50 Must-Know Jazz Standards (Learn These Jazz Songs First)

GOOD FOR

Learn Jazz Standards Instuments
What's the Best Way to Learn How to Improvise?

There are so many jazz songs out there. When learning jazz, it’s hard to know where to start and which jazz songs are the most important to learn.

That’s why…

We’ve created this list to help you and other beginner jazz musicians filter out the most important jazz standards to help you improve your jazz repertoire, absorb important jazz language, and get a comprehensive look at all the important sub-genres within jazz.

Not only will these jazz songs help you out during a jam session or gig, but they will also strengthen your harmonic knowledge and improvisation skills.

If you don’t know any of these tunes, take advantage of everything Learn Jazz Standards has to offer!

Learn Jazz Standards has spent years and countless hours building up the essential resources to help you learn these important songs.

Plus, if you want one convenient place to learn jazz standards, improve your jazz chops, and network with a bunch of musicians who love learning jazz as much as you do, then you need to check out the Learn Jazz Standards Inner Circle.

When you join the Inner Circle, you’ll have everything you need to become the best jazz player you can be.

Come see what the Inner Circle is all about!

What’s So Important About Learning Jazz Songs?

There are two main reasons why learning the following 50 jazz standards is crucial for your jazz education and development.

Jazz is a language, and jazz standards contain all the essential phrases, slang, vocabulary, and inflections you need in order to speak it fluently with other jazz musicians all over the world.

Jazz is a Language

Every city or region tends to have a different set of common jazz standards that jazz musicians will call.  One city’s list may differ slightly from another, but there are certain tunes that are the standards among standards and can be called anywhere throughout the world.

The 50 jazz standards we’ve compiled are the “standards among standards” that will help you communicate better with other musicians on any gig or jam session.

The Snowball Effect

Are you familiar with the snowball effect?

A snowball starts off small, but as it rolls through the snow, it grows larger and larger. As it grows, its surface area increases, allowing it to pick up more and more snow. The more snow it accumulates, the more snow it is able to accumulate in the future.

Learning jazz standards works in exactly the same way. Many jazz standards are built from the same chord changes and progressions. In a sense, when you learn one jazz song, you are learning the parts of many other jazz songs.

Therefore, the more jazz standards you learn, the easier and easier it becomes for you to learn any jazz song.

The following 50 jazz standards contain many elements that appear in most songs throughout the jazz world. Though the key might change or the time signature may be different, the components of many jazz songs are the same.

Now, let’s dig into the 50 jazz standards every jazz musician needs to know.

50 Jazz Standards All Jazz Musicians Need to Know

In the following list of famous jazz tunes, we’ll include some important listening recommendations and other important bits of information jazz fans should know.

For an in-depth dive into these jazz songs, be sure to click through the links below:

1. All of Me

“All of Me” – Written by Gerald Marks and Seymour Simons.

This song became popular during the swing era and made it on the US pop charts via many different recording artists in the mid-20th century.

Louis Armstrong recorded a famous version that made it to the #1 spot on the US charts in 1931. The most famous version was recorded by Billie Holiday in 1941. Also, Frank Sinatra recorded this same tune various times throughout his career.

Check out:

  • Louis Armstrong – “Home/All of Me” (1932)
  • Count Basie and His Orchestra – “Frankly Basie: Count Basie Plays The Hits Of Frank Sinatra” (1963)
  • Ella Fitzgerald – “Ella Swings Gently with Nelson (1993 reissue)” – (1961)

2. All The Things You Are

“All The Things You Are” – Written by Jerome Kern and Oscar Hammerstein II.

When it comes to learning jazz, “All The Things You Are” is a signature tune you need to know. Despite being written for a musical in 1939, this song became popular during the Bebop era, when many jazz musicians played the song with a faster tempo than vocal versions.

  • Art Tatum and Ben Webster Quartet – All the Things You Are (1956)
  • Bill Evans Trio on the album “At Shelly’s Manne-Hole” (1963)
  • Dave Brubeck on the album “All the Things We Are” (1974)

3. Alone Together

“Alone Together” – Written by Arthur Schwartz and Howard Dietz.

This song, like many jazz standards, was written for a Broadway musical – Flying Colors (1932). However, many jazz instrumentalists have taken it and made it their own. This song became most popular during the cool jazz era.

  • Dizzy Gillespie – “Alone Together / There Are Things I Love” (1951)
  • Paul Desmond – “Take Ten” (1963)
  • Bill Evans – “Live At The Trident Club” (1964)

4. Autumn Leaves

“Autumn Leaves” – Music by Joseph Kosma and lyrics by Jacques Prévert (French) and Johnny Mercer (English).

As far as jazz songs are concerned, Autumn Leaves may be the most famous tune on this list. This song became popular during the Hard Bop era and was originally a French song: “Les Feuilles Mortes.”

Listen to:

  • Ahmad Jamal – “The Ahmad Jamal Trio” (1955)
  • Cannonball Adderley – Somthin Else (1958)
  • Sarah Vaughan – “Crazy And Mixed Up” (1982)

5. Billie’s Bounce

“Billie’s Bounce” – Written by Charlie Parker.

Every jazz musician needs to know several blues heads, and Billie’s Bounce is a great tune to start practicing a blues form that has more harmonic movement than a simple blues.

  • Charlie Parker – “The Complete Savoy Sessions” (1945)
  • Dizzy Gillespie – “To Bird with Love” (1992)
  • George Benson – “Giblet Gravy” (1968)

6. Black Orpheus (Manhã de Carnaval)

“Black Orpheus” – Music by Luiz Bonfá and lyrics by Antônio Maria

There are several Latin jazz tunes on this list, and no tune list is complete without a few Latin or Bossa Nova tunes. As jazz songs go, “Black Orpheus” is a unique blend of South American and Ancient Greek folklore and Cool Jazz.

  • Wayne Shorter – “Wayning Moments” (1961)
  • Astrud Gilberto – “The Shadow of Your Smile” (1965)
  • Paul Desmond – “Take Ten” (1963)

7. Blue Bossa

“Blue Bossa” – Written by Kenny Dorham.

Blue Bossa is another common jam session tune that is usually played fast with a Latin feel.

There are many great recordings of this tune, but a few notable ones are listed below.

  • Joe Henderson – “Page One” (1963)
  • Dexter Gordon – “Biting the Apple” (1976)
  • Pat Martino – “Exit” (1976)

8. Body and Soul

“Body and Soul” – Written by Johnny Green, Edward Heyman, Robert Sour, and Frank Eyton.

