page_title: List of 1920s jazz standards
section_title: 1926–1927
hierarchical_section_title: List of 1920s jazz standards / 1926–1927
caption_attribution_description: English: Cole Porter
context_page_description: Jazz standards are musical compositions that are widely known, performed and recorded by jazz artists as part of the genre's musical repertoire. This list includes compositions written in the 1920s that are considered standards by at least one major book publication or reference work. Some of the tunes listed were already well-known standards by the 1930s, while others were popularized later. The time of the most influential recordings of a song, where appropriate, is indicated on the list.
  A period known as the "Jazz Age" started in the United States in the 1920s. Jazz had become popular music in the country, although older generations considered the music immoral and threatening to old cultural values. Dances such as the Charleston and the Black Bottom were very popular during the period, and jazz bands typically consisted of seven to twelve musicians. Important orchestras in New York were led by Fletcher Henderson, Paul Whiteman and Duke Ellington. Many New Orleans jazzmen had moved to Chicago during the late 1910s in search of employment; among others, the New Orleans Rhythm Kings, King Oliver's Creole Jazz Band and Jelly Roll Morton recorded in the city.
context_section_description: 1926 – "Big Butter and Egg Man" is a jazz song written by Percy Venable for Louis Armstrong and May Alix. It was first recorded by Armstrong's Hot Five; the original 1926 recording contains one of Armstrong's most highly regarded cornet solos.
  1926 – "Bye Bye Blackbird" is a song composed by Ray Henderson with lyrics by Mort Dixon. It was first recorded by Gene Austin, whose rendition became a number one hit. Nick Lucas recorded a popular version the same year. Among jazz performers, the tune only gained popularity after its inclusion on the soundtrack of the 1955 film Pete Kelly's Blues and on Miles Davis's 1957 album 'Round About Midnight.
  1926 – "'Deed I Do" is a song composed by Fred Rose with lyrics by Walter Hirsch. It was introduced by vaudeville performer S. L. Stambaugh and popularized by Ben Bernie's recording. It was influential clarinetist and bandleader Benny Goodman's debut recording, made with Ben Pollack and His Californians in 1926. Ruth Etting's rendition of the song became a top ten hit in 1927.
  1926 – "If I Could Be with You (One Hour Tonight)" is a song composed by James P. Johnson with lyrics by Henry Creamer. It was introduced by Clarence Williams' Blue Five with vocalist Eva Taylor. McKinney's Cotton Pickers popularized the song with their 1930 recording and used it as their theme song. Louis Armstrong also recorded a popular version in 1930.
  1926 – "I've Found a New Baby" is a song by Jack Palmer and Spencer Williams. Also known as "I Found a New Baby", it was introduced by Clarence Williams' Blue Five. The Benny Goodman Orchestra's 1940 version includes an influential guitar solo by Charlie Christian. Charlie Parker recorded the tune several times, first in 1940 as part of the Jay McShann Orchestra. Parker's interpretation was influenced by Lester Young, and the saxophonist even included quotations from Young in his later recordings. The tune is particularly popular among Dixieland bands.
  1926 – "Muskrat Ramble" is a jazz composition by Kid Ory. From 1926-1939 published sheet music and some recordings spelled it "Muskat" Ramble. Lyrics were added in 1950 by Ray Gilbert. First recorded by Louis Armstrong and his Hot Five in 1926, it became the group's most frequently recorded piece. Composer credit was given to Ory, although bandleader Armstrong has claimed to have written the song himself. Others, like New Orleans clarinetist Sidney Bechet, have argued that it was originally a Buddy Bolden tune titled "The Old Cow Died and the Old Man Cried". The tune was a prominent part of the Dixieland revival repertoire in the 1930s and 1940s.
  1926 – "Someone to Watch Over Me" is a show tune from the Broadway musical Oh, Kay!, composed by George Gershwin with lyrics by Ira Gershwin. Gertrude Lawrence introduced the song on stage, singing it to a rag doll. Lawrence also made the first hit recording of the song in 1927. Lyricist Howard Dietz claims to have come up with the song's name and helped with the lyrics, but received no official credit. The song's jazz popularity was established in the mid-1940s by the recordings of Billy Butterfield, Eddie Condon, Coleman Hawkins and Ike Quebec.
  1926 – "Sugar" is a song by Maceo Pinkard, Edna Alexander and Sidney D. Mitchell. It was first recorded by Ethel Waters in 1926 and popularized as a standard by Eddie Condon's 1927 recording that featured first-timers Gene Krupa, Joe Sullivan and Frank Teschemacher. The song is also known as "That Sugar Baby o' Mine", and is not to be confused by another song named "Sugar" from 1927, written by Jack Yellen, Milton Ager, Frank Crum and Red Nichols.
  1927 – "Blue Skies" is a show tune by Irving Berlin from the musical Betsy. Richard Rodgers and Lorenz Hart had originally written a solo number for Belle Baker, titled "This Funny World", but the star was unsatisfied with the song and asked Berlin to write a show-stopper for the musical. Berlin responded with "Blue Skies", and on the opening night the audience demanded 24 encores of Baker's song. A 1927 rendition by Ben Selvin and His Orchestra, recorded under the name "The Knickerb
caption: Cole Porter was one of the few Tin Pan Alley songwriters to write both lyrics and music for his songs.[81] His standards include "What Is This Thing Called Love?" (1929), "Love for Sale" (1930) and "Night and Day" (1932).
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