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The Jazz Standards: A Guide to the Repertoire
An updated new edition of Ted Gioia's acclaimed compendium of jazz standards, featuring 15 additional selections, hundreds of additional recommended tracks, and enhancements and additions on almost every page.
Since the first edition of The Jazz Standards was published in 2012, author Ted Gioia has received almost non-stop feedback and suggestions from the passionate global community of jazz enthusiasts and performers requesting crucial additions and corrections to the book. In this second edition, Gioia expands the scope of the book to include more songs, and features new recordings by rising contemporary artists.
The Jazz Standards is an essential comprehensive guide to some of the most important jazz compositions, telling the story of more than 250 key jazz songs and providing a listening guide to more than 2,000 recordings. The fan who wants to know more about a tune heard at the club or on the radio will find this book indispensable. Musicians who play these songs night after night will find it to be a handy guide, as it outlines the standards' history and significance and tells how they have been performed by different generations of jazz artists. Students learning about jazz standards will find it to be a go-to reference work for these cornerstones of the repertoire. This book is a unique resource, a browser's companion, and an invaluable introduction to the art form.
Since the first edition of The Jazz Standards was published in 2012, author Ted Gioia has received almost non-stop feedback and suggestions from the passionate global community of jazz enthusiasts and performers requesting crucial additions and corrections to the book. In this second edition, Gioia expands the scope of the book to include more songs, and features new recordings by rising contemporary artists.
The Jazz Standards is an essential comprehensive guide to some of the most important jazz compositions, telling the story of more than 250 key jazz songs and providing a listening guide to more than 2,000 recordings. The fan who wants to know more about a tune heard at the club or on the radio will find this book indispensable. Musicians who play these songs night after night will find it to be a handy guide, as it outlines the standards' history and significance and tells how they have been performed by different generations of jazz artists. Students learning about jazz standards will find it to be a go-to reference work for these cornerstones of the repertoire. This book is a unique resource, a browser's companion, and an invaluable introduction to the art form.
600 pages, Hardcover
First published June 5, 2012
249 people are currently reading
2777 people want to read
About the author
Ted Gioia
21 books263 followersTed Gioia (1957) is an American jazz critic and music historian.
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Displaying 1 - 30 of 51 reviews
March 7, 2017
I love this book. I really enjoy Ted Gioia and his writing style. I have read all of his books, but this one is one of my favorites. Jazz is a brilliant art form. Jazz stands as the classical music produced from the United States, and created from African American creativity and ingenuity. The music deserves respect. Ted Gioia writes with that type of respect. I am a musician, and I appreciate the respect of Repertoire. Many texts do not focus on the Jazz Repertoire. Jazz stands as a music with a rich, distinct, and diverse repertoire. This book examines the major jazz standards, and provides in depth analysis of each one. However, this book is not a music theory book, so it does not go into any detail, really as to ii-V-I Progressions or resolutions to the Tonic Chord or alterations in Harmonic compositions. However, The book does provide the rich history related to Jazz, and I love that Mr. Gioia provides us with a list of suggested listening for each one of the Jazz Standards provided. Mr. Gioia even details whether these specific standards are called out on a band stand in a Jazz Jam Session Context. I love this book.
June 25, 2017
Disclosure: I was one of the folks that Ted Gioia came to for editing help and suggestions as this book came together. That said, this is a really remarkable musical history, a collection of anecdotes, observations, reviews and performance tips for classic tunes in the jazz repertoire. In many cases, the context that Gioia shares about the creation and history of songs adds a new dimension to one's appreciation of the music. Highly recommended.
May 21, 2012
The jazz umbrella encompasses an extensive repertoire from the boogie woogie generation of the 1920’s to the dancehall swing era of the ‘40s, the beboppers of the ‘50s to the avant garde bards of the ‘60s, the fusionists of the ‘70s and right up to present day with the likes of modern day improvisers such as Herbie Hancock, Chick Corea, and Dave Brubeck. Author Ted Gioia furnishes a comprehensive collection of jazz standards from the mainstream of American Songbook staples to the subterranean culture of jazz touted in local barrooms and intimate night clubs where bebop, hard bop, fusion, bossa nova blues, and improvisational music were fostered.
Gioia’s book The Jazz Standards from Oxford University Press takes examples representative of the various stages of jazz from those tunes featured in Broadway musicals and Hollywood films to those works which materialized during late night jam sessions and living-in-the-moment instances when musicians acted as catalysts for one another. Gioia exhumes tracks that have made an indelible imprint on the collective psyche.
