Jazz tunes same changes

[montana]

Let's build a list of tunes with the same chord progressions. I know lots of tunes have changes similar to a blues progression or 'I've got rhythm'. Not a real jazz guy but this would help playing backup at a jam.

[montana]

Example: 'Stray Cat Strut' 'Fever' 'Hit the Road Jack' are similar.

[Marty Jacobson]

Hmm.. Kind of a broad question, especially given how common the ii-V-i progression is in jazz.

[montana]

I got rhythm = theme from flintstones

[Ted Eschliman]

Keep going:
Allen's Alley (AKA Wee), Denzil Best
Almost, David Baker
Anthropology (AKA Thrivin' From a Riff), Parker/Gillespie
Apple Honey, Woody Herman
Bop Kick, Nat Cole
Boppin' a Riff, Sonny Stitt
Brown Gold, Art Pepper
Bud's Bubble, Bud Powell
Call the Police, Nat Cole
Calling Dr. Jazz, Eddie "Lockjaw" Davis
Celerity, Charlie Parker
Chant of the Groove, Coleman Hawkins
Chasin' the Bird, Cheers, & Constellation, Charlie Parker
Coolie Rini, Howard McGhee
Coppin' the Bop, J.J. Johnson
Cottontail, Duke Ellington
Delerium, Tadd Dameron
Dexter's Deck, Dexter Gordon
Dexterity , Charlie Parker
Don't Be That Way, Edgar Sampson
Dorothy, Howard McGhee
The Duel, Dexter Gordon
Eb Pob, Fats Navarro/Leo Parker
Fat Girl, Fats Navarro
Father Steps In, Dixon/Randall/Hines/Fox
Fifty Second Street Theme, Thelonius Monk
The Flintstones, Hoyt Curtain
Fox Hunt, J.J. Johnson
Goin' To Minton's , Fats Navarro
Good Queen Besd, Duke Ellington
The Goof and I, Al Cohn
Hamp's Paws, Hampton Hawes
Harlem Swing, Nat Cole
Hollerin' and Screamin', Eddie Davis
I'm an Errand Boy for Rhythm, Nat Cole
In Walked Horac, Jay Jay, & Jaybird, J.J. Johnson
The Jeep is Jumpin', Duke Ellington
Jug Handle, Juggernaut, Gene Ammons
Juggin' Around, Frank Foster
Jumpin' at the Woodside, Count Basie
Lemon Drop, George Wallington
Lester Leaps In, Lester Young
Lila Mae, Nat Cole
The Little Man on the White Keys
Miss Thing, Count Basie
Moody Speaks (original version), James Moody/Dave Burns
Moody's Got Rhythm, James Moody
Moose the Mooche, Charlie Parker
Mop, Mop, Gaillard/Stewert/Tatum
Newk's Fadeway, No Moe, Sonny Rollins
Northwest Passage, Herman/Jackson/Burns
O Go Mo, Oleo, Sonny Rollins
On the Scene, Gillespie/Fuller/Roberts
One Bass Hit, Opp-Bop-Sha-Bam, An Oscar for Treadwell, Dizzy Gillespie
Ow, Charlie Greenlea
Passport, Charlie Parker
Pogo Stick Bounce, Eden Ahbez
Raid the Joint, Erskine Hawkins
Red Cross, Charlie Parker
Rhythm in a Riff, Billy Eckstine
Rhythm Sam, Nat Cole
Rhythm-a-ning, Thelonius Monk
Salt Peanuts, Dizzy Gillespie
Seven Come Eleven, Charlie Christian
Shag, Sidney Bechet
Shaw Nuff, Dizzy Gillespie
Shoo Shoo Baby, Phil Moore
Solid Potato Salad, DePaul/Prince/Raye
Sonnyside,Sonny Stitt
Squatty Roo, Johnny Hodges
Stay On It, Tadd Dameron
Steeplechase, Charlie Parker
Straighten Up and Fly Right, Nat Cole
The Street Beat, C. Thompson/ Robert Mellin
Strictly Confidential., Bud Powell
Swedish Schnapps, Charlie Shavers
Swing Spring, J.J. Johnson
Swingin' With Diane, Art Pepper
Syntax, J.J. Johnson
Ta-de-ah, Nat Cole
The Theme, Miles Davis
Tiptoe, Thad Jones
Turnpike, J.J. Johnson
Wail, Webb City, Bud Powell
Wee (AKA Allen's Alley) , Dizzy Gillespie
Who's Who, Art Farmer
Wire Brush Stomp, Gene Krupa
XYZ, Budd Johnson
Yeah Man. J. Russel Robinson

[montana]

Wow! Thanks Ted.

