This list is more stylistic than chronological, and certainly less than comprehensive, but hopefully it still provides a fair overview of the music’s development. At the very least it shows that good musicians never play “the same old tune.”
Unfortunately, YouTube removed a great clip of Barry Ulanov’s All Stars, featuring Ray Brown, Dizzy Gillespie, Charlie Parker, Max Roach and Lennie Tristano playing “Tiger Rag.
Readers are encouraged to share examples of “Tiger Fusion, Tiger Latin, Tiger Atonal, Tiger Hip Hop” or their own favorite exploration of this perennial favorite.
The jazz contrafact, i.e a new composition written on the chord changes of another tune, is usually associated with post-war jazz. Beboppers superimposed dense riffs and angular melodies over popular standards, often adding then “unusual” chord substitutions that would eventually become standard operating vocabulary for jazz as we know it.
In the same spirit, Adrian Rollini and his colleagues in British bandleader Fred Elizalde’s ensemble get to recomposing “Nobody’s Sweetheart” right from the start of their record, and several years before Tadd Dameron and Miles Davis put pen to stave:
The opening ensemble turns Billy Meyers and Elmer Schoebel’s melody (already all too familiar even by 1929) into a completely new theme constructed out of tight, cool gestures. The format of horns stating a “head” followed by round-robin solos would become formula for the boppers, but at a time when collective improvisation and cross-sectional writing were just as prominent, it has the air of one refreshing approach among many. The solos present a variety of instrumental personalities, starting with Chelsea Quealey abstracting the melody further and ending with Rollini’s bass saxophone muscular and lithe all at once.
The execution is slightly different, but the principle has always remained the same. Contrafacts have been around at least since some band got sick of playing “Tiger Rag” the same way over and over again (but we’ll save that long list for another day).
This list is more stylistic than chronological, and certainly less than comprehensive, but hopefully it still provides a fair overview of the music’s development. At the very least it shows that good musicians never play “the same old tune.”
The Pop of Yestercentury 