These illustrious pearls from all walks of the jazz community each have their own story to tell as Gioia describes how the songs evolved from the time of their inception to what they have blossomed into today making variations in their tempo, experimenting with embellishments and ad hoc intervals, and modulating familiar motifs using modern technology and contemporary thought processes. For instance, today’s rendition of “I Can’t Give You Anything But Love Baby” has been refurbished since Jimmy McHugh and lyricist Dorothy Fields wrote the song back in 1928. Gioia provides an overview of how tunes of the jazz standard caliber have been retouched and tweaked by generations of musicians that have followed.
Gioia’s research is insightful and informative giving readers an understanding of the mindset behind the musicians who have taken popular American showtunes and impromptu compositions and made them reflective of their time. He demonstrates this point with Patricia Barber’s interpretation of Cole Porter’s “Easy to Love” infused with spontaneous cuts, accents and nuances demonstrating the mindset of the jazz community of the 21st century.
Gioia notes that innovators in jazz like Miles Davis, Lennie Tristano, Thelonious Monk, Cecil Taylor, and John Coltrane to name a handful have shown to be imaginative in their versions of American Songbook staples like Cole Porter’s “Love for Sale” and Vincent Youmans and lyricist Irving Caesar’s “Tea for Two.” The ‘60s jazz innovators transformed the staples from their childhood to sparkle with a luster that appealed to their burgeoning generation.
Gioia’s book The Jazz Standards goes beyond the mainstream platform exemplified by works from Irving Berlin, Cole Porter, Johnny Burke, Sammy Cahn, Jimmy Van Heusen, George and Ira Gershwin and others of their ilk. He includes the material of beboppers like Thelonious Monk, Charlie Parker, Art Blakey, Sidney Bechet, and Lennie Tristano who wrote and improvised using their own language. He includes the works of blues singers like Billie Holiday and Abbey Lincoln in addition to boogie woogie artisans like Jelly Roll Morton and Fats Waller, and the silky bossa nova wavelets of Antonio Carlos Jobim. Gioia does not delineate between these jazz-inspired factions that sprouted from the swing generation. For him, they all share the same platform and are equal in value.
Gioia tells the history and evolution of jazz as his book covers a broad range of motivators in the jazz community. He presents their tracks in a way that makes each song sound special outlining their individual stories and the applause each one continues to elicit when heard in a live performance, a studio recording or a movie soundtrack.
Gioia’s book The Jazz Standards from Oxford University Press takes examples representative of the various stages of jazz from those tunes featured in Broadway musicals and Hollywood films to those works which materialized during late night jam sessions and living-in-the-moment instances when musicians acted as catalysts for one another. Gioia exhumes tracks that have made an indelible imprint on the collective psyche.
These illustrious pearls from all walks of the jazz community each have their own story to tell as Gioia describes how the songs evolved from the time of their inception to what they have blossomed into today making variations in their tempo, experimenting with embellishments and ad hoc intervals, and modulating familiar motifs using modern technology and contemporary thought processes. For instance, today’s rendition of “I Can’t Give You Anything But Love Baby” has been refurbished since Jimmy McHugh and lyricist Dorothy Fields wrote the song back in 1928. Gioia provides an overview of how tunes of the jazz standard caliber have been retouched and tweaked by generations of musicians that have followed.
Gioia’s research is insightful and informative giving readers an understanding of the mindset behind the musicians who have taken popular American showtunes and impromptu compositions and made them reflective of their time. He demonstrates this point with Patricia Barber’s interpretation of Cole Porter’s “Easy to Love” infused with spontaneous cuts, accents and nuances demonstrating the mindset of the jazz community of the 21st century.
Gioia notes that innovators in jazz like Miles Davis, Lennie Tristano, Thelonious Monk, Cecil Taylor, and John Coltrane to name a handful have shown to be imaginative in their versions of American Songbook staples like Cole Porter’s “Love for Sale” and Vincent Youmans and lyricist Irving Caesar’s “Tea for Two.” The ‘60s jazz innovators transformed the staples from their childhood to sparkle with a luster that appealed to their burgeoning generation.
Gioia’s book The Jazz Standards goes beyond the mainstream platform exemplified by works from Irving Berlin, Cole Porter, Johnny Burke, Sammy Cahn, Jimmy Van Heusen, George and Ira Gershwin and others of their ilk. He includes the material of beboppers like Thelonious Monk, Charlie Parker, Art Blakey, Sidney Bechet, and Lennie Tristano who wrote and improvised using their own language. He includes the works of blues singers like Billie Holiday and Abbey Lincoln in addition to boogie woogie artisans like Jelly Roll Morton and Fats Waller, and the silky bossa nova wavelets of Antonio Carlos Jobim. Gioia does not delineate between these jazz-inspired factions that sprouted from the swing generation. For him, they all share the same platform and are equal in value.