[StuartE]

There are also "contrafacts" for other tunes besides "I Got Rhythm," but it is the most common, unless you want to count the blues.

This also might be helpful: 10 common jazz progressions

And if that is not enough, there is a very extensive list of progressions and tonal shifts from Ralph Patt.

[DavidKOS]

Great list!

"Dizzy Atmosphere" is another tune based on rhythm changes....other tunes that have had parts of them used again are things like "Whispering" ("Groovin' High"), "How High the Moon" ("Ornithology"), "Honeysuckle Rose", etc. All or parts of those tunes supplied the chord changes to various bebop tunes.

http://en.wikipedia.org/wiki/List_of_jazz_contrafacts

Some are parts of tunes mixed:

"Scrapple from the Apple" is the A part of "Honeysuckle Rose"

Even in Dixieland there are common tunes with the same or similar chords.....lots of tunes with the "Bill Bailey" changes.

[Will Patton]

So you could play a full 4 set evening of music with 1 chord chart!

[Don Stiernberg]

in Seven Come Eleven,in Ab, the bridge starts at G7. Had this been a Rhythm tune, it would go to C7, the dominant III
Jumpin' at the Woodside is not a Rhythm tune but rather I-I7-IV-II-V..

Take the A Train is said to have been based on Exactly Like You
Art Pepper-Straight Life--After You've Gone
Bird:
Ko-Ko-Cherokee
Bird Of Paradise-All the Things
Donna Lee(possibly written by Miles Davis)-Back Home Again in Indiana
there's one on Embraceable You also--"Quasimodo"? "Meandering"?
he also had tunes derived from "S'Wonderful and Just the Way You Look Tonight

The bridge of Bill Monroe's Rawhide is an I Got Rhythm bridge
Turkey in the Straw and Roanoke have the same changes

If we isolate cyclical dominants (circle of fifths, around the horn, bridge of "Rhythm") changes it's interesting also to consider sections of Salty Dog Blues, Alabama Jubilee, Sweet Georgia Brown, and Assanhado. Assanhado starts the dominants at the root! A7-D7-G7-C7-F7-Bb, then a quick E back home to A.

Django also had Rhythm changes tunes--Babik? Moppin' the Bride? Micro? I need to go listen to be sure..

[Don Stiernberg]

oh yeah I think Move by Denzil Best, (famous recordings by Miles Davis, Hank Garland, and Paul Glasse) is based on Jumpin' at the Woodside

and who could forget Hot House which is really What is This Thing Called Love

Lullaby of Birdland has commonality with Love Me or Leave Me

[montana]

Will you are right. This was my reason for asking. If I can learn and hear these famous tunes upon which other tunes are based I can be a rhythm mando player in a short period of time. I hate going to any jam carrying charts.

[Teak]

"Five Foot Two, Eyes of Blue" and "My Four Reasons" have exactly the same chord progressions all the way through to the point that I play them as a medley.

[John Soper]

Mix & match. There are only 2 jazz tune A parts, and then there's the Sears & Roebuck vs Montgomery Ward B parts... (in jest!)

[DSDarr]

Django also had Rhythm changes tunes--Babik? Moppin' the Bride? Micro? I need to go listen to be sure..

Isn't "Swing 42" a modified Rhythm Changes tune as well?

-David

[ralph johansson]

Isn't "Swing 42" a modified Rhythm Changes tune as well?

-David

It's mainly a C major turnaround on the outside and something similar, in E, in the bridge. No circle of fifths.

[ralph johansson]

A few more examples of contrafacts:

Prince Albert (Kenny Dorham) - All the Things You Are
Tour's End (Stan Getz) and Dig (Miles Davis) - Sweet Georgia Brown
Bike up the Strand (Gerry Mulligan) - Strike up the Band
Mayreh (Horace Silver) - All God's Chillun Got Rhythm
Apple Core (Gerry Mulligan) - Love Me or Leave Me.


The 50's pop song "Only You" is largely based on the same changes as "There Will Never Be Another You".
So is Split Kick (Horace Silver)

[DSDarr]

It's mainly a C major turnaround on the outside and something similar, in E, in the bridge. No circle of fifths.

