] is a ballad composed byJohn Klenner with lyrics bySam M. Lewis. It was introduced byRed 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 byCharlie Parker's 1950 recording, the song became popular among West Coastcool 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 withBenny Carter andDjango Reinhardt was long the definitive version. The song's harmony has been reused in many jazz compositions, such asTadd Dameron's "Casbah" andFats Navarro's "Nostalgia".[50]
"When It's Sleepy Time Down South"[51] is a song about theGreat Migration, written byClarence 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 pianistArt 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 fromWalk a Little Faster, composed byVernon Duke with lyrics byYip Harburg. It was sung byEvelyn Hoey in the musical, but did not become popular until after the Broadway production ended and blues singerMarian Chase started including it in her repertoire.[58] The first recording was byFreddy 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 byIrving Berlin, was first made a hit byPaul Whiteman and His Orchestra with vocalist Jack Fulton. The song's jazz popularity was established by Benny Goodman's 1941 recording with singerPeggy 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 byVictor 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. SaxophonistChu Berry made an influential jazz recording withCab 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 musicalGay Divorce. It was introduced on stage byFred Astaire, who also sang it in the 1934 filmThe 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 byAnn Ronell. It was first recorded byTed 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 onPiano 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]
"Don't Blame Me"[4][10][73][74] was introduced in the musical revueClowns in Clover and included in the 1933 filmDinner 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 filmI Cover the Waterfront, and was first recorded byAbe 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 showThe Great Magoo, composed byHarold Arlen with lyrics by Yip Harburg andBilly Rose. Originally titled "If You Believed in Me", the current title was introduced in the 1933 filmTake a Chance. The song first charted in 1933 with Paul Whiteman's andCliff Edwards's recordings. Nat King Cole recorded a trio performance of it in 1943, and bothElla Fitzgerald and Benny Goodman charted with the song in 1945.[79]
"Sophisticated Lady"[4][10][81][82] is a jazz composition byDuke Ellington. Lyrics were later added by Irving Mills and Mitchell Parish. Ellington's recording rose to number three on the charts.Glen Gray andDon Redman also charted with the song in 1933.Lawrence Brown andToby Hardwick have claimed to have composed parts of the music; according toStuart 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 musicalRoberta, with lyrics byOtto Harbach. It was introduced byIrene 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]
"Autumn in New York"[4][86] was written for the Broadway musicalThumbs Up! by Vernon Duke, who contributed both music and lyrics for the song. Introduced on stage byJ. Harold Murray and first recorded byRichard 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 albumCharlie Parker with Strings.[87]
"Blue Moon",[10][88] composed by Richard Rodgers, was originally named "Prayer" and meant for the musical filmHollywood Party. Lorenz Hart rewrote the lyrics two times forManhattan Melodrama, and eventually it was sung byShirley 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 byGlen Gray and theCasa Loma Orchestra. Hart disliked the final version, which nonetheless became his most popular song.[89] A 1961rock and roll version byThe Marcels sold a million copies and was included in theRock 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 byEddie 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 theMills 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 musicalRoberta. 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 bydoo-wop groupThe Platters in 1958. Kern originally composed the song as a fast tap-dance number for his 1927 musicalShow Boat, and converted it into a ballad forRoberta. 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 composerFrank Perkins and lyricist Mitchell Parish. It was introduced byGuy 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 byEdgar Sampson with lyrics by Andy Razaf.[101] First recorded byChick 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 theSavoy Ballroom in New York; the song title is mentioned in a commemorative plaque the ballroom's former place.[102]
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 musicalJubilee, first recorded byXavier 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 barAABA form).Fred Astaire andEleanor Powell's tap dance to the tune in the 1940 filmBroadway 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 biographerJames 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 byJune Knight and Charles Walters in Broadway musicalJubilee. 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 musicalJumbo.Donald Novis and Gloria Grafton introduced the song on stage and recorded it with Paul Whiteman and His Orchestra.[109]Doris Day sang it inJumbo's 1962 film version.[110]Ben Webster recorded the song several times as a ballad.Bill Evans Trio's 1961 recording onWaltz 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 comedySpread it Abroad, written byHarry Link,Holt Marvell andJack Strachey. It was introduced by French actorJean 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 withOscar Peterson's trio, replacing the original melody almost completely.[115] The song is also known as "These Foolish Things Remind Me of You".[114]
"Caravan"[10][116][117] is a jazz song withMiddle Eastern influences, composed by Duke Ellington andJuan 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 byBilly Eckstine in 1946.[121]
"I Can't Get Started"[4][10][122] was introduced byBob Hope in the Broadway musicalZiegfeld 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 byLouis 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 filmSwing 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 andArt Blakey's Jazz Messengers recorded their version in 1954.Johnny Griffin performed the piece withJohn Coltrane andHank Mobley on the 1957 albumA Blowin' Session.[135] Kern wrote the song's melody incounterpoint 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 filmA 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 withLondon and begins with the chimes ofBig 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 comedyI'd Rather Be Right, introduced on stage byJoy 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 musicalBabes in Arms. It was introduced on stage byMitzi 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 (onMy Funny Valentine, 1954) and Miles Davis (onCookin', 1956).[146]
"Nice Work If You Can Get It[4] was written by George and Ira Gershwin for the musical filmA 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 byMichael Edwards with lyrics byBud 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 byHorace Heidt in 1937, Louis Armstrong in 1938,Patti Page in 1952 and doo-wop groupThe 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 instrumentaltwelve-bar blues composition by Count Basie. Used as thesignature 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] SaxophonistBuster 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 byHarry James in 1938 and by theMetronome 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 filmShall 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 onCharlie Parker with Strings.[157]
"Cherokee"[159][160] is a jazz song originally written byRay Noble as a part of a largerIndian Suite. It became a hit forCharlie 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 byFrank Loesser. It was first performed byLarry Clinton and His Orchestra featuringBea Wain in the short filmA Song Is Born; their version charted at number one in 1939.[164] The song has been recorded by Ella Fitzgerald,Dean Martin, andDave 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 filmThe Goldwyn Follies. Lyrics were provided by Ira Gershwin. The song gained little attention fromThe Goldwyn Follies and is better known for the 1951 filmAn 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 byNed Washington. It was meant to be included in the filmRomance in the Rough, which was never produced. The first hit version was made byGlenn 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 andMack Gordon. It was first recorded as an instrumental by the Duke Ellington Orchestra featuringJohnny 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 byWalter Huston in the Broadway musicalKnickerbocker Holiday. It was composed byKurt Weill with lyrics byMaxwell 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]
"You Go to My Head" was written by composerJ. Fred Coots and lyricistHaven Gillespie and introduced by Glen Gray and the Casa Loma Orchestra, who charted at number nine in 1938. Teddy Wilson with vocalistNan 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]
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 musicalVery 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" byKenny Dorham.
"Darn That Dream"[44][187] was composed byJimmy Van Heusen for the Broadway musicalSwingin' 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 aLatin jazz composition by Alberto Dominguez. Originally composed for themarimba, jazz arrangements were later made by Leonard Whitcup and others. A 1940 hit version recorded by Artie Shaw with an arrangement byWilliam 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 byJohnny Mercer. Mildred Bailey recorded the first hit version with the Benny Goodman Orchestra. GuitaristJohnny Smith recorded it in the 1950s for the Roost label. Miles Davis included the song on his 1961 albumSomeday My Prince Will Come.[195]
"In the Mood"[196][197] is a jazz composition byJoe Garland based onWingy Manone's "Tar Paper Stomp". Andy Razaf wrote the lyrics for the song. Garland recorded "In the Mood" withEdgar 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 pianistChummy 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 byJudy Garland in the filmThe 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-songwriterTori Amos in 1996. The song is also known as "Somewhere over the Rainbow".[206]
"Something to Live For"[207] is a jazz ballad written byBilly 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 byBob 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 byJoe 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]