Gioia tells the history and evolution of jazz as his book covers a broad range of motivators in the jazz community. He presents their tracks in a way that makes each song sound special outlining their individual stories and the applause each one continues to elicit when heard in a live performance, a studio recording or a movie soundtrack.
March 28, 2015
"The Jazz Standards" (2012) by Ted Gioia is so exceptional, either as a resource or a straight read, I'm unsure how to begin praising it. I'll settle for a partial list.
* It is uniformly well written. "We live in an age of anorexic melodies." That's the author on popular music circa 2012. His book brims with sharp sentences like this, and most are not as cranky as that one; I just happen to find that observation spot-on.
* Even for a music geek like me, there is fresh information about many of the 250 songs Gioia highlights and most of it is not technical. For example, his entries on "St. James Infirmary" and "St. Louis Blues" - two early twentieth century tunes - read like brief history lessons, in a good way.
* Gioia is a fine writer, an experienced professional pianist, an educated musicologist and...he's got superb taste. Each essay is accompanied by his list of recommended versions of these standards. I knew I was in good hands when one of his recommendations for Ray Noble's "The Very Thought of You" was the Wynton & Ellis Marsalis duet from "Standard Time, Volume 3: The Resolution of Romance". That performance that moves me to tears every time I listen to it.
If you read this book, please send me your list - we'll compare notes. And then I'll tell you everything else I loved about it.
* It is uniformly well written. "We live in an age of anorexic melodies." That's the author on popular music circa 2012. His book brims with sharp sentences like this, and most are not as cranky as that one; I just happen to find that observation spot-on.
* Even for a music geek like me, there is fresh information about many of the 250 songs Gioia highlights and most of it is not technical. For example, his entries on "St. James Infirmary" and "St. Louis Blues" - two early twentieth century tunes - read like brief history lessons, in a good way.
* Gioia is a fine writer, an experienced professional pianist, an educated musicologist and...he's got superb taste. Each essay is accompanied by his list of recommended versions of these standards. I knew I was in good hands when one of his recommendations for Ray Noble's "The Very Thought of You" was the Wynton & Ellis Marsalis duet from "Standard Time, Volume 3: The Resolution of Romance". That performance that moves me to tears every time I listen to it.
If you read this book, please send me your list - we'll compare notes. And then I'll tell you everything else I loved about it.
September 1, 2021
Of course this is a reference book and should not be read as a novel, but Ted Gioia is a safe bet and listening to a musical piece by reading his words is sometimes an enlightening experience.
Naturalmente questo é un libro da consultazione e non va letto come un romanzo, ciò non toglie, che Ted Gioia é una sicurezza e che ascoltare un pezzo leggendo le sue parole a volte é un'esperienza illuminante.
I received a digital complimentary copy from the publisher in exchange for a honest review.
Naturalmente questo é un libro da consultazione e non va letto come un romanzo, ciò non toglie, che Ted Gioia é una sicurezza e che ascoltare un pezzo leggendo le sue parole a volte é un'esperienza illuminante.
I received a digital complimentary copy from the publisher in exchange for a honest review.
May 10, 2014
Totally a fun and very educational read. Plan to spend a few months using it to make playlists and really do some listening. Taught me tons about both classic songs and jazz interpretations. Sent me off in a lot of new directions to hear things I hadn't heard before.
August 5, 2020
A terrific book, a nice companion to Alec Wilder's "American Popular Song." Gioia's prose is elegant and understated, his insights into the pieces and their history are deep (and sometimes quite funny), and his listening recommendations are spot-on.
February 9, 2015
I was lucky to find a new copy of this book in a used bookstore when it first came out – it's a book made for browsing, lingering, then stopping with a specific song. Gioia's commentary on the composition and popular history of these standards never wastes a word. It's a quick sketch leading you back to the music. I've spent more nights than I know hunting down recondite recordings based his recommendations, which are my favorite part of the book. Most recently, intrigued by Richard Brody's reprise of Clint Eastwood's "Play Misty for Me," I was compelled to comb through the internet for Gioia's favorites, particularly Ahmad Jamal's "1965 trio outing with its funky undercurrent" – and he was right, Jamal brings a wry sense of humor to what easily becomes a cornball classic (e.g., Ray Stevens). Fans of George Benson and Fosse's All That Jazz will smile at the phrase from "On Broadway" slipped in about 90 seconds into the track.
I could multiply such happy trivia many times over. Gioia's Standards is packed with delight and discovery, braced with the intelligence and lack of pretension his subject deserves.
