List of 1930s jazz standards 1

List of 1930s jazz standards

Richard Rodgers (left) and Lorenz Hart were responsible for a largenumber of 1930s standards, including "Blue Moon" (1934), "My

Romance" (1935) and "My Funny Valentine" (1937).

Jazzstandards

A-Z

Before 1920

1920s

1930s

1940s

1950s and later

Jazz standards are musical compositions that are widely known, performed and recorded by jazz artists as part of thegenre's musical repertoire. This list includes compositions written in the 1930s that are considered standards by atleast one major fake book publication or reference work. Some of the tunes listed were already well known standardsby the 1940s, while others were popularized later. Where appropriate, the years when the most influential recordingsof a song were made are indicated in the list.Broadway theatre contributed some of the most popular standards of the 1930s, including George and Ira Gershwin's"Summertime" (1935), Richard Rodgers and Lorenz Hart's "My Funny Valentine" (1937) and Jerome Kern andOscar Hammerstein II's "All the Things You Are" (1939). These songs still rank among the most recordedstandards.[1] Johnny Green's "Body and Soul" was used in a Broadway show and became a hit after ColemanHawkins's 1939 recording. It is the most recorded jazz standard of all time.[]

In the 1930s, swing jazz emerged as a dominant form in American music. Duke Ellington and his band memberscomposed numerous swing era hits that have become standards: "It Don't Mean a Thing (If It Ain't Got That Swing)"(1932), "Sophisticated Lady" (1933) and "Caravan" (1936), among others. Other influential bandleaders of thisperiod were Benny Goodman, Louis Armstrong, Cab Calloway and Fletcher Henderson. Goodman's band becamewell-known from the radio show Let's Dance and in 1937 introduced a number of jazz standards to a wide audiencein the first jazz concert performed in Carnegie Hall.[2]

List of 1930s jazz standards 2

1930

George Gershwin's songs have gained lastingpopularity 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).

• "Body and Soul"[3][4][5][6] is a song composed by Johnny Greenwith lyrics by Frank Eyton, Edward Heyman and Robert Sour.The song was used in the successful Broadway revue Three's aCrowd and became an instant hit, despite being banned fromthe radio for almost a year for its sexually suggestive lyrics.[]

The first jazz recording was by Louis Armstrong in 1930.Coleman Hawkins's 1939 recording consisted of three minutesof improvisation over the song's chord progression with onlypassing references to the melody. Hawkins's rendition was thefirst purely jazz recording that became a commercial hit[7] andwas inducted into the Grammy Hall of Fame in 1973.[] Thesong is the most recorded jazz standard of all time.[]

• "But Not for Me"[8] was introduced by Ginger Rogers in theBroadway musical Girl Crazy. It was composed by GeorgeGershwin with lyrics by Ira Gershwin. The song failed toachieve significant pop success, charting only once in 1942.However, it became popular in the jazz world, especially forfemale vocalists.[9]

• "Confessin'"[3][10] was composed by Ellis Reynolds and DocDaugherty, with lyrics by Al J. Neiburg. Louis Armstrongrecorded it in 1930, and Rudy Vallée and Guy Lombardo both made the charts with their versions the same year.[]

Saxophonist Lester Young recorded it several times during his career.[] Country singer Frank Ifield had a numberone hit with the song in the United Kingdom in 1963.[] The song is also known as "I'm Confessin' (That I LoveYou)".[]

• "Embraceable You"[11] was originally composed by George Gershwin for an unfinished operetta East to West in1928. It became a big hit after Ginger Rogers introduced it in the Broadway musical Girl Crazy. Lyrics werewritten by Ira Gershwin. Billie Holiday's 1944 recording was inducted into the Grammy Hall of Fame in 2005.[]

• "Exactly Like You"[12][13] was sung by Harry Richman and Gertrude Lawrence in Broadway show Lew Leslie'sInternational Revue. It was composed by Jimmy McHugh with lyrics by Dorothy Fields. Louis Armstrongrecorded the first jazz version in 1930. Benny Goodman's 1936 recording, sung by Lionel Hampton, revivedinterest in the song; the following year it was recorded by Count Basie and Quintette du Hot Club de France.[14]

• "Georgia on My Mind"[3][8][15] is a song composed by Hoagy Carmichael with lyrics by Stuart Gorrell. BixBeiderbecke played cornet on Carmichael's original 1930 recording. Frankie Trumbauer recorded the first hitversion of the song in 1931. Ray Charles's version on The Genius Hits the Road (1960) was a number one hit,won two Grammy Awards and is considered to be the definitive version of the song.[] The song was designated asthe state song of Georgia in 1979.[]

• "I Got Rhythm"[8] was composed by George Gershwin for the Broadway musical Girl Crazy, with lyrics by IraGershwin. First-timer Ethel Merman's performance on Girl Crazy stole the limelight from leading lady GingerRogers. The song's chord progression has been used in countless jazz compositions, and is commonly known as"rhythm changes".[16] George Gershwin's last concert composition, Variations on "I Got Rhythm" was based onthis song.[17]