This jazz song is a staple among ballads in the jazz tradition. The rich and intricate harmonic structure of “Body and Soul” offers an expansive landscape for improvisation. It’s certainly a favorite among many great players, from Coleman Hawkins to John Coltrane.

Be sure to check out:

  • Coleman Hawkins – “Body and Soul” (1939)
  • Billie Holiday – “Body and Soul” (1940)
  • John Coltrane – “Coltrane’s Sound” (1960)

9. But Not For Me

“But Not For Me” – Written by Ira and George Gershwin.

This George and Ira Gershwin tune is a classic enshrined in the Great American Songbook. The swinging rhythm and witty yet melancholic lyrics evoke a bittersweet quality that’s typical of the Gershwins’ many jazz songs.

Be sure to check out:

  • Chet Baker – “Chet Baker Sings” (1954)
  • Ella Fitzgerald – “Ella Fitzgerald Sings the George and Ira Gershwin Songbook” (1959)
  • Ahmad Jamal – “At the Pershing: But Not for Me” (1958)

10. Bye Bye Blackbird

“Bye Bye Blackbird” – Written by Ray Henderson and Mort Dixon

One of the emblematic songs from the Tin Pan Alley era, “Bye Bye Blackbird,” should be on your tune list. Its uplifting melody and simple harmonic structure offer an ideal foundation for improvisation.

Be sure to check out:

Miles Davis – “‘Round About Midnight” (1957)

John Coltrane – “Bye Bye Blackbird” (recorded 1962, released 1981)

Etta Jones – “Don’t Go to Strangers” (1960)

11. Cherokee

“Cherokee” – Written by Ray Noble.

With its rapid-fire chord changes and lively tempo, “Cherokee” by Ray Noble is a rite of passage for any musician. It’s a high-octane challenge, demanding technical proficiency, improvisational agility, and a deep sense of swing.

As the tune that inspired Charlie Parker to develop his bebop language, “Cherokee” stands as a milestone in the evolution of the genre, marking the shift from swing to bebop.

  • Johnny Smith – “Moonlight in Vermont” (1952)
  • Clifford Brown and Max Roach – “Study in Brown” (1955)
  • Kamasi Washington – “The Epic” (2015)

12. Confirmation

“Confirmation” – Written by Charlie Parker

Charlie Parker’s “Confirmation” is a prime example of the intricate melodic lines and complex harmonies that characterize the bebop era. Its challenging chord changes and infectious swing feel have made it a favorite among musicians.

While it is one of the more challenging songs on this list, it offers endless opportunities for creative improvisation and is a must-know. Check out:

  • Barry Harris and Kenny Barron – “Confirmation” (1992)
  • Art Blakey – “A Night at Birdland Vol. 2” (1954)
  • Dexter Gordon – “Daddy Plays the Horn” (1955)

13. Days of Wine and Roses

“Days of Wine and Roses” – Written by Henry Mancini and Johnny Mercer.

This gem from Henry Mancini is known for its delicate, lyrical melody and subtle harmonic complexity. The tune was written for the 1962 film of the same name and is an example of how cinematic music can be transformed into a jazz standard.

Be sure to check out:

  • Ella Fitzgerald and Joe Pass – “Easy Living” (1986)
  • Bill Evans and Tony Bennet – “Days Of Wine And Roses” (1975)
  • Oscar Peterson – “We Get Requests” (1964)

14. Doxy

“Doxy” – Written by Sonny Rollins.

“Doxy” is a playful, melodic journey through simple blues changes. As a testament to Rollins’ fun and quirky style, this tune stands out for its catchy riff-based melody.

Be sure to check out:

  • Sonny Rollins and Miles Davis – “Miles Davis with Sonny Rollins” (1954)
  • Miles Davis – “Bag’s Groove” (1954)
  • John Coltrane – “Like Sonny” (1960)

15. Fly Me To The Moon

“Fly Me To The Moon” – Written by Bart Howard.

This song made it onto the pop charts several times with many popular artists over the years.

This is one of the songs that embody the charisma and elegance of jazz. Its memorable melody, romantic lyricism, and accessible harmonic progression have made it a beloved standard in jazz and other music circles.

Be sure to check out:

  • Frank Sinatra – “It Might As Well Be Swing” (1964)
  • Joe Henderson – “Straight, No Chaser” (1968)
  • Oscar Peterson – “We Get Requests” (1964)

16. Footprints

“Footprints” – Written by Wayne Shorter.

Wayne Shorter’s “Footprints” is a masterclass in jazz composition. With its haunting melody, asymmetric 6/4 time signature, and unique minor blues form, it pushes boundaries and invites a profound exploration of modal jazz.

Be sure to check out:

  • Miles Davis – “Miles Smiles” (1966)
  • Wayne Shorter – “Adam’s Apple” (1966)
  • Pat Martino – “The Visit” (1972)

17. Four

“Four” – Written by Miles Davis.

This tune is a prime example of his knack for composing tunes that are as engaging as they are straightforward. The playful melody and fast tempo exemplify Davis’s cool and accessible approach to bebop.

“Four” offers an enjoyable challenge for musicians while serving as a solid introduction to jazz harmony.

Be sure to check out:

  • Red Garland – “Red Garland Revisited!” (1969)
  • Dexter Gordon – “Bouncin’ with Dex” (1976)
  • Maynard Ferguson – “Maynard ’62” (1962)

18. Have You Met Miss Jones

“Have You Met Miss Jones” – Written by Richard Rodgers and Lorenz Hart.

This charming piece by Richard Rodgers and Lorenz Hart from the Swing Era is beloved for its catchy melody and unexpected harmonic complexity. The bridge’s sequence of key changes is a challenging exercise for jazz players.

Be sure to check out:

  • Oscar Peterson – “We Get Requests” (1964)
  • Benny Goodman – “Camel Caravan” (1937)
  • Art Tatum – “The Art Tatum Solo Masterpieces Vol. 1” (1953)

19. How High The Moon

“How High The Moon” – Written by Morgan Lewis and Nancy Hamilton.

“How High The Moon” has become a must-know tune for modern musicians. The tune is often played at a brisk tempo. Charlie Parker’s famous bebop composition, “Ornithology,” is basically a new melody with the same changes (known as a contrafact).

Be sure to check out:

  • Keely Smith – “I’m in Love Again” (1985)
  • Bing Crosby – “El Señor Bing” (1960)
  • Abbey Lincoln – “The World Is Falling Down” (1991)

20. I Hear a Rhapsody

“I Hear a Rhapsody” – Written by George Fragos, Jack Baker, and Dick Gasparre.

This tune has rich harmonies and a lyrical melody. Its intricate chord changes and structure embody the essence of 1940s pop music. This jazz song is a challenge to play at fast tempos due to the parallel minor seventh chords that move in minor thirds at the end of the A sections.