I could multiply such happy trivia many times over. Gioia's Standards is packed with delight and discovery, braced with the intelligence and lack of pretension his subject deserves.
April 22, 2015
This is an indispensible Reference Guide – I read straight through it a few months ago, loved it, and have referred back to it a few times since, as I work on specific songs in depth. Also helpful is that this book explains the year each song was written, what was the origin of the song, what each song offers or doesn’t offer the soloist, a history of the song’s popularity with which instrument or which players. I learned so many little things about each song and can see that info like this exists only here in a single place. Highly recommended…
March 11, 2024
The following review was originally published in the online newspaper The Orkney News in January 2024. Link here. https://theorkneynews.scot/2024/01/29...
Hello once again to my readers! Happy new year to one and all! Now my first audio review of the new year will be something somewhat unexpected and a little unorthodox from me.
You see I am something of a curious casual fan of jazz music. Be it Bebop, Swing jazz, Afro-Cuban, Jazz Fusion or the members of the Cool Jazz school, I want to learn more about it all. I want to expand my collection and my appreciation of all things jazz. My knowledge of music performance and notation is minimal be it counterpoint, modal structure or whatever else you care to name. However I do have an appreciation of good music and a well-done performance as much as anyone. Once I had obtained a small collection of recordings (and purchased and watched the Ken Burns documentary on the history of jazz), I decided to see if there were any audiobooks available about famous performers or the medium of jazz itself.
Before long I soon found myself listening to our subject today. Ted Gioia is a skilled music historian and critic, having written many books such as The History of Jazz(2011, 2021), Music: A Subversive History(2019) and The Birth (and Death) of the Cool (2009). He is also a skilled jazz performer in his own right, having released some known albums in the genre and collaborated with some very highly regarded musicians. He specialises in jazz history and one of his most highly regarded books is today’s subject.
The Jazz Standards: A Guide To The Repertoire is a very interesting refrence book to adapt to audio. The concept of the jazz standard is that of any piece of jazz music that aspiring jazz musicians are expected to know or to be able to play at the drop of a hat in a jam session with other performers or on stage in a well-known jazz club show such as Birdland or the Village Vanguard.
Some standards are classic songs even someone like me had heard in a non-jazz setting while others are extremely well known to jazz musicians but obscure to the general public from obscure Broadway shows or songs so old they’ve been around in some form since during World War One.
Several of them were standardised by the so called ‘Real Book’, a compendium made by anonymous authors in the 1970s while others found popularity in more recent years and retroactively joined the illustrious hall of jazz classics.
This particular audiobook by Ted Gioia is intended as something of an audio refrence guide for beginners to the appeal of jazz or skilled jazz performers and knowledgeable collectors. One that both talks about the history of each standard – both how it came to be and stories of versions well known to the public or how a song became a standard – as well as a list of recordings recommended by the author who is well known for his extremely extensive collection. There is a short introduction where Gioia discusses the need for such a book to exist and individual alphabetical sections for all standards listed in the compendium.
The audiobook in question is very appealingly written. The way the author talks about jazz as a medium and the various recordings and performers mentioned is duly respectful for a man who clearly spent a very long time – if not most of his life – gathering the information included and losing himself in the recordings listed but at the same time the author has a habit of making the completed book easily understandable by a relative newcomer and not the kind of text that would require a college level qualification in musicology to be understood.
Some terms exclusive to the world of jazz are used now and again – as befits a refrence text such as this one – however the jazz exclusive terms are explained to the listener so the audiobook is relatively easy to follow when discussing these terms as long as the listener is being attentive.
The audiobook is very extensive, covering around 200 to 250 of the jazz standards ranging from several selections from the Gershwin siblings and their classic show tunes to some masterpieces from The Modern Jazz Quartet, Thelonious Monk and Count Basie. From Basie’s swinging One O’ Clock Jump and the eternal Gershwin showpiece I Got Rhythm to Monk’s Round About Midnight and The MJQ’s Cool Jazz standard-bearer Concorde and quite a wide selection beyond, the standards selected all have quite an extensive history.
Some come from unexpected sources with a few coming from France – thanks to Django Reinhardt and his compatriots in the Hot Club De France – and at least one potentially tracing its name to an old hospital back in England from hundreds of years prior. The recordings Gioia discusses in his recommendations are uniformly truly enveloping from my listens to some that caught my interest in particular (Sidenote and recommendation from your writer: If he recommends a modern recording from any member of the Marsalis family? Track it down. They are considered modern jazz royalty for a reason and I could not recommend them higher myself) with most standards having quite an extensive list of recommended recordings unless they are relatively modern additions to the repertoire.
There is however one area in which I will more than happily critique the audiobook and that is in the narration. The narration by Bob Souer – a man with a prolific history of audiobook narration including amongst others various versions of the Bible, a book on the history of the Peloponnesian War and a biography of American sports superstar Michael Jordan – is not necessarily bad narration but it is slow. Pointedly slow.
Souer is a perfectly enjoyable reader who to the best of my knowledge pronounces all the awkward terms or names that may come up in a book about jazz well. The main criticism I have of him is he is so slow he sometimes sounds like he is either slightly tired or like he is moving slow as molasses through a desert. It might seem unfair of me to criticise this aspect but when a listener is hearing this for the full length of an audiobook that goes beyond twenty-one hours? It does begin to grate. As such when I listened to the audiobook I had to speed up the narration considerably. Not all listeners will want to do that but it did help me. Perhaps the book was intended to be a ‘search and find’ kind of book where you only listen to certain sections one or two at a time but the criticism stands all the same.
Another more minor critique is that on the version available on Audible, the book is split into chapters which are mostly set along alphabetical lines with a few exceptions. That is normally honestly fine but the inner pedant in me wishes they had split each standard into their own named section, so audio enjoyers could hunt down and listen to the sections about their favourite standards – be that Stella by Starlight, Ain’t Misbehavin’ or whatever else comes to mind – rather than the entire chapter. I understand that would have definitely meant a lot of extra work though so I completely understand why things are the way they are.
Since the audiobook came out some years ago, a second edition of this book is now available in print and ebook with additional standards included so if that is your preference I would highly recommend this book once again regardless of format. Even with my relatively minor criticisms this book is an absolute godsend to fans of jazz of all stripes and any book that is actively endorsed by Sonny Rollins and Dave Brubeck is good enough for someone like me. Also fingers crossed there will be an audio version of the second edition at some point in the future. Hopefully with the help of Mr Gioia and other scholars like him, I can widen my knowledge and appreciation of all things jazz and pull a few of my readers along for the ride with me!
Thanks for reading and fingers crossed you’ll hear from me before long.
Sayonara!
Nephrite
Hello once again to my readers! Happy new year to one and all! Now my first audio review of the new year will be something somewhat unexpected and a little unorthodox from me.
You see I am something of a curious casual fan of jazz music. Be it Bebop, Swing jazz, Afro-Cuban, Jazz Fusion or the members of the Cool Jazz school, I want to learn more about it all. I want to expand my collection and my appreciation of all things jazz. My knowledge of music performance and notation is minimal be it counterpoint, modal structure or whatever else you care to name. However I do have an appreciation of good music and a well-done performance as much as anyone. Once I had obtained a small collection of recordings (and purchased and watched the Ken Burns documentary on the history of jazz), I decided to see if there were any audiobooks available about famous performers or the medium of jazz itself.
Before long I soon found myself listening to our subject today. Ted Gioia is a skilled music historian and critic, having written many books such as The History of Jazz(2011, 2021), Music: A Subversive History(2019) and The Birth (and Death) of the Cool (2009). He is also a skilled jazz performer in his own right, having released some known albums in the genre and collaborated with some very highly regarded musicians. He specialises in jazz history and one of his most highly regarded books is today’s subject.
The Jazz Standards: A Guide To The Repertoire is a very interesting refrence book to adapt to audio. The concept of the jazz standard is that of any piece of jazz music that aspiring jazz musicians are expected to know or to be able to play at the drop of a hat in a jam session with other performers or on stage in a well-known jazz club show such as Birdland or the Village Vanguard.
Some standards are classic songs even someone like me had heard in a non-jazz setting while others are extremely well known to jazz musicians but obscure to the general public from obscure Broadway shows or songs so old they’ve been around in some form since during World War One.
Several of them were standardised by the so called ‘Real Book’, a compendium made by anonymous authors in the 1970s while others found popularity in more recent years and retroactively joined the illustrious hall of jazz classics.
This particular audiobook by Ted Gioia is intended as something of an audio refrence guide for beginners to the appeal of jazz or skilled jazz performers and knowledgeable collectors. One that both talks about the history of each standard – both how it came to be and stories of versions well known to the public or how a song became a standard – as well as a list of recordings recommended by the author who is well known for his extremely extensive collection. There is a short introduction where Gioia discusses the need for such a book to exist and individual alphabetical sections for all standards listed in the compendium.
The audiobook in question is very appealingly written. The way the author talks about jazz as a medium and the various recordings and performers mentioned is duly respectful for a man who clearly spent a very long time – if not most of his life – gathering the information included and losing himself in the recordings listed but at the same time the author has a habit of making the completed book easily understandable by a relative newcomer and not the kind of text that would require a college level qualification in musicology to be understood.