• "Love for Sale"[8] 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.[] Porter himself was actually pleased that it could not be sung over the air.[18] In the original musical the song was first sung by Kathryn Crawford and later by Elizabeth Welch.[] The song took time to catch

List of 1930s jazz standards 3

on as a jazz standard, possibly because it was 72 measures long. When Sidney Bechet recorded it in 1947, thesong was not yet a regular jazz number.[]

• "Memories of You"[3][19][20] first appeared in the musical revue Blackbirds of 1930. It was composed by EubieBlake and lyrics were written by Andy Razaf. It was introduced by Minto Cato on Broadway[] and the firstrecording was made by Ethel Waters in 1930.[21] Louis Armstrong's 1930 recording was Lionel Hampton's debutperformance as a vibraphonist and rose to number 18 on the charts.[] Hampton later recorded the tune again withBenny Goodman's orchestra; this version has made the song a popular clarinet number.[]

• "Mood Indigo"[3][8][22][23] is a jazz song composed by Barney Bigard and Duke Ellington, with lyrics by IrvingMills. Bigard has admitted borrowing parts of the song from a composition called "Dreamy Blues" by his teacherLorenzo Tio.[] The lyrics were written by Mitchell Parish, who then sold them to Mills's publishing company for afixed price.[24][25] When the song became a hit, Parish was therefore left without royalties.[26] Ellington's 1930recording was inducted into the Grammy Hall of Fame in 1975.[]

• "On the Sunny Side of the Street"[3][8][27][28][29] was written by composer Jimmy McHugh and lyricist DorothyFields for the Broadway musical Lew Leslie's International Revue. Harry Richman sang it in the original revue.[]

Although the musical was a flop, "On the Sunny Side of the Street" became instantly popular. Richman and TedLewis charted with it in 1930,[] and Louis Armstrong recorded his version in 1934. The song is readily associatedwith Armstrong today.[30] Tommy Dorsey and Jo Stafford both brought the song to the charts in 1945.[] JeremyWilson argues that the song may actually have been composed by Fats Waller, who then sold the rights for it.[]

1931• "All of Me"[3][8][31][32] 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, reportedlybreaking into tears in mid-performance.[] The first hit recording was made by Mildred Bailey with Paul Whitemanand His Orchestra, and by February 1932 both Louis Armstrong and Ben Selvin had risen to the charts with thesong in addition to Whiteman.[] The song was rarely performed after 1932 until Frank Sinatra recorded it in 1948and performed it in the 1952 film Meet Danny Wilson.[]

• "I Surrender Dear" is the title song of a 1931 film starring Bing Crosby. It was composed by Harry Barris withlyrics by Gordon Clifford. Bing Crosby performed the song in the film, and his recording with the Gus ArnheimOrchestra became his first solo hit and helped him get a contract for his first radio show.[] The first jazz vocalist torecord the song was Louis Armstrong in 1931.[] Thelonious Monk recorded it as the sole standard on his 1956album Brilliant Corners.[]

• "Just Friends"[8][33] is a ballad composed by John Klenner with lyrics by Sam M. Lewis. It was introduced by RedMcKenzie and His Orchestra. The song rose to the charts twice in 1932; Russ Columbo's recording with LeonardJoy's Orchestra peaked at number fourteen, as did a rendition by Ben Selvin and His Orchestra later the sameyear. Popularized in modern jazz by Charlie 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.[34]

• "Lazy River",[3][35] a song by Hoagy Carmichael and Sidney Arodin,[] was a hit for the Mills Brothers in 1941.[]

The Si Zentner Orchestra recorded it in 1962 and used it as their theme song.[] Online music guide Allmusicdescribes it as "[e]asily one of the true pop classics of all time".[36] It is also known as "Up a Lazy River" or "Upthe Lazy River".[]

• "Out of Nowhere"[3][8][37] 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 1937recording with Benny Carter and Django Reinhardt was long the definitive version. The song's harmony has beenreused in many jazz compositions, such as Tadd Dameron's "Casbah" and Fats Navarro's "Nostalgia".[38]

• "When It's Sleepy Time Down South"[] 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.[39] Louis Armstrong later adopted it as his theme song[40] and recorded it almost a hundred times during

List of 1930s jazz standards 4

his career.[41] The song is also known as "Sleepy Time Down South".[]

• "When Your Lover Has Gone" was written by Einar Aaron Swan for the film Blonde Crazy. Louis Armstrongmade the first jazz recording of the song in 1931. The same year it was recorded by Gene Austin, Ethel Watersand Benny Goodman, and Austin's rendition was the first to hit the charts. Frank Sinatra included the song on his1955 album In the Wee Small Hours. Sarah Vaughan made an uptempo recording in 1962 with Count Basie'sband.[42]

1932

Virtuoso pianist Art Tatum mostly played Broadway and popularstandards. He usually radically reworked the songs and had theability to make standards sound like new compositions. Tatum's

influential piano solos include "Tiger Rag", "Willow Weep for Me"and "Over the Rainbow".

• "Alone Together" is a ballad from Arthur Schwartzand Howard Dietz's Broadway musical FlyingColors. It was introduced by Jean Sargent on stage.A rendition by Leo Reisman and His Orchestracharted in 1932, and Artie Shaw made the first jazzrecording in 1939. Dizzy Gillespie borrowed theharmony from the song's bridge for his 1942composition "A Night in Tunisia".[43]

• "April in Paris"[3][8][44] is a Broadway show tunefrom Walk a Little Faster, composed by VernonDuke with lyrics by Yip Harburg. It was sung byEvelyn Hoey in the musical, but did not becamepopular until after the Broadway production endedand blues singer Marian Chase started including it inher repertoire.[] Thelonious Monk's 1947 piano triorendition helped popularize the song as a jazzvehicle.[] Count Basie's 1955 recording became hisbiggest hit[] and was inducted into the Grammy Hallof Fame in 1985.[]

• "How Deep Is the Ocean? (How High Is the Sky?)",[45] a song written by Irving Berlin, was first made a hit byPaul Whiteman and His Orchestra with vocalist Jack Fulton. The song's jazz popularity was established by BennyGoodman's 1941 recording with singer Peggy Lee. Coleman Hawkins made a popular jazz version in 1943, andCharlie Parker recorded it as a ballad in 1947.[46]

• "I Don't Stand a Ghost of a Chance with You"[3][47][48] was composed by Victor Young with lyrics by BingCrosby and Ned Washington. The first recording by Crosby became an immediate hit, reaching number five onthe pop singles chart. Saxophonist Chu Berry made an influential jazz recording with Cab Calloway in 1940. Thesong's name is often shortened to "Ghost of a Chance".[49]

• "It Don't Mean a Thing (If It Ain't Got That Swing)"[3][8][50][51] is a jazz song which singer Ivie Andersonintroduced with the Duke Ellington Band. The lyrics for the Ellington composition were written by Irving Mills.The same year, a rendition by the Mills Brothers rose to the charts. The song's title introduced the term "swing"into common usage and gave name to the swing era.[52]

• "New Orleans"[53] is a song by Hoagy Carmichael. First recorded by Bennie Moten's Kansas City Orchestra andthe Casa Loma Orchestra as an up-tempo number, the song only achieved success after Carmichael recorded aslower version with vocalist Ella Logan. The song was based on the chord progressions of "You Took Advantageof Me" and "Wrap Your Troubles in Dreams".[54]

• "Night and Day"[8] 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

List of 1930s jazz standards 5

his own name in 1942.[55]

• "Willow Weep for Me"[3][32][56] is a song with music and lyrics by Ann Ronell. It was first recorded by Ted FioRito and His Orchestra and, two weeks later, by Paul Whiteman and His Orchestra.[] Art Tatum recorded thepiece six times; his 1949 performance on Piano Starts Here is often considered the definitive instrumental versionof the song.[][57] Count Basie's "Taxi War Dance" was based on the song's harmony.[] Ronell dedicated the songto George Gershwin.[]

1933• "Don't Blame Me"[3][8][58][59] 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 GuyLombardo and Ethel Waters in 1933. Nat King Cole recorded it several times as an instrumental, and had a hitwith a 1944 vocal version. Charlie Parker made an influential ballad rendition in 1947. The song was composedby Jimmy McHugh with lyrics by Dorothy Fields.[60]

• "I Cover the Waterfront", composed by Johnny Green with lyrics by Edward Heyman, was inspired by the 1932novel of the same name by Max Miller. The song was included in the score of the 1933 film I Cover theWaterfront. Louis Armstrong, Joe Haymes, Eddy Duchin and composer Green all made recordings of the song in1933, and Haymes's and Duchin's versions made the pop charts. Billie Holiday recorded the song many timesduring her career. Art Tatum recorded it as a solo piano piece in 1949 and returned to it several times.[61]

• "It's Only a Paper Moon"[3][62][63] is a song from the short-lived Broadway show The Great Magoo, composed byHarold Arlen with lyrics by Yip Harburg and Billy Rose. Originally titled "If You Believed in Me", the currenttitle was introduced in the 1933 film Take 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 both Ella Fitzgerald andBenny Goodman charted with the song in 1945.[64]

• "Sophisticated Lady"[3][8][65][66] is a jazz composition by Duke Ellington. Lyrics were later added by Irving Millsand Mitchell Parish. Ellington's recording rose to number three on the charts. Glen Gray and Don Redman alsocharted with the song in 1933. Lawrence Brown and Toby Hardwick have claimed to have composed parts of themusic; 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.[67]

• "Yesterdays"[3][32][68] was composed by Jerome Kern for the Broadway musical Roberta, with lyrics by OttoHarbach. It was introduced by Irene Dunne. Not as popular in the pop world as "Smoke Gets in Your Eyes" fromthe same musical, it has enjoyed much more success in jazz circles. The song is often associated with BillieHoliday, who recorded it in 1944.[69]

