Jazz Student's study list

John Steele (deceased) · Post by **John Steele (deceased)** » 9 Aug 2003 10:48 am

I was invited to play piano at a recording session featuring a young jazz tenor sax student the other day. The tunes that were called made me recall a query on here some time ago; What jazz repertoire should one study ?
The following is a short list of tunes that seem to come up time and time again when playing with students formally studying jazz. This is not a conclusive list, nor is a list of favourites, or "classics". These are pieces selected by the majority of educators for educational purposes. Personally, I would strongly recommend a look at the traditional stuff as well as the classic interpretations of Gershwin, Cole Porter, Rodgers and Hart, Johnny Mandel, Oscar Hammerstein, etc. before tearing into this more current list.
Having qualified it, here's my little list:
..........................
You stepped out of a dream
Whisper Not (Dm)
There will never be another you (Eb)
Beatrice (F)
Alone Together (Dm)
Moment's Notice
Donna Lee (F or Ab)
It could happen to you (G)
I'll Remember April (G)
Stella by Starlight (Bb)
If you could see me now (Bb or C)
A Night In Tunisia (one flat)
All Blues
Body and Soul
* omission pointed out by Andy, and now included:
Green Dolphin Street

I may add a few more as I think of them.
Again, this is not a list of desirable standards; that could run for pages. This is simply a synopsis of tunes most common held up to young players to cut their modernist teeth on.
-John

[This message was edited by John Steele on 10 August 2003 at 08:06 PM.]

Jeff A. Smith · Post by **Jeff A. Smith** » 9 Aug 2003 11:43 am

Great idea, John.

According to my count, all but five of the above are included in the fifth edition "Real Book."

Included in the legal "New Real Book": 0.

Maybe this is a dumb question, but what do you think is the criteria for selection to this list? How much has to do with learning how to play over different types of common progressions?

Thanks,

Jeff [This message was edited by Jeff A. Smith on 09 August 2003 at 07:18 PM.]

John Steele (deceased) · Post by **John Steele (deceased)** » 9 Aug 2003 12:16 pm

Hey Jeff,
Actually, that's the furthest thing from a dumb question - every one of those tunes must be selected (by people that know more than me) for particular reasons - to demonstrate different important facets of jazz improvising.
Tunes like "Moment's Notice", "Whisper Not" and "Another You" must surely be chosen to demonstrate the feared and dreaded "II-V-I" change in all it's permutations (both minor and major) while also providing examples of how tonal centres can change in the course of a tune.
"Night in Tunisia" and "Beatrice" are great exercises in becoming comfortable with #11 chords. (Alot of early beboppers referred to them as "flat five" chords). Night in Tunisia uses the dominant kind, while "Beatrice" (A Sam Rivers tune which is of later vintage but seems to have grown into a popular standard) deals with #11 chords with the Major seventh (rather than the flattened, dominant seventh). I'd love to hear somebody play that tune on steel, it'd be beautiful.
I probably should have included "Oleo" on that list too.
-John

[This message was edited by John Steele on 09 August 2003 at 01:24 PM.]

Andy Greatrix · Post by **Andy Greatrix** » 9 Aug 2003 6:06 pm

John, how about Green Dolfin Street
and Love For Sale?

Jeff A. Smith · Post by **Jeff A. Smith** » 10 Aug 2003 1:29 pm

Sometime John, although it might be difficult for you to narrow your repertoire down this far, I think it would be great if you gave some thought to a list of tunes (50 or so?) for people to learn who were interested in having a good start on what they may run into on a typical fake-book standards gig.

You're approaching it from an educational view now, (and by all my means please continue), but consider this as a request for later.

Jeff [This message was edited by Jeff A. Smith on 10 August 2003 at 02:30 PM.]

David L. Donald · Post by **David L. Donald** » 10 Aug 2003 2:32 pm

Strayhorn, Evans, Porter, Gershwin, Berlin, Braxton, Corea, Montgomery, Macglauflin, Coryell, Shearing, Van Huesen, Mingus, Ellington, Jobim, Lewis, Adler and Ross, Rogers and Hart, King Oliver, Kid Orey, Rollins, Tyner, Shorter, Christian, Golson, Davis, Hancock, Satchmo, Silver, Zappa

Learn one from each and you should be able to play jazz.
If you still can't, then learn two from each.
If then you still can't.. learn to do something else.

