Identifying the “best” jazz song is a subjective endeavor given the vast and diverse landscape of the genre. However, one iconic piece that stands out is Miles Davis’ “So What.” Released in 1959 as the opening track of the groundbreaking album “Kind of Blue,” the composition is a quintessential example of modal jazz and a landmark in the evolution of the genre.
“So What” exemplifies the cool jazz movement with its laid-back and melodic approach. Miles Davis, along with his exceptional ensemble featuring John Coltrane and Bill Evans, introduced a new harmonic concept that departed from traditional chord progressions. The result is a piece that relies on modes and improvisation, allowing each musician to explore and contribute to the collective sound.
The track’s timeless allure lies in its simplicity, sophistication, and the evocative solos by Davis and Coltrane. The iconic opening bassline, played by Paul Chambers, has become instantly recognizable. “So What” embodies the essence of jazz innovation, pushing the boundaries of improvisation and harmonic exploration. Its enduring influence on jazz and its widespread appeal beyond the genre make it a standout representative of the art form’s brilliance and creativity.
1. Dave Brubeck, “Take Five”
“Take Five” by Dave Brubeck, featuring saxophonist Paul Desmond, is a landmark jazz composition that has left an indelible mark on the genre. Released in 1959 as part of the album “Time Out,” the track is renowned for its distinctive 5/4 time signature, intricate melodic structure, and captivating improvisations.
The song’s enduring popularity can be attributed to its innovative approach to rhythm and melody. “Take Five” opens with a hypnotic and instantly recognizable drum pattern by Joe Morello, followed by the memorable saxophone melody played by Paul Desmond. The use of the unconventional 5/4 time signature, uncommon in jazz at the time, adds a layer of complexity and intrigue to the composition.
Paul Desmond’s smooth and lyrical saxophone improvisations, coupled with Brubeck’s innovative piano work, contribute to the song’s timeless appeal. The contrast between the cool, laid-back saxophone lines and the dynamic piano creates a unique sonic experience.
“Take Five” achieved commercial success, becoming the first jazz single to sell a million copies. Its impact extends beyond the jazz community, making it one of the best-known and widely appreciated jazz compositions. The enduring popularity of “Take Five” reflects its status as a classic that continues to captivate listeners with its inventive musicality and timeless allure.
2. Duke Ellington, “Take The A Train”
“Take the ‘A’ Train” is a jazz standard written by Billy Strayhorn and famously performed by the Duke Ellington Orchestra. First recorded in 1941, the song became the signature tune of the Duke Ellington Orchestra and a classic in the jazz repertoire.
The composition was named after the A subway line in New York City, specifically the route that would take one to Harlem, where Duke Ellington and his orchestra were based. The song’s title and lyrics celebrate the vibrant and energetic atmosphere of Harlem during the swing era.
“Take the ‘A’ Train” is known for its catchy melody, engaging harmonies, and lively rhythm, making it a favorite among jazz musicians and audiences alike. The song opens with a distinctive piano riff, played by Duke Ellington himself, which has become instantly recognizable.
Over the years, “Take the ‘A’ Train” has been covered and interpreted by numerous artists, solidifying its status as a jazz standard. The composition reflects the joyful spirit of swing music and the cultural vibrancy of Harlem during the Big Band era.
3. John Coltrane, “My Favorite Things”
“My Favorite Things” is a jazz standard famously performed by saxophonist John Coltrane. Originally composed by Richard Rodgers and Oscar Hammerstein II for the musical “The Sound of Music,” Coltrane’s instrumental interpretation became one of his most iconic recordings.
John Coltrane’s version of “My Favorite Things” was recorded in 1960 and featured on the album of the same name. The recording showcases Coltrane’s exploration of modal jazz, a style characterized by the use of musical modes rather than traditional chord progressions.