Check out:

  • Chick Corea, Miroslav Vitous, and Roy Haynes – “Trio Music – Live in Europe” (1986)
  • John Coltrane – “Lush Life” (1961)
  • Art Blakey – “Art Blakey!!!!! Jazz Messengers!!!!!” (1961)

21. I Love You

“I Love You” – Written by Cole Porter.

This Cole Porter tune is a delight for both musicians and listeners. Originally written for a 1944 Broadway musical, it has since become a bona fide standard, often played at a brisk tempo.

“I Love You” offers a gratifying challenge to improvisers with its mixture of classic Broadway charm and harmonic complexity.

Be sure to check out:

  • Mike Stern – “Give And Take” (1997)
  • Oscar Peterson – “I Love You / Daahoud” (1962)
  • Bill Evans – “New Jazz Conceptions” (1956)

22. I Remember You

“I Remember You” – Written by Victor Schertzinger and Johnny Mercer.

With its tender, catchy melody and heartfelt lyrics, this jazz song is often interpreted as a nostalgic ballad.

Be sure to check out:

  • Björk – “Venus As A Boy” (1993)
  • Chet Baker – “Chet Baker Sings and Plays With Bud Shank, Russ Freeman, and Strings” (1955)
  • Sarah Vaughan – “I Remember You” (2003)

23. I’ll Remember April

“I’ll Remember April” – Written by Gene de Paul, Patricia Johnston, and Don Raye.

“I’ll Remember April” is known for its bright melody and lively harmonic progression. Often played at a brisk tempo, it is a staple in the bebop and mainstream repertoire and is a great vehicle for improvisation.

  • Grant Green – “Standards” (1961)
  • Jim Hall and Ron Carter – “Alone Together” (1973)
  • Erroll Garner – “Concert by the Sea” (1955)

24. I’m Old Fashioned

“I’m Old Fashioned” – Written by Jerome Kern and Johnny Mercer.

This Jerome Kern and Johnny Mercer jazz song stands out as a quintessential ballad. Its lyrical melody, romantic lyrics, and elegant harmony invite musicians to take their time exploring its depths.

Be sure to check out:

  • John Coltrane – “Blue Train” (1957)
  • Paul Desmond – “Pure Desmond” (1975)
  • Eileen Farrell – “I’ve Got a Right to Sing the Blues” (1960)

25. If I Should Lose You

“If I Should Lose You” – Written by Ralph Rainger and Leo Robin.

“If I Should Lose You” is a deeply emotive jazz standard. Composed by Ralph Rainger and Leo Robin, it serves as a perfect platform for heartfelt improvisation and is usually played as a melancholic ballad.

Be sure to check out:

  • Sonny Stitt – “Sonny Stitt Plays” (1955)
  • Shirley Horn – “Embers and Ashes” (1959)
  • Chick Corea and Stefano Bollani – “Orvieto” (2010)

BEFORE YOU CONTINUE...

If you struggle to learn jazz standards by ear, memorize them, and not get lost in the song form, then our free guide will completely change the way you learn tunes forever.

Learn Jazz Standards The Smart Way Ebook Cover

26. If I Were A Bell

“If I Were A Bell” – Written by Frank Loesser.

This Frank Loesser tune is a delightful romp with a playful melody and cheery lyrics. Its rhythmic buoyancy and standard harmonic structure make it an excellent vehicle for jazz improvisation.

Be sure to check out:

  • Dinah Washington – “In the Land of Hi-Fi” (1956)
  • Ella Fitzgerald – “Ella Swings Lightly” (1958)
  • Miles Davis – “Relaxin’ with the Miles Davis Quintet” (1956)

27. In A Mellow Tone

“In A Mellow Tone” – Written by Duke Ellington and Milt Gabler.

This song became popular during the Swing era with a recording by Duke Ellington and his famous orchestra. “In A Mellow Tone” exhibits Ellington’s ability to meld sophisticated harmonies with an approachable and enjoyable melody.

  • Count Basie – “Breakfast Dance and Barbecue” (1959)
  • Joe Pass – “Portraits of Duke Ellington” (1975)
  • Sonny Stitt – “Sonny Stitt with Strings: A Tribute to Duke Ellington” (1977)

28. In A Sentimental Mood

“In A Sentimental Mood” – Written by Duke Ellington and Irving Mills.

This tune is an evocative ballad known for its deeply emotional melody and harmonic richness. The tune invites musicians to delve into its poignant narrative, often resulting in expressive and introspective performances. Check out:

  • Michael Brecker – “Magnetic” (1986)
  • Michel Petrucciani, Jim Hall, and Wayne Shorter – “Power of Three” (1987)
  • Johnny Mathis – “In a Sentimental Mood: Mathis Sings Ellington” (1990)

29. It Could Happen To You

“It Could Happen To You” – Written by Jimmy Van Heusen and Johnny Burke.

With its bright melody and uplifting lyrics, the song provides a buoyant backdrop for improvisation. Be sure to check out:

  • Sonny Rollins – “Sound of Sonny” (1957)
  • Bud Powell – “The Amazing Bud Powell, Vol. 1” (1951)
  • Miles Davis – “Relaxin’ with the Miles Davis Quintet” – (1956)

30. Just Friends

“Just Friends” – Written by John Klenner and Sam M. Lewis.

A favorite among jazz instrumentalists, this tune by John Klenner and Sam M. Lewis is known for its strong, memorable melody and exciting chord changes. Be sure to check out:

  • Pat Martino – “El Hombre” (1967)
  • Dizzy Gillespie – “The Trumpet Summit Meets the Oscar Peterson Big 4” (1980)
  • Sun Ra & His Arkestra – “Just Friends” (1983)

31. Misty

“Misty” – Written by Erroll Garner and Johnny Burke.

Misty is a beautiful ballad that has many amazing versions you should check out. This is one of the songs you’ll most likely play with a vocalist at some point. The chord progression and slow tempo allow young improvisers plenty of space to try new ideas while soloing.

Be sure to check out:

  • Charles Mingus – “Jazz Club Presents Charles Mingus, Lionel Hampton, Earl ‘Fatha’ Hines” (2017)
  • Count Basie – “Dance Along with Basie” (1959)
  • Aretha Franklin – “Yeah!!!” (1965)

32. My Funny Valentine

“My Funny Valentine” – Written by Richard Rodgers and Lorenz Hart.

Known for its tender melody and humourous lyrics, this jazz song is a fun playground for instrumentalists and vocalists alike. Check out some of these renditions (yes, even Chaka Khan did a version).