Some terms exclusive to the world of jazz are used now and again – as befits a refrence text such as this one – however the jazz exclusive terms are explained to the listener so the audiobook is relatively easy to follow when discussing these terms as long as the listener is being attentive.
The audiobook is very extensive, covering around 200 to 250 of the jazz standards ranging from several selections from the Gershwin siblings and their classic show tunes to some masterpieces from The Modern Jazz Quartet, Thelonious Monk and Count Basie. From Basie’s swinging One O’ Clock Jump and the eternal Gershwin showpiece I Got Rhythm to Monk’s Round About Midnight and The MJQ’s Cool Jazz standard-bearer Concorde and quite a wide selection beyond, the standards selected all have quite an extensive history.
Some come from unexpected sources with a few coming from France – thanks to Django Reinhardt and his compatriots in the Hot Club De France – and at least one potentially tracing its name to an old hospital back in England from hundreds of years prior. The recordings Gioia discusses in his recommendations are uniformly truly enveloping from my listens to some that caught my interest in particular (Sidenote and recommendation from your writer: If he recommends a modern recording from any member of the Marsalis family? Track it down. They are considered modern jazz royalty for a reason and I could not recommend them higher myself) with most standards having quite an extensive list of recommended recordings unless they are relatively modern additions to the repertoire.
There is however one area in which I will more than happily critique the audiobook and that is in the narration. The narration by Bob Souer – a man with a prolific history of audiobook narration including amongst others various versions of the Bible, a book on the history of the Peloponnesian War and a biography of American sports superstar Michael Jordan – is not necessarily bad narration but it is slow. Pointedly slow.
Souer is a perfectly enjoyable reader who to the best of my knowledge pronounces all the awkward terms or names that may come up in a book about jazz well. The main criticism I have of him is he is so slow he sometimes sounds like he is either slightly tired or like he is moving slow as molasses through a desert. It might seem unfair of me to criticise this aspect but when a listener is hearing this for the full length of an audiobook that goes beyond twenty-one hours? It does begin to grate. As such when I listened to the audiobook I had to speed up the narration considerably. Not all listeners will want to do that but it did help me. Perhaps the book was intended to be a ‘search and find’ kind of book where you only listen to certain sections one or two at a time but the criticism stands all the same.
Another more minor critique is that on the version available on Audible, the book is split into chapters which are mostly set along alphabetical lines with a few exceptions. That is normally honestly fine but the inner pedant in me wishes they had split each standard into their own named section, so audio enjoyers could hunt down and listen to the sections about their favourite standards – be that Stella by Starlight, Ain’t Misbehavin’ or whatever else comes to mind – rather than the entire chapter. I understand that would have definitely meant a lot of extra work though so I completely understand why things are the way they are.
Since the audiobook came out some years ago, a second edition of this book is now available in print and ebook with additional standards included so if that is your preference I would highly recommend this book once again regardless of format. Even with my relatively minor criticisms this book is an absolute godsend to fans of jazz of all stripes and any book that is actively endorsed by Sonny Rollins and Dave Brubeck is good enough for someone like me. Also fingers crossed there will be an audio version of the second edition at some point in the future. Hopefully with the help of Mr Gioia and other scholars like him, I can widen my knowledge and appreciation of all things jazz and pull a few of my readers along for the ride with me!
Thanks for reading and fingers crossed you’ll hear from me before long.
Sayonara!
Nephrite
July 27, 2018
A major work of reference - how could it be otherwise from Oxford University Press? - this book examines 250plus songs from the repertoire expected of the jazz player. From “After You’ve Gone” to “You’d Be So Nice To Come Home To”, the contents ensnare the jazz-loving reader. Simply penning this review has, once again, tempted me to follow different trails.
Each title offers a page or more of background information, foremost of which are the names of composer and lyricist. Some of the best-known songs are the work of people whose names would not be recognised by the listening public. The names put forward in the recordings listed as Recommended Versions are another matter: jazz masters such as Sonny Rollins and Keith Jarrett sit alongside best-selling vocalists - Joni Mitchell or Ella Fitzgerald, for example.
Background stories make this book far from a dry academic tome. We learn that Turner Layton (an unfamiliar name) has supported the work of Great Ormond Street Hospital, through royalties from his estate. Django Reinhardt, in wartime Paris, had to provide the German censors with his play-list in advance of the performance. And saxophonist Charlie Ventura was discovered while he was earning a living in a shipyard.
This is a book to swallow up a complete afternoon. Opening at random, I find a favourite song “Misty”, with words by an unfamiliar name. This prompts me to look up Johnny Burke in the Index and I find he’s credited with the words of “Here’s That Rainy Day”. On that page, the melody is the work of Jimmy Van Heusen. So I really must find out more about their collaboration. Following trails like that can swallow up a couple of pleasurable hours.
If you beg, borrow or buy this book, you’ll enjoy it too - but don’t skip the Introduction.
Each title offers a page or more of background information, foremost of which are the names of composer and lyricist. Some of the best-known songs are the work of people whose names would not be recognised by the listening public. The names put forward in the recordings listed as Recommended Versions are another matter: jazz masters such as Sonny Rollins and Keith Jarrett sit alongside best-selling vocalists - Joni Mitchell or Ella Fitzgerald, for example.
Background stories make this book far from a dry academic tome. We learn that Turner Layton (an unfamiliar name) has supported the work of Great Ormond Street Hospital, through royalties from his estate. Django Reinhardt, in wartime Paris, had to provide the German censors with his play-list in advance of the performance. And saxophonist Charlie Ventura was discovered while he was earning a living in a shipyard.
This is a book to swallow up a complete afternoon. Opening at random, I find a favourite song “Misty”, with words by an unfamiliar name. This prompts me to look up Johnny Burke in the Index and I find he’s credited with the words of “Here’s That Rainy Day”. On that page, the melody is the work of Jimmy Van Heusen. So I really must find out more about their collaboration. Following trails like that can swallow up a couple of pleasurable hours.
If you beg, borrow or buy this book, you’ll enjoy it too - but don’t skip the Introduction.
March 19, 2024
"The Jazz Standards: A Guide to the Repertoire" by Ted Gioia stands as an indispensable resource for both seasoned jazz enthusiasts and newcomers to the genre. With meticulous research and a deep understanding of the subject matter, Gioia presents a comprehensive exploration of the most influential jazz compositions in history.
One of the book's strengths lies in its thorough examination of each standard, providing historical context, analysis of musical structure, and insights into its cultural significance. Gioia's writing is clear and engaging, making complex musical concepts accessible to readers of all backgrounds. Additionally, the inclusion of recommended recordings for each standard adds practical value, guiding readers toward exemplary performances to further enhance their understanding.
However, despite its wealth of information, some readers may find the book's dense content overwhelming, particularly those with limited prior knowledge of jazz. Additionally, while Gioia's expertise is evident throughout, there may be moments where readers wish for more in-depth discussions or alternative perspectives on certain standards.
Overall, "The Jazz Standards: A Guide to the Repertoire" is a meticulously researched and informative book that serves as an invaluable reference for anyone interested in exploring the rich tapestry of jazz music. While it may be dense at times, its thoroughness and insight make it a worthwhile addition to any jazz aficionado's library.
L.A. Review
The Jazz Standards: A Guide to the Repertoire
One of the book's strengths lies in its thorough examination of each standard, providing historical context, analysis of musical structure, and insights into its cultural significance. Gioia's writing is clear and engaging, making complex musical concepts accessible to readers of all backgrounds. Additionally, the inclusion of recommended recordings for each standard adds practical value, guiding readers toward exemplary performances to further enhance their understanding.
However, despite its wealth of information, some readers may find the book's dense content overwhelming, particularly those with limited prior knowledge of jazz. Additionally, while Gioia's expertise is evident throughout, there may be moments where readers wish for more in-depth discussions or alternative perspectives on certain standards.
Overall, "The Jazz Standards: A Guide to the Repertoire" is a meticulously researched and informative book that serves as an invaluable reference for anyone interested in exploring the rich tapestry of jazz music. While it may be dense at times, its thoroughness and insight make it a worthwhile addition to any jazz aficionado's library.
L.A. Review
The Jazz Standards: A Guide to the Repertoire
June 12, 2020
This is a wonderful reference book about (as the title tells us) the "Jazz Standards", or some of them anyway... Like any reference book, it is not intended to be read one page after another but to be browsed at leisure and consulted when needed. However, unlike the vast majority of reference books, this almost calls to be read as a "normal" book, and that was exactly what I did: between August 23, 2014, and May 1, 2015, I read each day a single "chapter" of this book (each "chapter" is 1,5 to 2,5
pages long story of a particular standard) while listening to the recommended versions of each standard I happen to own in my CD collection. This way to degust the book gave me, each day, and for 252 days in a row, a joyous half an hour after dinner that sadly came to an end all too soon with the reading of the chapter on "You'd be so nice to come home to", accompanied by the great Lee Konitz version in the album Motion: enjoy!
pages long story of a particular standard) while listening to the recommended versions of each standard I happen to own in my CD collection. This way to degust the book gave me, each day, and for 252 days in a row, a joyous half an hour after dinner that sadly came to an end all too soon with the reading of the chapter on "You'd be so nice to come home to", accompanied by the great Lee Konitz version in the album Motion: enjoy!