1934• "Autumn in New York"[3][70] 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, it was not until 1947 thatthe song became a hit with Jo Stafford's and Frank Sinatra's recordings. It became a popular jazz number in the1950s after Charlie Parker recorded it for his album Charlie Parker with Strings.[71]

• "Blue Moon",[8][72] composed by Richard Rodgers, was originally named "Prayer" and meant for the musical filmHollywood Party. Lorenz Hart rewrote the lyrics two times for Manhattan Melodrama, and eventually it was sungby Shirley Ross as "The Bad in Every Man". It was later released commercially as "Blue Moon", with yet anotherset of lyrics. Hart disliked the final version, which nonetheless became his most popular song.[73] A 1961 rockand roll version by The Marcels sold a million copies and was included in the Rock and Roll Hall of Fame's list of500 Songs that Shaped Rock and Roll.[74]

• "Solitude"[3][8][75][76] 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

List of 1930s jazz standards 6

recordings made the charts in 1935, one by Ellington and one by the Mills Blue Rhythm Band. Ellington's firstvocal recording was made in 1940 with singer Ivie Anderson. The song is also known as "In My Solitude".[77]

• "Smoke Gets in Your Eyes"[3][8][78] 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 originallycomposed the song as a fast tap-dance number for his 1927 musical Show Boat, and converted it into a ballad forRoberta. The song is particularly favored by piano players; Teddy Wilson made an early influential piano versionin 1941.[79]

• "Stars Fell on Alabama"[8][80] was written by composer Frank Perkins and lyricist Mitchell Parish. The first jazzrecording was made by Benny Goodman in 1934. Jack Teagarden recorded it many times; his first recording wasmade with Goodman's orchestra in 1934 and he performed it in a 1947 Boston Symphony Hall concert with LouisArmstrong's All Stars.[81]

• "Stompin' at the Savoy"[3][8][82][83] is a jazz composition by Edgar Sampson with lyrics by Andy Razaf.[] Firstrecorded by Chick Webb in 1934, it was popularized by Benny Goodman's 1936 recording.[] Both Webb andGoodman received composer co-credit for the song.[] It was named after the Savoy Ballroom in New York; thesong title is referenced in a commemorative plaque put up in the ballroom's place when it was torn down in1958.[]

1935

Many 1930s standards were popularized by jazz singerBillie Holiday's recordings, including "These Foolish

Things", "Embraceable You" and "Yesterdays".

• "Begin the Beguine is a show tune from Cole Porter'sBroadway musical Jubilee, popularized by Artie Shaw'srecording in 1938. It is considerably longer than the averagesong of the time (104 bars instead of the usual 32 bar AABAform). Fred Astaire and Eleanor Powell's tap dance to the tunein the 1940 film Broadway Melody of 1940 became one of themost popular dance scenes on film.[84]

• "In a Sentimental Mood"[3][8][85][86] is a jazz song with musicby Duke Ellington and lyrics by Manny Kurtz and Irving Mills.Ellington's biographer James Lincoln Collier argues that themelody was originally composed by Toby Hardwick.[] Thesong is among Ellington's most popular compositions.[] BothBenny Goodman and the Mills Blue Rhythm Band charted withthe song in 1936. At one point, it was used as the theme song ofnine different radio shows.[]

• "Just One of Those Things" was introduced by June Knight andCharles Walters in Broadway musical Jubilee. The song waswritten by Cole Porter. Richard Himber and His Orchestra wasthe first to chart with the song in late 1935. Red Garlandrecorded it in London in 1936. Teddy Wilson made a 1944recording with Coleman Hawkins and recorded it the following year with the Benny Goodman Sextet. The song isalso known as "It Was Just One of Those Things".[87]

• "My Romance"[3][32][88] is a song from Richard Rodgers and Lorenz Hart's Broadway musical Jumbo. DonaldNovis and Gloria Grafton introduced the song on stage and recorded it with Paul Whiteman and His Orchestra.[]

Doris Day sang it in Jumbo's 1962 film version.[89] Ben Webster recorded the song several times as a ballad. BillEvans Trio's 1961 recording on Waltz for Debby is among the many medium-tempo swing renditions of thesong.[]

List of 1930s jazz standards 7

• "Summertime"[8] was written by George Gershwin for the opera Porgy and Bess, based on a poem by DuBoseHeyward. Introduced by Abbie Mitchell,[] it is one of Gershwin's best-known compositions.[] Sidney Bechet's1939 hit record helped establish the Blue Note record label. One of the best-known renditions is by Miles Davisand Gil Evans on Porgy and Bess (1958).[] Billy Stewart had a top ten hit with the song in 1966.[]

• "These Foolish Things"[3][32][90] is a song from the British musical comedy Spread it Abroad, written by HarryLink, Holt Marvell and Jack Strachey. It was introduced by French actor Jean Sablon, who also recorded it inFrench as "Ces petites choses".[] Billie Holiday recorded it in 1936 with Teddy Wilson and His Orchestra. BennyGoodman had a #1 hit with the song in 1936.[] Lester Young made a 1952 recording with Oscar Peterson's trio,replacing the original melody almost completely.[91] The song is also known as "These Foolish Things RemindMe of You".[]