John Steele (deceased) · Post by **John Steele (deceased)** » 10 Aug 2003 7:00 pm

Jeff, your idea is a good one. A bit daunting, perhaps

and certainly both subjective and arguable, but I'll think on that.
Andy, nice to hear from you. If a guy made a list such as Jeff suggests, "Love for Sale" would surely be on it. I can't honestly say I've heard alot of the students playing on it though. Now, I'm a Canuck, and the majority of students I run into are products of McGill University in Montreal, Humber College in Toronto, etc., and some of the New York guys. Things are different everywhere.
Having said that, "Green Dolphin Street" should be on that list. In fact, I'm gonna put it there right now. I'm smiling to myself, because Green Dolphin Street was actually one of the 8 or 9 tunes we played on this session the other day. You're telepathic and you didn't even know it. Ha. Some play it in C, but most seemed to prefer Eb. This guy wanted it in C, and I uttered a silent prayer of thanks for that.
I've been kinda following David's advice. Another 10 years, and I'll let you know how it worked out.

-John
 Man, you have to lean forward so much more to hit those black keys...[This message was edited by John Steele on 10 August 2003 at 08:03 PM.]

Jeff A. Smith · Post by **Jeff A. Smith** » 10 Aug 2003 7:22 pm

A bit daunting, perhaps

I didn't mean for it to be. Cut the number down if you like. You could just pick up your copy of the latest Real Book sometime, and....

Bob Watson · Post by **Bob Watson** » 11 Aug 2003 1:43 am

I am surprised that Donna Lee was on the list. Thats gotta be the most difficult head I have ever attempted to learn ( on six string guitar). I used to be able to play the head at a decent speed, but there were always "trouble spots". Recently I have figured out better positions to play it in, but I still haven't found the time to "relearn" it. It has a bunch of licks in it that can be applied ( or quoted ) over the same type of changes, which is probably why it is on the list, but just to learn the head at a decent tempo would be (IMHO) very challenging to a novice player on any instrument. Also, playing a solo that does justice to the melody ( without sounding like you are playing over "Back Home in Indiana" ) is a challenge in itself. Steve Palousek has a great steel guitar version of it on one of his cd's, and there is a guitar player named Bireli Lagrene that has a great version of it on one of his cd's. Other than those two versions, I can't think of any other Steel players or Guitar players that have recorded it. As far as other tunes to add to the list, Here are a few that come to mind, Straight No Chaser, Nows the Time, I Can't Get Started, Blue Bossa, Funny Valentine, Autumn Leaves, etc etc ... [This message was edited by Bob Watson on 11 August 2003 at 02:45 AM.][This message was edited by Bob Watson on 11 August 2003 at 02:50 AM.]

David L. Donald · Post by **David L. Donald** » 11 Aug 2003 9:38 am

The reason to learn Donna Lee is exactly be cause it has those changes.. ones you would not naturally search out. The same for many of the other tunes.
After Jaco did it, I was kinda put off trying to actually perform it on bass.
But I did see an up right player at the Village Vanguard do it at full speed perfectly... with a bow. That was scarey.

I have seen Birelli play it live and he is just fine with it.
A guitar player, or anyone, would be well served getting his Gipsy Project CD too.
Another guitarist less well known than Birelli, but as good or better is Tchavalo Schmitt, he doesn't care about recording, but when he does... ooh boy. On Iris Music / Harmonia mundi
I play jazz manouche here sometimes and he is considered The Man.

A set of tunes to "learn jazz" should all be different and be examplairs of may different harmonic approches.

If you are having a hard time learning it, then it is something you didn't know and therefor you are learning something.

If you learn several different approches and practical theory paths rather than rehash variations of How High The Moon, you will move forward.
Easy to say, harder to do, but no less correct IMHO.

Jerry Gleason · Post by **Jerry Gleason** » 12 Aug 2003 12:36 pm

I think that Donna Lee is a perfect candidate for this list, especially if one's goal is understanding and dissecting the language of bebop. Just about every bop lick there is can be found in that head, and the changes give it a context that makes it accessable for understanding how and why these licks work, and how you could apply them to other songs (or parts of songs) with similar changes.

It's a booger of a tune to play on a pedal steel, but even if you never learn to play it proficiently, you can still learn a lot from it, even it's just some solo ideas for "Back Home in Indiana"

I might also add "Have you met Miss Jones" to that list , and of course, any tune based on "rhythm changes".

Bob Watson · Post by **Bob Watson** » 12 Aug 2003 11:11 pm

Jerry, thats a good point. There is a bebop lick that I started playing around 4 or 5 years ago that, after using it a few times, I realized was a lick from the head of Donna Lee. I had known the lick for 20 years and wasn't using it! I want to try and tackle Ornathology sometime. I have a feeling that there are a lot of licks in it that could be used elsewhere.

David L. Donald · Post by **David L. Donald** » 13 Aug 2003 12:01 am

Ornithology, Giant Steps. Donna Lee, A Child Is Born, Airgin, Groovin' High, Confirmation, Dexterity, God Bless The Child, In Your Own Sweet Way, Armandos Rhumba.

All have a seperate logic, but they all can interconnect with other tunes.