December 4, 2021
I love this book. You choose a popular jazz standard from the Great American Songbook, look it up in this book and get the story behind its composition and recording history followed by a list of the best versions of that song. It's addictive to thumb through this book picking out one well-known song after another, learning a bit about it and discovering the best versions to listen to. It can be overwhelming, with so many recordings in the past 100 years, to find the best version of say Autumn Leaves or When I Fall in Love, for example. This book will give them to you and you'll learn some interesting facts about the songs along the way. All in all a must reference book for any fan of jazz or the Great American Songbook in general.
June 15, 2022
WOW! Such a comprehensive way to deepen your appreciation of favorite songs (with a long list of recommended versions of each song) as well as broaden your playlist with new gems. This book is a treasure! I would of course recommend the book to those who love jazz, but it's also a great book for people who only dip their toe in (which more characterizes us) as it will make you want to jump all the way into jazz.
July 20, 2025
Demasiado amplio para ser una lectura plenamente disfrutable. Creo que no es el mejor formato para lo que el autor quiere expresar ya que no escuchamos lo que nos describe, y la mayoría de las veces termina ahondando más en el trasfondo de estos estándares que en la breve reseña y explicación teórica que yo estaba buscando. El alcance 'artístico' también es limitado, aunque sea una consecuencia natural del enfoque en canciones individuales en lugar de un LP.
March 31, 2018
The discography is extensive and the examples are great, an excellent resource. Essential for any aspiring jazz musician to expand the vocabulary sufficiently. Some personal opinions (eg whether he himself plays each song or not) could have be dispensed with for brevity's sake with so much source material available.
March 14, 2024
Keşke işin başında edinseydim bu kitabı. Onca sene hangi eserlerden mahrum kaldığımı görünce çok üzüldüm. Şaka şaka o kadar da üzülmedim ama siz üzülebilirsiniz. Cazın abecesi niteliğinde eserleri hikayeleriyle beraber anlatıyor yetmiyor bir de bölüm sonlarında efsane öneriler veriyor. Sevdiğim parçaların bilmediğim yorumlarını da öğretti bana. Aferin Alfa yayınları sizi tebrik ediyoruz.
March 22, 2018
This book has great breadth and some depth. Gioia is vigilant, finishing every entry with suggested recordings to listen to. It didn't have every standard that I wanted to read about, but it certainly covers the majority of jazz standards.
7/10
7/10
July 7, 2018
Definitivamente un libro imprescindible para cualquier Jazzista ya sea aficionado o profesional.
Un contenido muy interesante y fácil de digerir debido a el recuento de cada estándar en particular.
Me encantó.
Un contenido muy interesante y fácil de digerir debido a el recuento de cada estándar en particular.
Me encantó.
November 10, 2019
I like listening to Jazz. I like horns in all types of music (funk especially). When I listen to music when I read or study, I like no lyrics to distract me, and jazz is my solution. This book is a rather definitive source of the classic repertoire of jazz.
January 20, 2022
Amazing encyclopedia of the standards, including their history, annotated recommended versions, and even playing insights. It only took me 3.5 years to finish (listening to every version I could findon Spotify). Incredible work of scholarship.
March 6, 2023
Like Gioia's other books, this one is a trove of knowledge. It's nice to get further context about the tunes I've played hundreds of times.
It works well as a reference or coffee table book. I like to read one entry in the morning and spend the day listening to the referenced recordings.
It works well as a reference or coffee table book. I like to read one entry in the morning and spend the day listening to the referenced recordings.
June 27, 2023
excellent descriptions of about two hundred key songs for jazz aficionados. Who wrote it, how was it written, for whom, how did it come into jazz, who has played it and how.
great stories for most of the songs.
great stories for most of the songs.
September 22, 2024
Ted Gioia standartlara dair birikimini ve değerlendirmesini öz bir şekilde aktarıyor. Caz meraklıları için önemli bir rehber. Maalesef Türkçe çevirisi kötü. İngilizce cümle yapısı aynen korunarak motamot aktarılmış.
December 20, 2018
The perfect companion in a world of music post- Pandora's Box of Spotify
December 6, 2020
Provides a very comprehensive overview of great jazz songs and in doing so also of great jazz artists.
Read
February 1, 2021Lots of great information!
August 2, 2023
Spectacular. I cannot wait for the next edition.
August 26, 2024
A real gem! I read this cover to cover and loved it.
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