1936• "Caravan"[8][92][93] 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 differentarrangements.[] It was a permanent part of Ellington's concert repertoire and was always played as the secondnumber.[94] Barney Bigard made the first recording in 1936 with a band composed of members of Ellington'sorchestra.[95] The first vocal version to become a hit was made by Billy Eckstine in 1946.[96]

• "I Can't Get Started"[3][8][97] was introduced by Bob Hope in the Broadway musical Ziegfeld Follies of 1936.[] Itwas composed by Vernon Duke with lyrics by Ira Gershwin. Bunny Berigan's 1937 version became his mostpopular recording[98] and was inducted into the Grammy Hall of Fame in 1975.[] Due to the success of Berigan'sversion, the piece is especially popular among trumpeters.[] Billie Holiday recorded the song in 1938 with LesterYoung, and Young made a recording with his own trio in 1942.[] The song is also known as "I Can't Get Startedwith You".[]

• "Pennies from Heaven"[3][8][99] was written by Arthur Johnston and lyricist Johnny Burke for the film Penniesfrom Heaven. It was introduced by Bing Crosby, whose version remained on the top of the charts for 10 weeksand was nominated for an Academy Award for Best Original Song. Lester Young played on Count Basie's 1937recording and recorded the song several times in the 1940s and 1950s.[100]

• "Sing, Sing, Sing" is often associated with swing jazz bands, especially Benny Goodman's. The piece wasperformed in Goodman's 1938 Carnegie Hall concert[] and was often used as the closing number in his liveperformances.[101] Written by Louis Prima and originally titled "Sing, Bing, Sing" as a reference to BingCrosby,[] the song is also known as "Sing, Sing, Sing (With a Swing)".[102]

• "There Is No Greater Love"[3][103][104] is an Isham Jones composition with lyrics by Marty Symes. Released bythe Isham Jones Orchestra as a B-side to "Life Begins When You're in Love", it was the band's last hit beforeWoody Herman took over as bandleader. The first jazz recording was made by Duke Ellington.[105] A part of thesong's melody was borrowed from Pyotr Tchaikovsky's Piano Concerto No. 1.[106]

• "The Way You Look Tonight"[3][32][107] was introduced by Fred Astaire in the film Swing Time. It was composedby Jerome Kern with lyrics by Dorothy Fields. Astaire's recording reached number one on the charts and the songwon the Academy Award for Best Original Song. Billie Holiday recorded it with Teddy Wilson's orchestra in1936. Benny Goodman made a version with Peggy Lee in 1942 and Art Blakey's Jazz Messengers recorded theirversion in 1954. Johnny Griffin performed the piece with John Coltrane and Hank Mobley on the 1957 album ABlowin' Session.[108] Kern wrote the song's melody in counterpoint with "A Fine Romance"; the songs are sungtogether on the film's closing scene.[109]

List of 1930s jazz standards 8

1937• "Easy Living",[3][110] a ballad composed by Ralph Rainger with lyrics by Leo Robin, was written for the film

Easy Living and included on the soundtrack of the 1940 film Remember the Night.[111] It is most closelyassociated with Billie Holiday, who recorded it with Teddy Wilson's Orchestra in 1937.[112]

• "A Foggy Day"[8] was written by George and Ira Gershwin for the musical film A Damsel in Distress. It wasintroduced in the film by Fred Astaire, whose recording rose to number three on the charts. Bob Crosby'sorchestra charted with the song in 1938.[] The song is associated with London and begins with the chimes of theBig Ben.[113] It is also called "A Foggy Day in London Town".[]

• "Have You Met Miss Jones?"[3][8][114] is a ballad from the Broadway comedy I'd Rather Be Right, introduced onstage by Joy Hodges and Austin Marshall.[] The song was composed by Richard Rodgers with lyrics by LorenzHart. Its bridge may have served as an inspiration to John Coltrane's 1959 composition "Giant Steps".[115] Femalesingers often sing it as "Have You Met Sir Jones?".[]

• "My Funny Valentine"[3][8][116] is Richard Rodgers and Lorenz Hart's show tune from the Broadway musicalBabes in Arms. It was introduced on stage by Mitzi Green. Hal McIntyre and His Orchestra was the first to chartwith the song in 1945.[] Frank Sinatra recorded a hit version in 1955, and later the song became readily associatedwith his live performances. Other influential versions were recorded by Chet Baker (on My Funny Valentine,1954) and Miles Davis (on Cookin', 1956).[]

• "Once in a While"[8][117] is a composition by Michael Edwards with lyrics by Bud Green. It became a hit forTommy Dorsey and His Orchestra, whose recording stayed at the top of the charts for 14 weeks. It was later takento the charts by Horace Heidt in 1937, Louis Armstrong in 1938, Patti Page in 1952 and doo-wop group TheChimes in 1961.[] Rahsaan Roland Kirk is credited with reviving interest in the song among jazz musicians withhis 1965 recording, which mixed the original with Middle Eastern harmony.[][118]

