Introduction: The Elastic Boundaries of the Jazz Canon
Jazz, more than any other art form, thrives on reinterpretation. The very act of making a “standard” in jazz has never depended solely on composition, but rather on recomposition: the process by which musicians reimagine existing songs through improvisation, reharmonization, and rhythmic transformation. Historically, the so-called “jazz standards” were not born within jazz at all—they emerged from the popular music of their day. What we now regard as canonical repertoire—“All the Things You Are,” “Body and Soul,” “My Funny Valentine”—were, in their own time, the pop hits of Broadway and Hollywood.
As jazz continues to evolve alongside contemporary culture, the question arises: which of today’s pop songs might, in decades to come, undergo the same metamorphosis from radio hit to bandstand staple?
I. The Great American Songbook: Popular Music Reimagined
When we examine the early to mid-20th century, the relationship between jazz and popular song is symbiotic. The composers of the Great American Songbook—Jerome Kern, Cole Porter, George Gershwin, Richard Rodgers—provided the raw materials for improvisation. These songs, often written for musical theatre or film, possessed a harmonic and melodic sophistication that lent itself to jazz reinterpretation.
Take Kern’s “All the Things You Are” (1939): a tune from a Broadway musical (Very Warm for May) that became a harmonic playground for jazz musicians from Charlie Parker to Keith Jarrett. Or consider “My Favorite Things” (Rodgers and Hammerstein, 1959), whose transformation by John Coltrane in 1960 redefined not only the song but the modal jazz landscape itself.
In these cases, the “popular” origins of the tunes were essential. Jazz musicians sought common cultural reference points—melodies that audiences recognized, yet which could be deconstructed and reborn through improvisation.
II. The Second Wave: Pop Standards of the Late 20th Century
By the 1960s and 1970s, the mainstream of popular music had shifted from Broadway to the recording studio. Jazz artists began turning to The Beatles, Stevie Wonder, Joni Mitchell, and later, Sting and Björk, for inspiration. Herbie Hancock’s “The New Standard” (1996) formalized this practice, featuring jazz renditions of pop songs by Don Henley, Nirvana, and The Beatles.
Songs such as “Yesterday” and “Norwegian Wood” became as frequently reinterpreted in jazz as “Autumn Leaves” or “Misty.” The harmonic language of pop was evolving, but so too was jazz’s appetite for hybridization.
This era revealed a critical truth: the “standard” is not a fixed category but a dynamic process of cultural negotiation. What makes a song a standard is not when it was written, but how well it can bear the weight of improvisation.
III. Pop Songs of Today: The Future Jazz Standards?
If we fast-forward to the 2020s, we find ourselves in a new musical ecology—one shaped by streaming algorithms and viral trends. Yet, even in this fragmented landscape, certain pop compositions display the structural and emotional depth that could invite future jazz reinterpretation.
A few plausible candidates include:
- Billie Eilish – “Happier Than Ever” (2021): Its gradual crescendo and harmonic shift from intimacy to catharsis echo the narrative arcs of classic standards. A jazz trio could easily explore its contrasting sections with dynamic improvisation.
- Adele – “Someone Like You” (2011): With its timeless melody and clear harmonic motion, this song could function as the “Body and Soul” of the streaming era.
- Bruno Mars – “Leave the Door Open” (2021): Already a nod to 1970s soul-jazz aesthetics, it could fit seamlessly into a future Real Book volume.
- Taylor Swift – “Anti-Hero” (2022): Its introspective lyricism and chordal subtleties lend themselves to re-harmonization; imagine a slow swing or bossa nova rendition.
- Jacob Collier – “All I Need” (2020): Though harmonically dense already, its rich textures and modulations invite jazz musicians to extend and reinterpret its layered complexity.
In each of these examples, the potential for jazzification lies not only in harmonic sophistication but in emotional universality—an essential trait shared by both the Great American Songbook and contemporary pop.
IV. Conclusion: The Continuing Conversation
The jazz standard is not a relic of the past but a living tradition—an ongoing conversation between popular culture and improvisational artistry. As the sources of “popular” music shift—from Tin Pan Alley to Top 40 to TikTok—the jazz community continues to reinterpret the sonic vocabulary of the moment.
Just as swing-era musicians once transformed show tunes into art music, the next generation of jazz artists will no doubt find inspiration in today’s pop anthems. The standards of tomorrow may well come from Spotify playlists rather than sheet music publishers, but the underlying process—the creative alchemy of jazz reinterpretation—remains timeless.
In the end, the question is not whether pop songs can become jazz standards, but rather which songs will endure long enough, and resonate deeply enough, to invite the endless reinvention that defines jazz itself.
Max Millar Music 