  • Keith Jarrett – “Still Live” (1988)
  • Chet Baker – “Chet Baker Sings (1956 reissue)” – (1956)
  • Chaka Khan – “Waiting to Exhale (Soundtrack)” (1995)

33. Night and Day

“Night and Day” – Written by Cole Porter.

The tune’s hypnotic melody and clever harmonic progressions invite musicians to explore its complex structure. This tune is a great vehicle for practicing transposing ideas in minor thirds.

Be sure to check out:

  • Ella Fitzgerald – “Ella Fitzgerald Sings the Cole Porter Song Book” (1956)
  • Bill Evans – “Everybody Digs Bill Evans” (1959)
  • Morten Haxholm – “Equilibrium” (2019)

34. Oleo

“Oleo” – Written by Sonny Rollins.

Learning a rhythm changes tune is essential for playing at jam sessions! If you learn the changes to one rhythm changes tune, you (basically) learn the changes to all of them. Oleo is a great rhythm change head to learn because the melody isn’t too difficult.

Be sure to check out:

  • Sonny Rollins and Miles Davis – “Miles Davis with Sonny Rollins” (1954)
  • Pat Martino – “Desperado” (1970)
  • Eric Dolphy – “Eric Dolphy In Europe, Vol. 1” (1989)

35. On Green Dolphin Street

“On Green Dolphin Street” – Written by Bronisław Kaper and Ned Washington.

This is a jazz standard known for its unique structure and catchy, swinging melody. It’s especially noted for its harmonic shifts between major and minor, providing a fun vehicle for improvisation.

Check out:

  • Barney Kessel – “The Poll Winners” (1957)
  • Chick Corea and Return to Forever – “Live” (1977)
  • Grant Green – “Gooden’s Corner” (1961)

36. Recorda Me

“Recorda Me” – Written by Joe Henderson.

This tune’s contagious Latin groove, coupled with its strong melody and modern harmonic structure, offers musicians a gratifying challenge. Its fusion of jazz harmony with Afro-Cuban rhythms makes it a unique entry on this list.

Check out:

  • Steps Ahead – “Smokin’ in the Pit” (1980)
  • McCoy Tyner – “New York Reunion” (1991)
  • Art Farmer – “Soul Eyes” (1991)

37. Satin Doll

“Satin Doll” – Written by Duke Ellington and Billy Strayhorn, lyrics by Johnny Mercer.

Often performed with a relaxed swing feel, the tune is a great exercise for musicians to stretch out and practice their jazz chops.

Notable versions include:

  • Dr. John – “Duke Elegant” (1999)
  • Hank Jones – “Someday My Prince Will Come” (2002)
  • McCoy Tyner – “Nights of Ballads & Blues” (1963)

38. Stella By Starlight

“Stella By Starlight” – Written by Victor Young and Ned Washington.

Known for its hauntingly beautiful melody and complex harmonic progression, “Stella By Starlight” is one of the most revered standards in the jazz repertoire. Its rich harmonic language leads to creative and emotive improvisations.

Be sure to explore:

  • Robert Glasper – “Covered” (2015)
  • Ray Charles – “Dedicated to You” (1961)
  • Vic Juris – “Vic Plays Victor Young” (2016)

39. Scrapple From The Apple

“Scrapple From The Apple” – Written by Charlie Parker.

This tune is a quintessential bebop composition. Known for its fast-paced melody and rhythmic complexity, “Scrapple From The Apple” is a challenging yet stimulating playground for improvisation.

Check out:

  • Curtis Fuller – “Jazz Conference Abroad” (1962)
  • Dexter Gordon – “Our Man in Paris” (1963)
  • Jim Hall – “Jim Hall Live!” (1975)

40. So What

“So What” – Written by Miles Davis.

As the opening track of Miles Davis’s revolutionary album “Kind of Blue,” “So What” is a pillar of modal jazz. The tune, known for its sparse melodic theme and modal harmonic structure, encourages musicians to explore beyond traditional chord-scale relationships.

Check out:

  • Miles Davis – Kind of Blue (1959)
  • Miles Davis – ”Four’ & More: Recorded Live in Concert” (1964)
  • Miles Davis and John Coltrane – “Miles Davis & John Coltrane The Final Tour” (2018)

41. Solar

“Solar” – Written by Miles Davis.

“Solar” showcases Miles’s knack for composing tunes that are as engaging as they are straightforward. Its catchy theme and unique chord changes have made it a favorite of music lovers.

Check out:

  • Miles Davis – “Miles Davis Quintet” (1954)
  • Pat Metheny, Dave Holland, Roy Haynes – “Question And Answer” (1990)
  • Bill Evans – “Sunday At The Village Vanguard” (1961)

42. St. Thomas

“St. Thomas” – Written by Sonny Rollins.

This tune is one of the most famous examples of the fusion between jazz and Caribbean rhythms. With its catchy, calypso-inspired melody and straightforward chord changes, “St. Thomas” provides a lively and refreshing platform for improvisation.

Check out:

  • Sonny Rollins – “Saxophone Colossus” (1956)
  • Ron Carter and Jim Hall – “Alone Together” (1972)
  • Dallas Original Jazz Orchestra – “Where There’s Smoke” (2009)

43. Sweet Georgia Brown

“Sweet Georgia Brown” – Written by Ben Bernie, Maceo Pinkard, and Kenneth Casey.

Whether it’s interpreted in a traditional Dixieland style or given a modern twist, “Sweet Georgia Brown” always brings an invigorating burst of energy to any performance.

Check out:

  • Django Reinhardt & Stephane Grappelli – “Django Reinhardt and Stéphane Grappelli” (2005)
  • Art Tatum – “God is in the House” (1973)
  • Charlie Parker, Lester Young, and Dizzy Gillespie – “Early Modern: 1946 Concert Recordings” (1971)

44. Take The A Train

“Take The A Train” – Billy Strayhorn

“Take The A Train” is a jazz music staple! Billy Strayhorn’s clever songwriting and harmonically sophisticated style are evident in this jazz song’s catchy melody and distinctive rhythmic motif. It perfectly captures the essence of the Duke Ellington Orchestra’s sound.

Listen to:

  • Clifford Brown with Max Roach – “Study in Brown” (1955)
  • Ella Fitzgerald – “Ella Fitzgerald Sings the Duke Ellington Song Book” (1957)
  • Anita O’Day – “Anita O’Day Sings the Winners” (1958)

45. The Girl From Ipanema

“The Girl From Ipanema” – Antonio Carlos Jobim and Vinicius de Moraes, English lyrics by Norman Gimbel.

Composed by Antonio Carlos Jobim, this bossa nova classic helped popularize Brazilian music in the US in the 1960s. Its sensual melody, laid-back groove, and evocative lyrics have made it one of the more beloved jazz songs worldwide.

Listen to:

  • Stan Getz and João Gilberto – “Getz/Gilberto” (1964)
  • Frank Sinatra and Carlos Antonio Jobim – “Francis Albert Sinatra and Carlos Antonio Jobim” (1967)
  • Oscar Peterson – “We Get Requests” (1964)

46. There Is No Greater Love

“There Is No Greater Love” – Written by Isham Jones and Marty Symes.

This Isham Jones and Marty Symes tune showcases the romantic side of the jazz tradition. Known for its sweet melody and simple yet effective chord changes, it provides a platform for both lyrical and up-tempo improvisation.

Check out:

  • Ahmad Jamal – “At the Pershing: But Not for Me” (1958)
  • Amy Winehouse – “Frank” (2003)
  • Nat King Cole – “The Very Thought of You” (1958)

47. There Will Never Be Another You

“There Will Never Be Another You” – Written by Harry Warren and Mack Gordon.

Known for its upbeat melody and harmonically satisfying progression, it’s a blast to improvise over. This is another must-know tune.

Be sure to listen to:

  • Chet Baker – “Chet Baker Sings (1956 reissue)” – (1956)
  • Nat King Cole – “Nat King Cole Sings for Two in Love” (1955)
  • Wynton Kelly Trio – “Piano Interpretations” (1951)

48. Up Jumped Spring

“Up Jumped Spring” – Written by Freddie Hubbard.

This Freddie Hubbard composition stands as a testament to his talent not only as a trumpeter but also as a composer. With its buoyant melody and unique harmonic structure, it offers a delightful challenge for improvisation, highlighting the more playful and imaginative side of the genre.

  • Curtis Fuller – “Up Jumped Spring” (2003)
  • Benny Golson – “Up Jumped Benny” (1997)
  • Freddie Hubbard – “Backlash” (1967)

49. What Is This Thing Called Love

“What Is This Thing Called Love” – Written by Cole Porter.

This tune is another staple of jam sessions. Its catchy melody and sophisticated harmonic changes have made it a beloved standard for jam sessions, often performed way up.

Check out:

  • Joe Henderson – “Straight, No Chaser” (1968)
  • Cannonball Adderley – “At the Lighthouse” (1960)
  • Bobby McFerrin and Herbie Hancock – “The Other Side of ‘Round Midnight” (1986)

50. Yesterdays

“Yesterdays” – Written by Jerome Kern and Otto Harbach.

“Yesterdays” is an evocative ballad performed in a minor key. Its haunting melody and complex harmonic structure provide a compelling platform for heartfelt improvisation.

Check out:

  • Buddy Rich and Max Roach – “Rich vs. Roach” (1959)
  • Clifford Brown – “Clifford Brown with Strings” (1955)
  • Stephane Grappelli and Yehudi Menuhin – “Tea for Two” (1977)

Are These 50 Jazz Songs The Best Jazz Songs?

No! There are so many incredible jazz songs out there. Trimming the list to a modest fifty means ignoring so many great jazz songs. From John Coltrane’s “Giant Steps” to Louis Armstrong’s version of “What A Wonderful World” and beyond, many incredible jazz songs were not included on this list…

…And it’s not because they aren’t great!

To truly expose yourself to all the best jazz songs, you should listen to all the albums listed under each entry. That will give you a greater picture of all the best jazz songs out there.

Let’s do the math: 50 jazz songs X three suggested albums for each jazz song = 150 albums!

There are simply too many types of jazz music to create a simple “best jazz songs” list.

At a certain level, the “best jazz songs” comes down to personal preference. That’s why you should go make your own 50 best jazz songs list and compare it to this one!

Your list might include the Horace Silver tune “Song For My Father” or the Lee Morgan tune “The Sidewinder.” You might prefer more Jaco Pistorious and less Frank Sinatra. Your list will depend on your personal jazz music preferences.

Your “best jazz songs” list might include soul jazz, smooth jazz, or other subgenres instead of bebop or hard bop, and it wouldn’t be wrong.

How Many of These Jazz Standards Do You Know?

This list contains everything you need to learn jazz standards. If you memorize the chord changes and new melodies of these great American songbook classics, you’ll be well on your way to understanding jazz harmony, jazz music theory, and improvisational language.

Already know every popular jazz standard on this list? Have you already battle-tested these songs at your last local jam session?

Your journey is not over—visit our index to view an even larger list of songs.

Master Jazz Standards And Become the Best Jazz Musician You Can Be—Join The Learn Jazz Standards Inner Circle

If you are ready to get serious about learning jazz standards (and want to have a blast doing so), then you need to check out the Inner Circle.

When you join the Inner Circle, you’ll get instant access to years and years of jazz resources LJS has developed, as well as a deep dive into a new jazz standard every month. The Inner Circle is perfect for players who want to take their jazz chops, tune repertoire, and music theory knowledge to the next level.

Come see what we’re all about.

TAKE YOUR JAZZ PLAYING TO THE NEXT LEVEL.

We help musicians of all instruments start improvising confidently over jazz standards in just 30 days without mind-numbing hours of practice or the overwhelm.

TAKE YOUR JAZZ PLAYING TO THE NEXT LEVEL.

We help musicians of all instruments start improvising confidently over jazz standards in as little as 30 days without mind-numbing hours of practice or the overwhelm.

“Jazz music is the power of now. There is no script. It’s conversation. The emotion is given to you by musicians as they make split-second decisions to fulfill what they feel the moment requires.”
WYNTON MARSALIS

YOU MAY ALSO BE INTERESTED IN

Learn Jazz Standards The Smart Way Ebook Cover

OUR PROVEN PROCESS FOR LEARNING JAZZ STANDARDS LIKE A PRO

A step-by-step guide for how to effectively learn jazz standards so you’ll feel confident playing them, and won’t forget them.

TERMS AND CONDITIONS

Welcome to LearnJazzStandards.com! We’ve created this page so that you (and any visitor to LearnJazzStandards.com) will understand the terms and conditions that govern your use of this website. If you continue to browse and use this website you are agreeing to comply with and be bound by the following terms and conditions, which together with our privacy policy comprise our (LearnJazzStandards.com’s) entire relationship with you.

Exclusion of Liability

The content found on any page of this website is for your general information and use only, and it is subject to change without notice. Neither we nor any third parties provide any warranty or guarantee as to the accuracy, timeliness, performance, completeness or suitability of the information and materials found or offered on this website for any particular purpose. You acknowledge that such information and materials may contain inaccuracies or errors and we expressly exclude liability for any such inaccuracies or errors to the fullest extent permitted by law. Your use of any information or materials on this website is entirely at your own risk, for which we shall not be liable. It shall be your own responsibility to ensure that any products, services or information available through this website meet your specific requirements.

Indemnity

By accessing our website, you agree to indemnify and hold us harmless from all claims, actions, damages, costs and expenses including legal fees arising from or in connection with your use of our website.

Copyright Laws & Intellectual Property

This website contains some material which is owned by or licensed to us. This material includes, but is not limited to, the design, layout, look, appearance and graphics. Reproduction is prohibited other than in accordance with the copyright notice, which forms part of these terms and conditions. All logos, trademarks, and other intellectual property found on LearnJazzStandards.com are the property of their respective owners. They do not indicate ownership, affiliation, sponsorship, or any other relationship with LearnJazzStandards.com. In addition, this website may also include links to other websites. These links are provided for your convenience to provide further information. They do not signify that we endorse those websites, and we have no responsibility for the content of those linked websites.

Unauthorized Use

Your use of this website and any dispute arising out of such use of the website is subject to the laws of the United States of America. Any unauthorized use of this website may give rise to a claim for damages and/or be a criminal offense. Thanks, and enjoy LearnJazzStandards.com!

Return Policy for Products

Refund Policy

For play-alongs and eBooks:

Because these are digital downloads, and not returnable, we have a strict no refund policy. All purchases are final and cannot be reversed. Please be sure that you fully understand the product you are purchasing and what is and what is not included. Of course, if you ever have any questions about a product feel free to contact us or visit our FAQ page.

For 30 Days to Better Jazz Playing eCourse

Please make sure you completely understand the product you are buying before purchasing. 14 Day 100% Money Back Guarantee
  • This guarantee lasts 14 days, which completely covers almost half of the course, enough for you to observe its’ effectiveness.
  • We can’t guarantee you will be Miles Davis, Charlie Parker, or John Coltrane in 2 weeks. We’d be suspicious of anyone who could promise that. Becoming a better jazz musician is a process and it requires work.
  • If you’re not happy with the quality of this program…send us an email and showing you did the work. We’ll refund 100% of your money (We’ll even eat the credit-card processing fees) and we’ll part as friends. We believe in the power of this course and so we’ll take responsibility for it.

For Inner Circle Membership

Please make sure you completely understand the product you are buying before purchasing. 30 Day 100% Money Back Guarantee
  • This guarantee lasts 30 days, which is enough for you to observe the membership’s effectiveness.
  • We can’t guarantee you will be Miles Davis, Charlie Parker, or John Coltrane in 30 days. We’d be suspicious of anyone who could promise that. Becoming a better jazz musician is a process and it requires work.
  • If you’re not happy with the quality of this program…send us an email and showing you did the work. We’ll refund 100% of your money (We’ll even eat the credit-card processing fees) and we’ll part as friends. We believe in the power of this course and so we’ll take responsibility for it.

Rights of use

All digital products are for the use of the individual customer only. Redistribution or reselling of our digital products is strictly prohibited and a violation of United States and New York State law.

PRIVACY POLICY

At Learn Jazz Standards LLC, we recognize that privacy of your personal information is important.

Here are the types of personal information we may collect when you use and visit LearnJazzStandards.com, and how we safeguard your information. We never sell your personal information to third parties.

Log Files

As with most other websites, we collect and use the data contained in log files. The information in the log files include your IP (internet protocol) address, your ISP (internet service provider, such as AOL or Shaw Cable), the browser you used to visit our site (such as Internet Explorer or Firefox), the time you visited our site and which pages you visited throughout our site.

Cookies and Web Beacons

We may use cookies to store information, such as your personal preferences when you visit our site. This could include only showing you a popup once in your visit, or the ability to log in to some of our features, such as forums. We collect this information to help send you only pertinent content that we believe you are interested in and will benefit from.

We also use third party advertisements on LearnJazzStandards.com to support our site. Some of these advertisers may use technology such as cookies and web beacons when they advertise on our site, which will also send these advertisers (such as Google through the Google AdSense program) information including your IP address, your ISP, the browser you used to visit our site, and in some cases, whether you have Flash installed.

This is generally used for geotargeting purposes (showing New York real estate ads to someone in New York, for example) or showing certain ads based on specific sites visited (such as showing cooking ads to someone who frequents cooking sites).

DoubleClick DART cookies

We also may use DART cookies for ad serving through Google’s DoubleClick service, which places a cookie on your computer when you are browsing the web and visit a site using DoubleClick advertising (including some Google AdSense advertisements).

This cookie is used to serve ads specific to you and your interests (“interest based targeting”). The ads served will be targeted based on your previous browsing history (For example, if you have been viewing sites about visiting Las Vegas, you may see Las Vegas hotel advertisements when viewing a non-related site, such as on a site about hockey).

DART uses “non personally identifiable information.” It does NOT track personal information about you, such as your name, email address, physical address, telephone number, social security numbers, bank account numbers or credit card numbers. You can opt-out of this ad serving on all sites using this advertising by visiting http://www.doubleclick.com/privacy/dart_adserving.aspx

You can chose to disable or selectively turn off our cookies or third-party cookies in your browser settings, or by managing preferences in programs such as Norton Internet Security. However, this can affect how you are able to interact with our site as well as other websites. This could include the inability to login to services or programs, such as logging into forums or accounts.

Deleting cookies does not mean you are permanently opted out of any advertising program. Unless you have settings that disallow cookies, the next time you visit a site running the advertisements, a new cookie will be added.

Email Addresses

If you share your email address with LearnJazzStandards.com via the contact page, we will only use it to contact you, and will NOT add you to any lists or newsletters without your consent.

In addition, if you sign up for the free newsletter, your email address will only be used to send special offers and updates from LearnJazzStandards.com. Addresses are recorded and kept secure through MailChimp, which we use to distribute information to our subscribers. Neither MailChimp nor LearnJazzStandards.com will give or sell your address to any third party, nor will you be added to any additional lists.

Right to Be Forgotten

If at any point you wish to be completely deleted from our databases, whether it be as a newsletter subscriber or an account holder on learnjazzstandards.com, you have the complete right to do so.

Contact us, and we will ensure your data is cleared from our system.

Data Control Contact

If you ever wish to reach out to us regarding the use of your data, we are reachable at [email protected]. Additionally, you can use our contact page, to reach out any time.

In short, your information is safe with us, and we greatly value your trust.

Thanks for using Learn Jazz Standards!

Terms of Use

Welcome to LearnJazzStandards.com!

We’ve created this page so that you (and any visitor to LearnJazzStandards.com) will understand the terms and conditions that govern your use of this website.

If you continue to browse and use this website you are agreeing to comply with and be bound by the following terms and conditions, which together with our privacy policy comprise our (LearnJazzStandards.com’s) entire relationship with you.

Exclusion of Liability

The content found on any page of this website is for your general information and use only, and it is subject to change without notice.

Neither we nor any third parties provide any warranty or guarantee as to the accuracy, timeliness, performance, completeness or suitability of the information and materials found or offered on this website for any particular purpose.

You acknowledge that such information and materials may contain inaccuracies or errors and we expressly exclude liability for any such inaccuracies or errors to the fullest extent permitted by law.

Your use of any information or materials on this website is entirely at your own risk, for which we shall not be liable. It shall be your own responsibility to ensure that any products, services or information available through this website meet your specific requirements.

Indemnity

By accessing our website, you agree to indemnify and hold us harmless from all claims, actions, damages, costs and expenses including legal fees arising from or in connection with your use of our website.

Copyright Laws & Intellectual Property

This website contains some material which is owned by or licensed to us. This material includes, but is not limited to, the design, layout, look, appearance and graphics. Reproduction is prohibited other than in accordance with the copyright notice, which forms part of these terms and conditions.

All logos, trademarks, and other intellectual property found on LearnJazzStandards.com are the property of their respective owners. They do not indicate ownership, affiliation, sponsorship, or any other relationship with LearnJazzStandards.com.

In addition, this website may also include links to other websites. These links are provided for your convenience to provide further information. They do not signify that we endorse those websites, and we have no responsibility for the content of those linked websites.

Unauthorized Use

Your use of this website and any dispute arising out of such use of the website is subject to the laws of the United States of America. Any unauthorized use of this website may give rise to a claim for damages and/or be a criminal offense.

Thanks, and enjoy LearnJazzStandards.com!

Return Policy for Products

Refund Policy

For play-alongs and eBooks:

Because these are digital downloads, and not returnable, we have a strict no refund policy. All purchases are final and cannot be reversed. Please be sure that you fully understand the product you are purchasing and what is and what is not included. Of course, if you ever have any questions about a product feel free to contact usor visit our FAQ page.

For 30 Days to Better Jazz Playing eCourse

Please make sure you completely understand the product you are buying before purchasing.

14 Day 100% Money Back Guarantee

  • This guarantee lasts 14 days, which completely covers almost half of the course, enough for you to observe its’ effectiveness.
  • We can’t guarantee you will be Miles Davis, Charlie Parker, or John Coltrane in 2 weeks. We’d be suspicious of anyone who could promise that. Becoming a better jazz musician is a process and it requires work.
  • If you’re not happy with the quality of this program…send us an email and showing you did the work. We’ll refund 100% of your money (We’ll even eat the credit-card processing fees) and we’ll part as friends. We believe in the power of this course and so we’ll take responsibility for it.

Rights of use

All digital products are for the use of the individual customer only. Redistribution or reselling of our digital products is strictly prohibited and a violation of United States and New York State law.

Learn Jazz Standards Messaging Terms & Conditions

Effective Date:

This SMS message program is a service of Learn Jazz Standards. By providing your cell phone number, you agree to receive recurring automated promotional and personalized marketing text messages (e.g., SMS/MMS cart reminders, sale notices, etc) from Learn Jazz Standards. These messages include text messages that may be sent using an automatic telephone dialing system, to the mobile telephone number you provided when signing up or any other number that you designate. You give Learn Jazz Standards permission to send text messages to the enrolled cell phone number through your wireless phone carrier, unless and until you end permission per these Terms & Conditions. Consent to receive automated marketing text messages is not a condition of any purchase. Message & data rates may apply.

Message frequency may vary. Learn Jazz Standards reserves the right to alter the frequency of messages sent at any time, so as to increase or decrease the total number of sent messages. Learn Jazz Standards also reserves the right to change the short code or phone number from which messages are sent and we will notify you if we do so.

Not all mobile devices or handsets may be supported and our messages may not be deliverable in all areas. Learn Jazz Standards, its service providers and the mobile carriers supported by the program are not liable for delayed or undelivered messages.

By enrolling in the Learn Jazz Standards messaging program, you also agree to these messaging terms & conditions (“Messaging Terms”), our Learn Jazz Standards Terms of Use and Learn Jazz Standards Privacy Policy.

Cancellation

Text the keyword STOP, STOPALL, END, CANCEL, UNSUBSCRIBE or QUIT to the telephone number, long code, or short code that sends you our initial confirmation message to cancel. After texting STOP, STOPALL, END, CANCEL, UNSUBSCRIBE or QUIT to the telephone number, long code, or short code that sends you our initial confirmation message you will receive one additional message confirming that your request has been processed. If you change your preferences, it may take up to 48 hours for it to take effect. You acknowledge that our text message platform may not recognize and respond to unsubscribe requests that do not include the STOP, STOPALL, END, CANCEL, UNSUBSCRIBE or QUIT keyword commands and agree that Learn Jazz Standards and its service providers will have no liability for failing to honor such requests. If you unsubscribe from one of our text message programs, you may continue to receive text messages from Learn Jazz Standards through any other programs you have joined until you separately unsubscribe from those programs.

Help or Support

Text the keyword HELP to the telephone number, long code, or short code that sends you our initial confirmation message to receive a text with information on how to unsubscribe.

No Warranty

TO THE MAXIMUM EXTENT ALLOWED BY APPLICABLE LAW, YOU ACKNOWLEDGE AND AGREE THAT THE MESSAGING PROGRAM IS PROVIDED ON AN “AS IS” AND “AS AVAILABLE” BASIS WITHOUT WARRANTIES OF ANY KIND, WHETHER EXPRESS OR IMPLIED.

Limitation of Liability

TO THE MAXIMUM EXTENT ALLOWED BY APPLICABLE LAW, YOU AGREE THAT IN NO EVENT SHALL EITHER OF Learn Jazz Standards OR ANY PARTY ACTING ON BEHALF OF Learn Jazz Standards BE LIABLE FOR: (A) ANY CLAIMS, PROCEEDINGS, LIABILITIES, OBLIGATIONS, DAMAGES, LOSSES OR COSTS IN AN AGGREGATE AMOUNT EXCEEDING THE GREATER OF THE AMOUNT YOU PAID TO Learn Jazz Standards HEREUNDER OR $100.00; OR (B) ANY DIRECT, INDIRECT, CONSEQUENTIAL, SPECIAL, INCIDENTAL, PUNITIVE OR ANY OTHER DAMAGES. YOU AGREE EVEN IF Learn Jazz Standards HAS BEEN TOLD OF POSSIBLE DAMAGE OR LOSS ARISING OR RESULTING FROM OR IN ANY WAY RELATING TO YOUR USE OF THE Learn Jazz Standards MESSAGING PROGRAM. Learn Jazz Standards AND ITS REPRESENTATIVES ARE NOT LIABLE FOR THE ACTS OR OMISSIONS OF THIRD PARTIES, INCLUDING BUT NOT LIMITED TO DELAYS OR NON-DELIVERY IN THE TRANSMISSION OF MESSAGES.

Indemnity

To the maximum extent allowed by applicable law, you agree to indemnify, defend and hold harmless Learn Jazz Standards, its directors, officers, employees, servants, agents, representatives, independent contractors and affiliates from and against any and all claims, damages, liabilities, actions, causes of action, costs, expenses, including reasonable attorneys’ fees, judgments or penalties of any kind or nature arising from or in relation to the these Messaging Terms or your receipt of text messages from Learn Jazz Standards or its service providers.

Dispute Resolution

  1. General. Any dispute or claim arising out of or in any way related to these Messaging Terms or your receipt of text messages from Learn Jazz Standards or its service providers whether based in contract, tort, statute, fraud, misrepresentation, or any other legal theory, and regardless of when a dispute or claim arises will be resolved by binding arbitration. YOU UNDERSTAND AND AGREE THAT, BY AGREEING TO THESE MESSAGING TERMS, YOU AND Learn Jazz Standards ARE EACH WAIVING THE RIGHT TO A TRIAL BY JURY OR TO PARTICIPATE IN A CLASS ACTION AND THAT THESE MESSAGING TERMS SHALL BE SUBJECT TO AND GOVERNED BY ARBITRATION.
  2. Exceptions. Notwithstanding subsection (a) above, nothing in these Messaging Terms will be deemed to waive, preclude, or otherwise limit the right of you or Learn Jazz Standards to: (i) bring an individual action in small claims court; (ii) pursue an enforcement action through the applicable federal, state, or local agency if that action is available; (iii) seek injunctive relief in aid of arbitration from a court of competent jurisdiction; or (iv) file suit in a court of law to address an intellectual property infringement claim.
  3. Arbitrator. Any arbitration between you and Learn Jazz Standards will be governed by the JAMS, under the Optional Expedited Arbitration Procedures then in effect for JAMS, except as provided herein. JAMS may be contacted at www.jamsadr.com. The arbitrator has exclusive authority to resolve any dispute relating to the interpretation, applicability, or enforceability of this binding arbitration agreement.
  4. No Class Actions. YOU AND Learn Jazz Standards AGREE THAT EACH MAY BRING CLAIMS AGAINST THE OTHER ONLY IN AN INDIVIDUAL CAPACITY AND NOT AS A PLAINTIFF OR CLASS MEMBER IN ANY PURPORTED CLASS OR REPRESENTATIVE PROCEEDING. Further, unless both you and Learn Jazz Standards agree otherwise in a signed writing, the arbitrator may not consolidate more than one person’s claims, and may not otherwise preside over any form of a representative or class proceeding. You agree that, by agreeing to these Messaging Terms, you and Learn Jazz Standards are each waiving the right to a trial by jury or to participate in a class action, collective action, private attorney general action, or other representative proceeding of any kind.
  5. No Class Actions. YOU AND Learn Jazz Standards AGREE THAT EACH MAY BRING CLAIMS AGAINST THE OTHER ONLY IN AN INDIVIDUAL CAPACITY AND NOT AS A PLAINTIFF OR CLASS MEMBER IN ANY PURPORTED CLASS OR REPRESENTATIVE PROCEEDING. Further, unless both you and Learn Jazz Standards agree otherwise in a signed writing, the arbitrator may not consolidate more than one person’s claims, and may not otherwise preside over any form of a representative or class proceeding.
  6. Modifications to this Arbitration Provision. Notwithstanding anything to the contrary in these Messaging Terms, if Learn Jazz Standards makes any future change to this arbitration provision, you may reject the change by sending us written notice within 30 days of the change to Learn Jazz Standards’s contact information provided in the “Contact Us” section below, in which case this arbitration provision, as in effect immediately prior to the changes you rejected, will continue to govern any disputes between you and Learn Jazz Standards.
  7. Enforceability. If any provision of these Messaging Terms is found to be unenforceable, the applicable provision shall be deemed stricken and the remainder of these Messaging Terms shall remain in full force and effect.

Changes to the Messaging Terms

We reserve the right to change these Messaging Terms or cancel the messaging program at any time. By using and accepting messages from Learn Jazz Standards after we make changes to the Messaging Terms, you are accepting the Messaging Terms with those changes. Please check these Messaging Terms regularly.

Entire Agreement/Severability

These Messaging Terms, together with any amendments and any additional agreements you may enter into with us in connection herewith, will constitute the entire agreement between you and Learn Jazz Standards concerning the Messaging Program.

Contact

Please contact us with any inquiries or concerns at [email protected]

OUR PROVEN PROCESS FOR LEARNING JAZZ STANDARDS LIKE A PRO

Get our FREE eGuide “Learn Jazz Standards the Smart Way” and follow the 5 simple steps for crushing it with jazz standards.

Learn Jazz Standards The Smart Way Cover

OUR PROVEN PROCESS FOR IMPROVISING JAZZ SOLOS LIKE A PRO

Get our FREE “Jazz Improv Made Easy Fast Track Guide” and follow the 3 simple steps for improvising amazing jazz solos.

Jazz Improv Made Easy Fast Track Guide Ebook Cover

OUR PROVEN PROCESS FOR LEARNING JAZZ THEORY LIKE A PRO

Get our FREE “Jazz Theory Made Easy Fast Track Guide” and follow the 4 simple steps that make learning jazz theory easy.

Jazz Theory Made Easy Fast Track Guide Ebook Cover

DOWNLOAD THIS CHORD CHART

Get our FREE "50 Must-Know Jazz Standards (Learn These Jazz Songs First)" chord chart and our entire library of 200+ jazz standards!

Chord Chart

DOWNLOAD THIS CHORD CHART

Get our FREE "50 Must-Know Jazz Standards (Learn These Jazz Songs First)" chord chart and our entire library of 200+ jazz standards!

Chord Chart

DOWNLOAD THIS CHORD CHART

Get our FREE "50 Must-Know Jazz Standards (Learn These Jazz Songs First)" chord chart and our entire library of 200+ jazz standards!

Chord Chart