• "Some Day My Prince Will Come"[3][32][119] was written by composer Frank Churchill and lyricist Larry Moreyfor Walt Disney's animated film Snow White and the Seven Dwarfs. The first jazz recordings were by DonaldByrd and The Dave Brubeck Quartet in 1957. Bill Evans has recorded the song several times. Miles Davis'srendition on Someday My Prince Will Come (1961) is notable for John Coltrane's memorable solo.[120]

• "They Can't Take That Away from Me"[8] is a song from the musical film Shall We Dance, composed by GeorgeGershwin with lyrics by Ira Gershwin. It was introduced by Fred Astaire, whose recording with the Johnny GreenOrchestra stayed at number one for ten weeks. A famous version was recorded by Charlie Parker in 1950 andreleased on Charlie Parker with Strings.[121]

1938• "Cherokee"[122][123] 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 CharlieParker used its harmonic progression in his composition "Ko-Ko". Buddy DeFranco's "Swinging the Indian" isalso based on the same chord progression. The song is also known as "Indian Love Song".[124]

• "Heart and Soul"[125][126] is a Hoagy Carmichael composition with lyrics by Frank Loesser. It was first performedby Larry Clinton and His Orchestra featuring Bea Wain in the short film A Song Is Born; their version charted atnumber one in 1939.[] The song has been recorded by Ella Fitzgerald, Dean Martin and Dave Brubeck, amongothers.[] It has become a popular piece among amateur pianists.[127]

• "Love Is Here to Stay" was George Gershwin's last composition, written for the musical film The GoldwynFollies. Lyrics were provided by Ira Gershwin. The song gained little attention from The Goldwyn Follies and isbetter known for the 1952 film An American in Paris. It was the last song George Gershwin composed.[128] Thesong was originally titled "Our Love Is Here to Stay"; Ira Gershwin later said that he would have wanted tochange the title back to the original one if the song had not already become popular under its new name.[129]

List of 1930s jazz standards 9

• "The Nearness of You"[3][130] was composed by Hoagy Carmichael with lyrics by Ned Washington. It was meantto be included in the film Romance 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.[131]

• "One O'Clock Jump" is an instrumental twelve-bar blues composition by Count Basie. Used as the signature pieceof Basie's band, it is strongly associated with the swing era and remains one of the best-known compositions ofthe period.[132] Saxophonist Buster Smith wrote a part of the composition, but was denied co-credit byBasie.[133][134] "One O'Clock Jump" was taken to the charts by Harry James in 1938 and by the MetronomeAll-Stars in 1941. Benny Goodman gave an influential performance of it in his 1938 Carnegie Hall concert.[135]

• "Prelude to a Kiss"[8][136][137] is a jazz ballad composed by Duke Ellington with lyrics by Irving Mills and MackGordon. It was first recorded as an instrumental by the Duke Ellington Orchestra featuring Johnny Hodges, wholater recorded it with his own orchestra and vocalist Mary McHugh. The composition was based on a melody byEllington's saxophonist Otto Hardwick.[138]

• "September Song"[3][139][140] 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 FrankSinatra in 1946 and Sarah Vaughan in 1954. Artie Shaw recorded it in 1945 with a big band featuring saxophonistChuck Gentry. Don Byas made a 1946 recording with his quartet. Guitarist Django Reinhardt recorded the songfour times, starting in 1947.[141]

• "You Go to My Head" was written by composer J. Fred Coots and lyricist Haven Gillespie and introduced byGlen Gray and the Casa Loma Orchestra, who charted at number nine in 1938. Teddy Wilson with vocalist NanWynn charted with it in 1938, as did Larry Clinton and His Orchestra with Bea Wain. The song's harmonicsophistication has been praised by critics, who often describe Coots as a "one-hit wonder" despite his "SantaClaus Is Coming to Town" being even more popular in terms of mass appeal.[142]

1939

Clarinetist and bandleader Benny Goodman popularized many of the1930s standards, including "Darn That Dream", "How Deep Is the

Ocean" and "Stompin' at the Savoy".

• "All the Things You Are"[3][8][32][143] is a song fromJerome Kern and Oscar Hammerstein II's Broadwaymusical Very Warm for May. Kern first felt the song,with its constantly shifting tonal centers, was toocomplex for mass appeal. However, it has enjoyedlasting popularity since then and is now one of themost recorded standards.[144] The song's chordprogression has been used for such tunes as "Bird ofParadise" by Charlie Parker and "Prince Albert" byKenny Dorham.

• "Darn That Dream"[32][145] was composed byJimmy Van Heusen for the Broadway musicalSwingin' the Dream. Lyrics were written by EddieDeLange. Although the musical was adisappointment, Benny Goodman's version of thesong featuring vocalist Mildred Bailey was a number one hit.[146]

• "Frenesi"[3][147][148] 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 Shawwith an arrangement by William Grant Still was inducted into the Grammy Hall of Fame in 2000.[]

• "I Didn't Know What Time It Was"[149] was sung by Richard Kollmar and Marcy Westcott in the Richard Rodgers and Lorenz Hart musical Too Many Girls. Benny Goodman recorded the first jazz version in 1939 with

List of 1930s jazz standards 10

vocalist Louise Tobin.[150]

• "I Thought About You"[3][32][151][152] 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 Smithrecorded it in the 1950s for the Roost label. Miles Davis included the song on his 1961 album Someday My PrinceWill Come.[153]

• "In the Mood"[154][155] is a jazz composition by Joe Garland based on Wingy Manone's "Tar Paper Stomp". AndyRazaf wrote the lyrics for the song. Garland recorded "In the Mood" with Edgar Hayes and offered it to ArtieShaw, who never recorded the piece. It was popularized by the Glenn Miller Orchestra in 1939. The finalarrangement was the result of work by Garland, Miller, Eddie Durham and pianist Chummy MacGregor, althoughonly Miller profited from its financial success.[156] The song remains popular and is almost always performed asan instrumental.[157]

• Moonlight Serenade[8][158][159] was composed by Glenn Miller with lyrics by Mitchell Parish. Miller's orchestraused it as their signature tune,[160] and their recording charted at number three in 1939.[] The song was recordedby rhythm and blues group The Rivieras in 1959.[] Carly Simon sang it on her 2005 album MoonlightSerenade.[161]

• "Over the Rainbow"[8][162] is a ballad introduced by Judy Garland in the film The Wizard of Oz, composed byHarold 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 Tatumin 1955, and a live solo piano recording was released by singer-songwriter Tori Amos in 1996. The song is alsoknown as "Somewhere over the Rainbow".[163]

• "Something to Live For"[164] is a jazz ballad written by Billy Strayhorn. Based on a poem the composer hadwritten as a teenager,[165] the song was introduced by Duke Ellington's orchestra with composer Strayhorn on thepiano. Ellington was co-credited with the composition.[166] The song has been recorded by Ella Fitzgerald, whohas called it her favorite song.[167]

• "What's New?"[3][8][32][168] started out as an instrumental titled "I'm Free", composed by Bob Haggart when hewas playing in Bob Crosby's Orchestra, and was later retitled when Johnny Burke wrote lyrics for it. The songwas introduced by Crosby, and other hit versions from 1939 include Bing Crosby's and Benny Goodman'srenditions.[] Australian singer Catherine O'Hara recorded the song in 1966 with her own lyrics, also titled "I'mFree".[]

• "Woodchopper's Ball"[169] is a jazz composition by Joe Bishop and Woody Herman. Introduced by the WoodyHerman Orchestra, it was the band's first and biggest hit selling over a million records.[170][] The originalrecording was inducted into the Grammy Hall of Fame in 2002.[] The composition is also known as "At theWoodchopper's Ball".[]

Notes[3] Listed in The Real Vocal Book[4] The Real Book, Volume I, p. 57[5] The New Real Book, Volume II, p. 29[6] The New Real Book, Volume III, p. 55[8] Listed in The Real Jazz Book[10] The Real Book, Volume II, p. 185[12] The Real Book, Volume III, p. 116[13] The New Real Book, Volume II, p. 98[15] The Real Book, Volume II, p. 145[19] The Real Book, Volume II, p. 260[20] The New Real Book, Volume II, p. 202[22] The Real Book, Volume I, p. 279[23] The New Real Book, Volume II, p. 214[27] The Real Book, Volume II, p. 298[28] The Real Book, Volume III, p. 312

List of 1930s jazz standards 11

[29] The New Real Book, Volume II, p. 277[31] The Real Book, Volume I, p. 20[32] Listed in The New Real Book, Volume I[33] The New Real Book, Volume III, p. 193[35] The Real Book, Volume I, p. 242[37] The Real Book, Volume I, p. 318[44] The Real Book, Volume I, p. 32[45] The Real Book, Volume III, p. 150[47] The Real Book, Volume II, p. 173[48] The New Real Book, Volume III, p. 132[50] The Real Book, Volume I, p. 224[51] The New Real Book, Volume II, p. 161[56] The Real Book, Volume II, p. 426[58] The Real Book, Volume I, p. 121[59] The New Real Book, Volume III, p. 111[62] The Real Book, Volume II, p. 209[63] The New Real Book, Volume II, p. 162[65] The Real Book, Volume I, p. 376[66] The New Real Book, Volume II, p. 337[68] The Real Book, Volume I, p. 454[70] The Real Book, Volume I, p. 38[72] The New Real Book, Volume III, p. 47[75] The Real Book, Volume I, p. 366[76] The New Real Book, Volume III, p. 346[78] The Real Book, Volume II, p. 354[80] The New Real Book, Volume III, p. 354[82] The Real Book, Volume I, p. 385[83] The New Real Book, Volume III, p. 359[85] The Real Book, Volume I, p. 207[86] The New Real Book, Volume III, p. 171[88] The Real Book, Volume I, p. 289[90] The Real Book, Volume II, p. 392[92] The Real Book, Volume II, p. 77[93] The New Real Book, Volume III, p. 73[97] The Real Book, Volume I, p. 184[99] The Real Book, Volume II, p. 309[103] The Real Book, Volume I, p. 406[104] The New Real Book, Volume II, p. 366[107] The Real Book, Volume II, p. 415[110] The Real Book, Volume I, p. 127[114] The Real Book, Volume I, p. 172[116] The Real Book, Volume I, p. 287[117] The New Real Book, Volume II, p. 278[119] The Real Book, Volume I, p. 367[122] The Real Book, Volume I, p. 77[123] The New Real Book, Volume II, p. 47[126] The Real Book, Volume III, p. 142[130] The Real Book, Volume II, p. 285[136] The Real Book, Volume I, p. 331[137] The New Real Book, Volume III, p. 294[139] The Real Book, Volume II, p. 344[140] The New Real Book, Volume II, p. 318[143] The Real Book, Volume I, p. 22[145] The Real Book, Volume I, p. 99[148] The Real Book, Volume II, p. 142[149] The Real Book, Volume III, p. 158[151] The Real Book, Volume II, p. 180[152] The New Real Book, Volume II, p. 141[155] The Real Book, Volume I, p. 208

List of 1930s jazz standards 12

[158] Listed in The New Real Book, Volume III.[162] The New Real Book, Volume III, p. 287[168] The Real Book, Volume II, p. 420[169] The Real Book, Volume I, p. 447

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ISBN 978-0-19-516752-8.• Driggs, Frank; Haddix, Chuck (2006). Kansas City Jazz: From Ragtime to Bebop – A History. Oxford University

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ISBN 978-0-19-511570-3.• Giddins, Gary (2000). Visions of Jazz: The First Century. Oxford University Press US. ISBN 978-0-19-513241-0.• Greenberg, Rodney (1998). George Gershwin. Phaidon Press. ISBN 978-0-7148-3504-4.• Grudens, Richard (2005). The Italian Crooners Bedside Companion. Celebrity Profiles Publishing.

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ISBN 978-0-313-34140-3.• Hodeir, André; Pautrot, Jean-Louis (2006). The André Hodeir Jazz Reader. University of Michigan Press.

ISBN 978-0-472-06883-8.• Kirchner, Bill (2005). The Oxford Companion to Jazz. Oxford University Press US. ISBN 978-0-19-518359-7.• Schuller, Gunther (1991). The Swing Era: The Development of Jazz, 1930–1945. Oxford University Press US.

ISBN 978-0-19-507140-5.• Shaw, Arnold (1989). The Jazz Age: Popular Music in the 1920s. Oxford University Press US.

ISBN 978-0-19-506082-9.• Stanton, Scott (2003). The Tombstone Tourist: Musicians. Simon and Schuster. ISBN 978-0-7434-6330-0.• Studwell, William Emmett; Baldin, Mark (2000). The Big Band Reader: Songs Favored by Swing Era Orchestras

and Other Popular Ensembles. Haworth Press. ISBN 978-0-7890-0914-2.• Studwell, William Emmett (1994). The Popular Song Reader: A Sampler of Well-Known Twentieth-Century

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Press US. ISBN 978-0-19-516898-3.• Tucker, Mark; Ellington, Duke (1995). The Duke Ellington Reader. Oxford University Press US.

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List of 1930s jazz standards 13

• Van de Leur, Walter (2002). Something to Live For: The Music of Billy Strayhorn. Oxford University Press US.ISBN 978-0-19-512448-4.

• Warner, Jay (2006). American Singing Groups: A History from 1940s to Today. Hal Leonard Corporation.ISBN 978-0-634-09978-6.

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Article Sources and Contributors 14

Article Sources and ContributorsList of 1930s jazz standards  Source: http://en.wikipedia.org/w/index.php?oldid=560438583  Contributors: 1exec1, Another Believer, Bobnorwal, Freakmighty, Jafeluv, Koavf, Mild BillHiccup, Sisson, Sluzzelin, Srochinski, Tassedethe, Thomp, Tonmo92, Woohookitty, 14 anonymous edits

Image Sources, Licenses and ContributorsImage:Rodgers and Hart NYWTS.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Rodgers_and_Hart_NYWTS.jpg  License: Public Domain  Contributors: World Telegram staffphotographerImage:George Gershwin 1937.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:George_Gershwin_1937.jpg  License: Public Domain  Contributors: Ary29, Dcoetzee, Frank C.Müller, Frenezulo, Infrogmation, Jossifresco, Marino212, Teebeutel, 1 ,123הסיסמא anonymous editsImage:Art tatum.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Art_tatum.jpg  License: Public Domain  Contributors: CecilF, Dr. Shaggeman, SeanOImage:Billie Holiday LAT.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Billie_Holiday_LAT.jpg  License: Public Domain  Contributors: Unnamed Los Angeles TimesphotographerImage:BennyGoodmanStageDoorCanteen.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:BennyGoodmanStageDoorCanteen.jpg  License: Public Domain  Contributors: Filmscreenshot

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