Coltrane’s interpretation of “My Favorite Things” is notable for its extended improvisations, especially the famous soprano saxophone solo by Coltrane. The repetitive, hypnotic quality of the song’s melody is enhanced by the modal approach, allowing Coltrane and his quartet to delve into creative and expressive improvisations.
The innovative and transformative nature of Coltrane’s version has made “My Favorite Things” a landmark recording in jazz history. It not only marked a departure from traditional jazz conventions but also contributed to the evolution of Coltrane’s style and the broader landscape of jazz music in the 1960s.
4. Miles Davis, “All Blues”
Miles Davis’ “All Blues” is an iconic jazz composition that stands as a testament to the genius of the trumpeter and his ability to redefine the genre. Featured on the landmark album “Kind of Blue,” released in 1959, the song is a masterful exploration of modal jazz and a quintessential example of Davis’ innovative approach to music.
What sets “All Blues” apart is its modal structure, where the musicians improvise based on scales rather than traditional chord progressions. The composition opens with a distinctive bassline played by Paul Chambers, setting a laid-back and bluesy atmosphere. Davis’ muted trumpet enters with a melancholic yet expressive melody, further enhancing the mood.
The interplay between the musicians, including saxophonist John Coltrane and pianist Bill Evans, is a testament to the collaborative and improvisational nature of jazz. The solos, characterized by their emotive depth and harmonic sophistication, contribute to the song’s timeless appeal.
“All Blues” captures the essence of cool jazz, blending bluesy sensibilities with modal exploration. The piece unfolds like a conversation, each musician adding their voice to a collective narrative. The result is a composition that not only showcases Davis’ brilliance as a trumpeter and bandleader but also solidifies “All Blues” as an enduring masterpiece within the jazz canon.
5. Benny Goodman, “Sing, Sing, Sing”
“Sing, Sing, Sing” is a swing jazz instrumental composed by Louis Prima and famously performed by Benny Goodman and his orchestra. Recorded in 1937, the song became one of the most iconic and enduring pieces in the big band and swing jazz genres.
Benny Goodman’s version of “Sing, Sing, Sing” is particularly famous for its energetic and extended drum solo performed by drummer Gene Krupa. The song features dynamic arrangements and showcases the virtuosity of the members of Goodman’s orchestra, including prominent solos by various instruments.
The composition is characterized by its infectious and lively rhythm, driving brass section, and memorable clarinet phrases played by Benny Goodman himself. The extended drum solo in the middle of the piece, initiated by Krupa, became a highlight of the performance and a defining element of the recording.
“Sing, Sing, Sing” is considered a classic example of the swing era and is often associated with the peak of the big band jazz period. It remains a beloved and influential piece in jazz history, celebrated for its exuberant energy and the exceptional musicianship of Benny Goodman and his orchestra.
6. Oliver Nelson, “Stolen Moments”
“Stolen Moments” is a jazz composition by Oliver Nelson, first recorded and released in 1961 on the album “Blues and the Abstract Truth.” The piece has since become one of Nelson’s most celebrated compositions and a jazz standard.
“Stolen Moments” is characterized by its engaging melody, intricate arrangements, and a distinctive blend of blues and post-bop elements. The piece features strong ensemble playing, with a brass and woodwind section complementing each other to create a rich and layered sound.
One of the notable aspects of “Stolen Moments” is its memorable horn riff, played by the brass section, which contributes to the piece’s timeless and catchy quality. The composition also allows for individual improvisation, providing space for musicians to showcase their creativity within the framework of Nelson’s sophisticated arrangement.
The title “Stolen Moments” suggests a sense of capturing fleeting, special instances, and the music itself evokes a mix of emotions, combining elements of bluesy melancholy and upbeat swing. The success of “Stolen Moments” lies in its ability to balance complexity with accessibility, making it a favorite among jazz enthusiasts and musicians alike.
Over the years, “Stolen Moments” has been covered and interpreted by various artists, solidifying its place as a classic in the jazz repertoire and showcasing Oliver Nelson’s talent as both a composer and arranger.
