Jazz Music Chronicles: The Songs That Redefined History

In the rich tapestry of jazz fusion, it is the songs that often serve as the focal point, each presenting an enthralling narrative steeped in innovation, controversy, and melodies that leave an indelible mark. From the enigmatic "Blue In Green" by Miles Davis to Joe Venuti's provocative "4 String Joe," let's embark on a journey through ten compositions that have significantly altered the ever-evolving canvas of jazz history.

"Blue In Green" by Miles Davis

Miles Davis' groundbreaking album "Kind of Blue" stands as a cornerstone in jazz history, and within its sonic realms, the ethereal track "Blue In Green" stirs a captivating debate. The enigma lies in its authorship, as the question of whether it was penned by Miles Davis or Bill Evans continues to evade a definitive resolution. Davis, in his autobiography, adamantly asserted sole authorship of the album's compositions. However, Bill Evans released a trio version of the song on his album, crediting it as "Davis - Evans." In a later interview, Evans claimed he wrote the piece, suggesting that Davis might have taken undue credit and royalties. This controversy adds a tantalizing layer to the mystique of this jazz classic.

"The Music Goes Round And Around" by Ella Fitzgerald and Tommy Dorsey

"The Music Goes Round And Around" weaves a compelling narrative through the voices of Ella Fitzgerald and Tommy Dorsey. Crafted by Mark Riley and Ed Farley, with lyrics by Red Hodgson, this song delves into the whimsical world of playing a French horn. Its ascent to fame was swift after enchanting audiences in a 1930s New York nightclub. Over time, this jazz gem has evolved, adapting to different instruments through lyrical transformations, enriching its already storied history.

"'Round About Midnight" by Miles Davis

In 1944, Thelonious Monk gave birth to "'Round About Midnight," a jazz standard that showcased his sheer genius. Yet, it was Miles Davis who breathed new life into it in 1957, renaming it and delivering a rendition that remains an iconic milestone in the annals of jazz. This transformation elevated the composition into something profoundly remarkable.

"Salt Peanuts" by Dizzy Gillespie

"Dizzy" Gillespie's whimsical composition "Salt Peanuts," harking back to 1943, holds an enduring place in the bebop canon. Though its lyrics may defy conventional interpretation, the 1945 recording featuring Gillespie on trumpet, Charlie Parker on saxophone, Al Haig on piano, Curley Russell on bass, and Sid Catlett on drums remains an enduring testament to the boundless talents of these legendary musicians.

"So What" by Miles Davis

Emerging from the hallowed album "Kind of Blue" comes "So What," a composition that not only epitomizes modal jazz but also stands as one of the pinnacle achievements in the annals of jazz history. Its timeless allure continues to captivate, making it an indomitable force within the jazz pantheon.

"Take Five" by Dave Brubeck

Paul Desmond's masterful composition, "Take Five," as performed by The Dave Brubeck Quartet on the 1959 album "Time Out," reigns supreme as the best-selling jazz single of all time. Whether it's the hypnotic two-chord piano vamp or the infectious drum rhythms, this imaginative tune has resonated profoundly with jazz aficionados worldwide. Its enduring popularity stands as a testament to its timeless appeal, inviting us to sway to its rhythms, even amidst the daily grind with headphones on, perpetually infusing life with the unparalleled spirit of jazz.

“4 String Joe”, joe Venuti

Legendary jazz violinist Joe Venuti is known with his weird jokes as much as his music. A story that was verified and told by many musicians is also the inspiration behind Venuti and Eddy Lang’s “4 String Joe”. The story goes like this: One day Venuti summoned 30 bass players and told them he needed them for a concert in New York and they should come back the next day with their basses. And the next day he greeted them in his car and gave them berries. Afterwards, Venuti was fined by the musicians union to pay the concert’s fee to all the bass players who were victims of his joke.

“Take the A Train”

Pianist Billy Strayhorn, who was doing orchestral arrangements for Duke Ellington in the early 40’s, wrote the jazz standard “Take the A Train”, which has been performed by various jazz musicians since then. One of the most popular songs of the day, “Take the A Train” was inspired by the subway ride into New York’s Harlem and Strayhorn told that the song was like a letter to an old friend.

“The Girl From Ipanema”, Antonio Carlos Jobim

The second most recorded song of the history, “The Girl From Ipanema” was co-written by composed Antonio Carlos Jobim and poet Vinicius de Moraes. The duo, who used to meet in a bar named Veloso in the coastal neighborhood of Ipanema in Rio de Janerio, wrote the song with the inspiration they took from a girl who used to pass by the bar all the time. The girl, who discovered to be 17-year-old Heloisa Enedia Menezes Paes Pinto, became famous

“Strange Fruit”, Billie Holiday

Written by a teacher named Abel Meeropol in 1937, “Strange Fruit” is mostly remembered by Billie Holiday’s magnificent vocals. Written in protest to the racism and lynchings towards African American people in United States, “Strange Fruit” has that chilling effect every time you listen to it. Also sang by UB40, Annie Lennox and Nina Simone, the song was turned into a short animation by Shimi Asresay and Hili Noy.

“Some Day My Prince Will Come” Miles Davis, Dave Brubeck

“Miles Davis took ‘Some Day My Prince Will Come” from the Disney animated cartoon, Snow White, says Gioia. “And he didn’t try to do it tongue-in-cheek or what we’d call post-modern now. He played it straight and brought out the beauty of the song. So it started in a cartoon, it ended up in jazz. But that key intermediary was Miles Davis.”

Dave Brubeck originally picked out “Some Day My Prince Will Come” for his 1957 album, Dave Digs Disney. But it was Davis’ 1961 version with John Coltrane that inspired such later masters as Herbie Hancock and Chick Corea. This shows how a song becomes a standard. In general, jazz is about how a musician transforms a song through his improvisations. It’s what’s done to a song. But a song only becomes a standard when enough other musicians respond. They agree, this is worth playing around with – and re-playing.

"Sing, Sing, Sing" Benny Goodman

This song -- widely believed to be completely instrumental -- actually has lyrics that were written by another jazz great, Louis Prima, who composed the song back in 1936 as the B Side to "It's Been So Long." But it truly became a jazz staple once Goodman got his hands on it a year later, and he recorded an instrumental version with guys like Harry James and Ziggy Elman.

"Take the A Train," Billy Strayhorn & Duke Ellington

This standard was written and recorded by Billy Strayhorn, the pianist who wrote arrangements for Duke Ellington's band, back in 1941. Strayhorn said writing the song, about the the New York subway line to Harlem, felt much more like writing a letter to an old friend. It became the signature opener for Duke Ellington and his Orchestra, and is today thought of one of the greatest jazz tunes to emerge from that time.

"Summertime," Ella Fitzgerald

Ella's version of "Summertime," technically a cover of George Gershwin's aria composed for the 1935 opera Porgy and Bess, is still utterly jaw-dropping. Gershwin's mix of jazz elements and African-American folk music worked so seamlessly that it would be hard to ignore the song's validity as a jazz standard even if Fitzgerald had never touched the tune. But she did, and did so in a way that really can't be outdone.

Sourced and adapted. Credits: A.Leicht and C. Kayiran