[Dixielandjazz] Jazz Standards

[Graham Martin]

Hi Stan,

Maybe because most of us musicians have got two left feet and feel
sympathetic about Georgia's predicament?

Seriously, as they say on one website that analyses successful standards:

"Sweet Georgia Brown" seems to have been designed with jazz improvisation in
mind, and there has been no shortage of improvisers."

"With an A-B-A-C form "Sweet Georgia Brown" is at once familiar as well as
challenging. Chord progressions based on the "circle of fifths" define the
first 16 bars, and the song takes some surprising harmonic detours."

http://www.jazzstandards.com/compositions-0/sweetgeorgiabrown.htm

Personally, I like the upward steps and the changes of key centre. It seems
to suit the trombone somehow.

Best,

Graham Martin
REDLAND BAY, Queensland
AUSTRALIA


-----Original Message-----
From: Stan Brager [mailto:sbrager at verizon.net] 
Sent: Tuesday, 14 October 2014 3:20 AM
To: 'Dixieland Jazz Mailing List'
Cc: Dixieland Jazz Mailing List
Subject: [Dixielandjazz] Jazz Standards

I've often wondered why some tunes seemed to be interpreted and played by
legions of jazz groups from early jazz to modern jazz. Case in point: "Sweet
Georgia Brown". It was written in 1922 or 1923 by Ben Bernie, Maceo Pinkard
and Kenneth Casey. Bernie and his band made at least 3 recordings between
1923 and 1925. It sounds like a typical '20s pop tune. Yet, it was also
recorded by J. J. Johnson, Bud Powell, Count Basie, Andre Previn (with a
jazz trio), Anita O'Day and many others. Lord's Jazz Discography shows 1308
recordings of "Sweet Georgia Brown" which ignores the jazz versions which
have other names such as, "Sweet Georgia Gillespie", "Sweet Clifford", and
so on.

 

What is it that attracts jazz musicians to these tunes?

 

Thanks;

 

Stan