7. Billie Holiday, “God Bless The Child”
“God Bless the Child” is a poignant jazz standard written by Billie Holiday and Arthur Herzog Jr. The song was first recorded by Billie Holiday in 1941 and later became one of her signature pieces. Known for its emotive lyrics and soulful delivery, “God Bless the Child” stands as a timeless classic in jazz history.
The lyrics of the song reflect on themes of wealth, poverty, and self-reliance. The opening lines, “Them that’s got shall get, them that’s not shall lose,” convey a message about the harsh realities of economic disparity. The central theme revolves around the idea that those who have financial means are often favored, while those who lack it face challenges.
Billie Holiday’s vocal interpretation of “God Bless the Child” is characterized by its emotional depth and restrained delivery. Her unique phrasing and the sincerity in her voice contribute to the song’s lasting impact. The minimalist arrangement, featuring a small ensemble that includes a prominent tenor saxophone solo, adds to the overall intimacy of the performance.
“God Bless the Child” has been covered by numerous artists and remains a celebrated and influential piece in the jazz and blues genres. Its enduring popularity is a testament to the universal themes it addresses and Billie Holiday’s ability to convey profound emotions through her music.
8. Fats Waller, “Ain’t Misbehavin'”
Fats Waller’s “Ain’t Misbehavin'” is a classic jazz standard that embodies the exuberance and playfulness of the stride piano style. Written in 1929 with lyrics by Andy Razaf, the song became a signature piece for Waller and has since been embraced as a timeless representation of early jazz.
The composition is characterized by its lively and syncopated piano patterns, showcasing Fats Waller’s virtuosity as a pianist and entertainer. The buoyant melody, combined with Waller’s distinctive vocal delivery, exudes a carefree and joyful spirit. The lyrics playfully convey a sentiment of romantic mischief, adding a layer of charm to the overall composition.
The title phrase, “Ain’t Misbehavin’,” has become synonymous with Waller’s carefree persona and has been widely recognized and recorded by various artists over the decades.
Fats Waller’s influence on jazz and popular music extends beyond “Ain’t Misbehavin’.” His innovative approach to the piano, blending elements of stride, swing, and humor, has left an indelible mark on the genre. “Ain’t Misbehavin'” remains a celebrated and enduring piece, capturing the essence of the Roaring Twenties and serving as a joyful reminder of Fats Waller’s contribution to the rich tapestry of jazz history.
9. John Coltrane, “Bye Bye Blackbird”
“Bye Bye Blackbird” as interpreted by John Coltrane is a captivating jazz rendition that showcases the legendary saxophonist’s improvisational prowess and emotional depth. Originally a standard written in 1926, Coltrane’s interpretation, featured on his album “Giant Steps” released in 1960, breathes new life into the classic composition.
Coltrane’s version of “Bye Bye Blackbird” is marked by his distinctive approach to the tenor saxophone, characterized by boldness and a profound exploration of musical ideas. The performance captures Coltrane’s evolving style during the transition from his earlier bebop period to the more avant-garde and modal expressions for which he later became known.
The rendition features a dynamic interplay between Coltrane and his fellow musicians, including pianist Wynton Kelly, bassist Paul Chambers, and drummer Jimmy Cobb. The improvisational sections, particularly Coltrane’s solos, exhibit a sense of freedom and inventiveness.
The emotional resonance of Coltrane’s playing on “Bye Bye Blackbird” is striking, demonstrating his ability to infuse a standard with new dimensions of feeling and complexity. The transformation of this familiar tune into a vehicle for artistic exploration is a hallmark of Coltrane’s genius, leaving a lasting impact on jazz enthusiasts and musicians alike.
10. Ella Fitzgerald, “How High The Moon”
“How High the Moon” is a jazz standard written by Nancy Hamilton with music by Morgan Lewis. The song was first featured in the Broadway musical “Two for the Show” in 1940. Ella Fitzgerald’s interpretation of “How High the Moon” is one of the most famous and influential renditions of the song.
Ella Fitzgerald’s version, recorded in 1947 with the accompaniment of guitarist Les Paul, became a major hit and showcases her remarkable vocal improvisation skills. The recording is notable for its use of scat singing, a vocal improvisation with nonsensical words or syllables, demonstrating Fitzgerald’s virtuosity and innovation in jazz singing.
The lyrics of “How High the Moon” metaphorically convey the idea of transcending challenges and obstacles. The recurring line “Somewhere there’s music, how faint the tune / Somewhere there’s heaven, how high the moon” suggests the universal presence of hope and inspiration.
The musical arrangement features a lively and swinging tempo, complemented by Ella Fitzgerald’s melodic inventiveness and vocal agility. The combination of Fitzgerald’s vocal prowess and Les Paul’s guitar work contributed to the recording’s enduring popularity.
Ella Fitzgerald’s rendition of “How High the Moon” is celebrated as a classic example of vocal jazz artistry. The recording showcases her ability to turn a popular song into a masterpiece through her vocal technique, improvisational skills, and distinctive style.
11. Miles Davis, “So What”
Miles Davis’ “So What” is a landmark jazz composition that has left an indelible mark on the genre. Featured on the groundbreaking album “Kind of Blue,” released in 1959, the track is an iconic representation of modal jazz, showcasing Davis’ innovative approach to harmony and improvisation.
The piece is characterized by a cool and laid-back atmosphere, with a distinctive 32-bar AABA form. The modal structure of “So What” allows for a departure from traditional chord progressions, emphasizing scales and modes over specific chord changes. This approach opened up new possibilities for improvisation and became influential in the evolution of jazz.
The composition features memorable contributions from a stellar ensemble, including saxophonist John Coltrane, pianist Bill Evans, bassist Paul Chambers, and drummer Jimmy Cobb. Each musician, guided by Davis’ vision, delivers evocative solos that contribute to the overall mood of the piece.
Miles Davis’ muted trumpet introduces the iconic bassline and sets the tone for the piece. The call-and-response dynamics between the ensemble members, especially Davis and Coltrane, showcase a remarkable musical conversation.
“So What” has become synonymous with the cool jazz movement and is celebrated for its elegance, simplicity, and the timeless quality of its improvisational sections. The album “Kind of Blue” and, by extension, “So What,” continue to be influential and are considered essential listening for jazz enthusiasts, embodying the spirit of exploration and innovation that defines the genre’s rich history.
12. Thelonious Monk, “Round Midnight”
“Round Midnight” is a jazz standard composed by Thelonious Monk, with lyrics by Bernie Hanighen and Cootie Williams. Thelonious Monk’s instrumental version of the composition is considered one of the definitive recordings and is a landmark piece in the jazz repertoire.
“Round Midnight” was first recorded by Thelonious Monk in 1944 and later became the title track of his 1957 studio album. The song is characterized by its hauntingly beautiful melody and sophisticated harmonic structure, showcasing Monk’s innovative approach to jazz composition.
Monk’s piano interpretation of “Round Midnight” is marked by his unique playing style, which includes angular melodies, unexpected pauses, and dissonant harmonies. The composition reflects Monk’s distinctive musical voice, characterized by his idiosyncratic approach to rhythm and harmony.
Over the years, “Round Midnight” has been covered by numerous jazz musicians and vocalists, solidifying its status as a jazz standard. The piece has a timeless quality, appreciated for its emotional depth and musical complexity. Thelonious Monk’s contributions to jazz, and particularly to compositions like “Round Midnight,” have left an indelible mark on the genre, influencing generations of musicians who followed.
