5 Jazz Standards - two different versions of each

That’s right, jazz standards can and are played differently - and that’s one of the reasons why jazz is so great. In this post we’ll look at some recordings of jazz standards that have been performed in different ways. Some of the differences include: one version being a vocal feature and the other an instrumental; and one version being old and the other relatively modern. There are other differences as well, which I haven’t been able to cover in this post, such as arrangement, structure, instrumentation, time signature, key signature, chords, rhythmic feel and much more. So let’s jump straight into it with the first two jazz recordings.

1. Them There Eyes

This is the vocal melody by Billie Holiday on her version of Them There Eyes from 1939. Followed by a nice saxophone solo. This is lovely jazz recording for any vocalists to hear Billie's distinct tone. But remember, you don't have to imitate the greats, you can learn from them but develop your own style along the way.

This is the vocal melody of Ray Gelato's Them There Eyes followed by a vocal scat and saxophone solo, Recorded in 2006. This is a modern jive, with an upbeat tempo. The vocal scat and sax solos are brilliant, with the vocal singing some lovely jazz lines and hitting some nice chord tones and a call and response with the raspy sax.

Even though they are both vocal features, clearly there are a number of differences with the two versions. What are some of the differences that you can hear? Which do you prefer and why?

2. Night and Day

This is Billie Holiday's lovely version of Night And Day, from 1939. This is an inspiring clip for any singers within the jazz world. Her beautiful voice on this song is wonderful and she includes some extra embellishments to the melody to give it her personal touch. It is now a jazz standard and has been performed in many different ways since.

This is tenor saxophonist Jerry Bergonzi's version of Night And Day, from his album 'Inside Out' (1990). This fantastic recording of Night And Day is a stark contrast to Billie Holiday's 1939 version. This is much more modern, much faster tempo and in fact he's changed the chords to a "Giant Steps"/"Trane Changes" vibe. And in turn the melody, when it comes in after the solo, is slightly altered to fit the chords. It's brilliant saxophone playing, with lots of techniques like repetition and melodic patterns such as hemiolas.

Clearly these two versions are very different, and it goes to show how much jazz can evolve and alter songs. Which do you prefer and why? Do you approve of Jerry Bergonzi’s alterations?

3. In Your Own Sweet Way

This is a live recording of Dave Brubeck's composition In Your Own Sweet Way, written in 1952 (recorded in 1956). This is a ballad and a jazz standard that has been performed by many jazz musicians since. Paul Desmond's alto saxophone solo here is interesting and clean. He has a smooth tone, quite a straight quaver (as opposed to swung) and has some great melodic and rhythmic ideas.

This is In Your Own Sweet Way by Jerry Bergonzi (2008). This version has been modernised by Jerry Bergonzi and his band. Although the basics of the song, such as the melody and chords are similar to the original, the tenor saxophone solo by Bergonzi is very modern and uses lots of repeating and sometimes complex rhythmic and melodic patterns, chord substitutions and going outside the changes. He also builds the solo with the use of sax techniques and the altissimo register.

Both of these versions are of course instrumentals, but there are a few differences in the way they’re played, once again demonstrating the difference between old and new. What are the main differences that you can hear? It’s interesting to note that Jerry Bergonzi used to play with the Dave Brubeck Quartet at one time, early in Bergonzi’s career.

4. I Loves You, Porgy

This is Nina Simone's version of George Gershwin's song I Loves You, Porgy recorded in 1958. This is one for any aspiring jazz vocalist. Nina Simone's distinct voice here portraying a lot of emotion. It's a reminder to be yourself and allow the expression and full feeling of the song to come out when you're singing. It doesn't matter if it's a ballad or an up-tempo swing. This recording is a lovely ballad to listen to.

This version of I Loves You, Porgy is by The Modern Jazz Quartet, from 1965. This clip really showcases the talent of Milt Jackson on the vibraphone with a fantastic solo that demonstrates a lot of jazz and bebop language.

These two versions are fairly similar, but there are a couple of differences. Namely, the first is a vocal feature and the other is an instrumental. But also there is a slight difference in the “vibe” or the “feel” - it’s very subtle though. As you might be able to tell from the images, when I listen to the Nina Simone version I get the feeling of a lazy Sunday morning with a cup of coffee in hand - it feels intimate. The Modern Jazz Quartet version has the feel of a cocktail bar in the evening - quite sophisticated and social. Maybe it’s just me, what do you think? And what is it that’s made the subtle difference?

5. Our Love Is Here To Stay

This is Dexter Gordon's recording from 1963, of the jazz standard Our Love Is Here To Stay. This is a nice, medium swing jazz standard. Once again, Dexter Gordon proves his talent and ability in this solo which features some lovely phrases and jazz language. He includes a little phrase from pop goes the weasel as well, which is fun. Including such tunes in your own solos, such as nursery rhymes or well-know tunes, is really fun and interesting, and the audience always love it.

This is Jerry Bergonzi's version of Our Love Is Here To Stay, from the 1996 album Just Within whose lineup consists of organ, drums and tenor saxophone. This is a brilliant solo from Jerry Bergonzi on tenor sax. He demonstrates (with ease) many modern jazz techniques, rhythms and language. I particularly like his use of rhythms which are more complex than the typical quaver or semi-quaver, and his ability to seamlessly mix between the two.

Several differences are apparent in these two versions. Most noticeable is the lineup, with Dexter Gordon’s classic jazz quartet of piano, bass, drums and sax, contrasting with Bergonzi’s modern trio with organ and no bass. But, also, these two recordings have a gap of thirty years between them, so there are general differences in the playing too.

So what have we learned from all this? Well, Jazz is always evolving and has been from the start. But the best thing to take away from all of this is that there’s no right or wrong. You can play how you want to, with the instruments/lineup that you want to play with. Most important is to be true to you and enjoy creating wonderful music.

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