Right. I think of it as having two parts -- both based on a variation to the A section of "Rhythm Changes" though. The A-part in C, and the bridge in E. Seems to me that a lot of the Rhythm tunes often have bridges that aren't straight circle of fifths and my understanding is that the name/term "rhythm changes" is primarily derived from the A-section of "I Got Rhythm". There are plenty of circle-of-fifths tunes that wouldn't be called rhythm changes. And I agree that "Swing 42" is a "C major turnaround" but doesn't that apply to all rhythm changes tunes? The basic phrases are based on some variation of I-iv-ii-V7 or iii-IV-ii-V7 or similar. Looks like a turnaround to me.

David

[Pete Martin]

The Charlie Parker tune "Marmaduke" is exactly "Honeysuckle Rose", unlike "Scrapple From the Apple" which is Honeysuckle A and Rhythm Changes B. Marmaduke is a cool, very playable tune that nobody plays plays, even Jazzers. I've been trying to get folks out here to learn it.

[mandocrucian]

A day of two before this thread began, I was messing around and stuck the first few bars of "Ornithology" into an improv over a CCR tune. Couldn't remember what the source progression was, though I knew that "How High The Moon" was one of the progressions Parker had hung a new melody on. Couldn't remember how the tune went beyond the F chord (bar 6-7), but I had it in a fakebook and looked it up.

Also found it in an Aeborsold play-along (Vol 93 What's New) I had picked up somewhere at a yard sale or store closing. Listening to the CD track, I have to say that very quickly, I was completely lost as to where in the progression the disc was. The guitarist played so many ambiguous substitutions and alterations #5s, b5s #/b9s? ? ? ?, I really couldn't hear any recognizable chord cycle at all. Bloop bleep bla-blah-boop

(I guess my poor ears just aren't/werem't "hip" enough and probably would have been the object of ridicule for playing any "vanilla changes" if sitting in.)

Hey! so let's "My Pal Foot-Foot" in B!

NH

[DSDarr]

Also found it in an Aeborsold play-along (Vol 93 What's New) I had picked up somewhere at a yard sale or store closing. Listening to the CD track, I have to say that very quickly, I was completely lost as to where in the progression the disc was. The guitarist played so many ambiguous substitutions and alterations #5s, b5s #/b9s? ? ? ?, I really couldn't hear any recognizable chord cycle at all. Bloop bleep bla-blah-boop

I'm glad I'm not the only one! This is definitely a problem I have with the "jazzier" jazz playback tracks -- once the backing instrument adds more and more extensions all of the chords sound the same to me and I have no idea where I am. On the other hand, I've not had this trouble so much with the 2 or 3 Aebersold books/CDs I have, which are, for the most part, only piano and bass. For the most part I prefer more swing backup tracks where I find the chords easier to identify than in the later-era jazz tracks. In the interest of full disclosure, I should add that keeping my place in the form when trying to play against jazz progressions is an issue for me period -- and an area that I am currently working on.

David

[Pete Martin]

Listening to the CD track, I have to say that very quickly, I was completely lost as to where in the progression the disc was. The guitarist played so many ambiguous substitutions and alterations #5s, b5s #/b9s? ? ? ?, I really couldn't hear any recognizable chord cycle at all.

This used to happen to me a LOT with the Aebersold play alongs. A few years of really studying piano chord voicings solved that for me. Now when I hear most chords, it is pretty easy to hear them in context in spite of the substitutions, extensions and alterations. I hear the underlying chord rather than all the fluff.

Another thing to keep in mind is no two Experienced jazz players play chord progressions the same. It is accepted that way. Just listen for the basic direction the chords go first, then listen for more specifics.

Think back to when you were first learning to play with people, did you hear and recognize every chord? Probably not. But through playing and studying chord progressions, your ear got better. Same will happen in a Jazz context.

I also find I prefer Band in a Box real tracks over Aebersold play alongs.

[Pete Martin]

In a Mellow Tone - Rose Room
Split Kick - There Will Never Be Another You

[ralph johansson]

Further examples can be found in Wikipedia:


http://en.wikipedia.org/wiki/List_of_jazz_contrafacts

[Joel Glassman]

Very cool Pete.

...and a list of Jazz contrafacts:
http://en.wikipedia.org/wiki/List_of_jazz_contrafacts
...and Charlie Parker's "Dewey Square"[ =Lady Be Good] chart:
http://bigjazzbook.ru/d/dewey_square/dewey_square.gif
...and Dewey Square audio
Rifftide [=Lady Be Good] by Coleman Hawkins with a nice additional riff: