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This is an A–Z list of jazz tunes which have been covered by multiple jazz artists. It includes the more popular jazz standards, lesser-known or minor standards, and many other songs and compositions which may have entered a jazz musician's or jazz singer's repertoire or be featured in the Real Books, but may not be performed as regularly or as widely as many of the popular standards.
The group arose out of spontaneous sessions at Seventh Avenue South, a jazz club in New York City owned by saxophonist Michael Brecker and trumpeter brother Randy Brecker. [2] The first three albums were released under the name Steps, later changed to Steps Ahead, on Nippon Columbia in Japan, starting with the debut live album Smokin' in the ...
Spiritual jazz: 1960s -> Straight-ahead jazz: A form of Jazz created in the 1960s with roots from the previous two decades. It omits elements from rock music and free jazz that began to appear in this period, instead putting more emphasis on acoustic instruments and a more conventional sound. 1960s -> Stride jazz
A performance at the Jazz in Duketown festival in 2019, located at 's-Hertogenbosch, North Brabant, Netherlands. Jazz is a music genre that originated in the African-American communities of New Orleans, Louisiana, in the late 19th and early 20th centuries, with its roots in blues, ragtime, European harmony, African rhythmic rituals, spirituals, hymns, marches, vaudeville song, and dance music.
Leon Bismark "Bix" Beiderbecke (/ ˈ b aɪ d ər b ɛ k / BY-dər-bek; [1] March 10, 1903 – August 6, 1931) was an American jazz cornetist, pianist and composer.. Beiderbecke was one of the most influential jazz soloists of the 1920s, a cornet player noted for an inventive lyrical approach and purity of tone, with such clarity of sound that one contemporary famously described it like ...
Relatively little has been written about sacred and liturgical jazz. In a 2013 doctoral dissertation, Angelo Versace examined the development of sacred jazz in the 1950s using disciplines of musicology and history. He noted that the traditions of black gospel music and jazz were combined in the 1950s to produce a new genre, "sacred jazz". [187]
George Clifford McCarl had been called a "busher", as in "bush league", meaning minor league or second rate. But Gleeson writes, on the contrary, "this dope is very much to the 'jazz'." Other uses occurred in "Everybody has come back to the old town full of the old 'jazz' and they promise to knock the fans off their feet with their playing."
The composition has become a jazz standard, covered by many artists. [3] [4] Due to its speed and rapid transition through the three keys of B major, G major and E♭ major, [5] Vox described the piece as "the most feared song in jazz" and "one of the most challenging chord progressions to improvise over" in the jazz repertoire. [6]