13. John Coltrane, “A Love Supreme (Acknowledgment)”
“A Love Supreme (Acknowledgment)” is the opening track of the iconic jazz album “A Love Supreme” by John Coltrane, released in 1965. The composition is a spiritual jazz masterpiece and is considered one of the most significant and influential recordings in the history of the genre.
“A Love Supreme” is a four-part suite, and “Acknowledgment” serves as the introduction to this spiritual journey. The piece is marked by its deep spirituality, intense emotional expression, and Coltrane’s exploration of modal jazz.
In “Acknowledgment,” Coltrane and his quartet, featuring McCoy Tyner on piano, Jimmy Garrison on bass, and Elvin Jones on drums, establish the central musical motifs that will be developed throughout the suite. The composition begins with a memorable four-note motif, played by Coltrane on the saxophone, which becomes a recurring theme throughout the entire work.
Coltrane’s playing in “Acknowledgment” is characterized by its fervor and spiritual intensity. The composition reflects Coltrane’s deep connection to his faith and his desire to express his gratitude and devotion through his music.
“A Love Supreme” is not only a groundbreaking work in terms of its musical innovation but also a deeply personal and spiritual statement by John Coltrane. The album has left an indelible mark on the world of jazz, and “Acknowledgment” stands as a powerful introduction to this transformative musical journey.
14. Weather Report, “Birdland”
“Birdland” by Weather Report is a jazz fusion masterpiece that stands as a testament to the band’s innovative and electrifying approach to music. Released in 1977 on the album “Heavy Weather,” the composition was written by the band’s keyboardist, Joe Zawinul, and became one of Weather Report’s most iconic and enduring tracks.
The title “Birdland” pays homage to the legendary jazz club in New York City, where Zawinul was inspired by the energy and creativity of the jazz scene. The composition seamlessly blends elements of jazz, rock, and funk, epitomizing the fusion genre.
The song is marked by Zawinul’s synthesizer wizardry, Wayne Shorter’s saxophone artistry, and Jaco Pastorius’ groundbreaking bass work. The intricate interplay between these virtuoso musicians, coupled with the tight rhythm section, creates a sonic landscape that is both intricate and accessible.
“Birdland” is celebrated for its dynamic shifts, from Pastorius’ melodic bassline to Zawinul’s synthesizer flights and Shorter’s expressive saxophone solos. The composition’s structure allows for individual improvisation within a cohesive framework, showcasing the musicians’ technical prowess and creativity.
The fusion of complex harmonies, infectious rhythms, and inventive solos in “Birdland” has made it a jazz fusion standard. Its influence extends beyond the jazz genre, and the song remains a testament to Weather Report’s contribution to the evolution of contemporary jazz and fusion music.
15. Frank Sinatra, “Fly Me To The Moon”
“Fly Me to the Moon” by Frank Sinatra is a timeless and classic standard that has become synonymous with the golden era of vocal jazz. Originally written by Bart Howard in 1954, Sinatra’s rendition, featured on his 1964 album “It Might as Well Be Swing,” solidified the song’s status as one of his signature tunes.
Sinatra’s interpretation of “Fly Me to the Moon” is characterized by his signature smooth and velvety voice, delivering the romantic lyrics with elegance and sophistication. The arrangement, conducted by Quincy Jones, features a lush orchestral accompaniment that complements Sinatra’s vocal delivery.
The song’s enduring appeal lies in its romantic and dreamy atmosphere, enhanced by the celestial theme of flying to the moon. Sinatra’s performance captures the essence of the Great American Songbook, and the track has become a standard for vocalists and jazz musicians alike.
“Fly Me to the Moon” has transcended its original era, finding its way into popular culture and being covered by numerous artists across different genres. Its timeless charm, combined with Sinatra’s iconic interpretation, continues to make it a beloved and frequently performed piece, showcasing the enduring power of Sinatra’s influence on the world of vocal jazz.
Edward Tomlin is a frequent contributor to Singers Room. Since 2005, Singersroom has been the voice of R&B around the world. Connect with us via social media below.
