Jazz Standards.com : Jazz Standards : Songs : History : Biographies

Home

Overview

Songs

Biographies

History

Search

Bookstore

About

Time After Time (1947)

Origin and Chart Information
Stan Getz’s 1957 session found the tenor saxophonist playing “Time After Time” in a medium groove, making his version different from the norm.

- Chris Tyle

Rank 131
Music Jule Styne
Lyrics Sammy Cahn

The songwriting team of Sammy Cahn (lyrics) and Jule Styne (music) wrote “Time After Time” during the period they were working closely with Frank Sinatra. It’s no surprise then that the version by “Ol’ Blue Eyes” hit the charts in 1947 and rose to #16.

 

Chart information used by permission from
Joel Whitburn's Pop Memories 1890-1954
 

 

More on Frank Sinatra at JazzBiographies.com
 

Cahn and Styne had met Sinatra during his tenure with Tommy Dorsey, and when he left the trombonist’s band to start a solo career the pair began writing numbers for him. In 1946 they actually left New York on the train with Sinatra and family for Hollywood. Once there, the songwriters and Sinatra started putting on little “theatrical productions” involving their friends. According to Theodore Taylor’s biography Jule: The Story of Composer Jule Styne, these shows were elaborate presentations with complete scores and intricate sketches.

 

More on Sammy Cahn at JazzBiographies.com
 

 

More on Jule Styne at JazzBiographies.com
 

One night, however, the group assembled without a show. Jule asked Sinatra to ask the group if they had heard the new score written by Jerome Kern for the musical about the life of Annie Oakley (which would eventually be called Annie Get Your Gun). As it turns out, no one (including Jule) had, but the enterprising Styne created a melody that sounded to him like Kern. The group loved it and requested that Styne play more melodies from the show, which he conveniently couldn’t recall. A short while later Styne got together with Cahn who fit lyrics to the melody. Sinatra, accompanied by the orchestra of Axel Stohrdahl, recorded it for Columbia on October 26, 1946.

The following year Cahn and Styne wrote the music for the film It Happened in Brooklyn, starring Sinatra. Both Sinatra and Kathryn Grayson sing the number in the film, no doubt helping put Sinatra’s recording in the charts.

Chris Tyle - Jazz Musician and Historian

Music and Lyrics Analysis

Cahn’s lyrics are a personal reminder of how lucky it is to be in love with a special person, hoping that “the passing years will show, you’ve kept my love so young, so new.” Chris Tyle

Musical analysis of “Time After Time”

Original KeyC major
FormA1 - B - A2 - C
TonalityPrimarily major; A minor and E minor tonalities occur in “B.”
MovementIntervallic figures with passing tones, leaping upward with stepwise descent.

Comments     (assumed background)

Nice melodic construction beginning in the lower range and gradually climbing to a “big finish” on the tonic an octave higher.

A mixture of harmonic progressions and devices are used here. “A” begins with the “ice cream changes” (“Blue Moon,” “Heart and Soul,” etc.) and then goes into a diatonically ascending I - ii - iii progression followed by the start of a vi - ii7 turnaround. Instead of resolving to V7 - I, however, the descending bass line changes the ii chord into a iiø7/I in the relative minor (Dm becoming Bm7(b5) resolving to Am). This descending bass line device is used twice more, eventually winding up on a Dm7 chord, facilitating an easy modulation back to the original key.

“C” consists of a number of popular turnarounds that sound like an extended ending (which it seems to be). A second-inversion tonic chord is followed by a half diminished chord built on the flatted fifth, leading to a iv - iii7 sequence (see mm. 8 -10 of “Night and Day”). A vi - ii7 progression follows this, but the final resolution to I is creatively delayed by the insertion of another iv chord after the ii7 before the iii - vi - ii7 sequence that eventually ends with a final V7 - I cadence.

K. J. McElrath - Musicologist for JazzStandards.com

Check out K. J. McElrath’s book of Jazz Standards Guide Tone Lines at his web site (www.bardicle.com).
Musician's Comments

Are you a published Vocalist or Instrumentalist?

Add a comment and we'll credit you with a link to your site. (more...)

Also on This Page...

Music & Lyrics Analysis
Musician's Comments

Jazz History Notes
Also by the Same Writers...
Reading & Research

CD Recommendations for This Tune
Click on a CD for more details at Amazon.com
Ella Fitzgerald

Whisper Not
2002 Verve 314589478
Original recording 1966
This may be the definitive vocal version of the song. Arranger Marty Paich allows Fitzgerald to use all the tricks in her bag from swingin’ abandon to touching sentimentality.

Jane Ira Bloom

The Red Quartets
1999 Arabesque Recordings 144
Original recording 1999
Two powerhouses of contemporary jazz deliver a fantastic version of the song. Bloom’s wistful soprano saxophone practically floats over the refined piano of Fred Hersch.

Stan Getz

Award Winner
2000 Verve 314543320
Original recording 1957
Saxophonist Getz delivers a warm, engaging take on the song. The mid-tempo rhythm and upbeat expression define what West Coast cool was all about.

Benny Green

Greens
1991 Blue Note Records 96485
Pianist Green, in company with bassist Christian McBride and drummer Carl Allen, puts an appropriately bluesy spin on this classic in an arrangement that gives everyone solo space

Buddy Morrow

Night Train
1995 Aerospace 1034
Compilation
Trombonist Morrow’s big band was highly popular in the ‘50s and early ‘60s. The band leans on the sweet side of the song in this arrangement.
Jazz History

Not all jazz players are blessed with great instrumental and vocal abilities. Yet many musicians desire to sing the tunes they play. Trumpeter Chet Baker was able to pull it off with panache. His vocal style was highly individual, unlike anything in jazz prior to his emergence on the scene. Chet’s rendition of “Time After Time” comes from his second vocal session, and it’s a sensitive performance with a late-night feel.

Trombonist J. J. Johnson knocked the jazz world for a loop with his fabulous bebop playing on the generally less-than-agile trombone. Yet he also had a delicate and pretty sound on ballads, and his reading of “Time After Time” from 1954 attests to his exemplary musicianship

“Award winner” Stan Getz’s 1957 session found the tenor saxophonist playing “Time After Time” in a medium groove, making his version different from the norm.

Chris Tyle - Jazz Musician and Historian


Chet Baker

The Best of Chet Baker Sings
Blue Note Records 92932

Stan Getz

Award Winner
Polygram Records 543320

J.J. Johnson

The Eminent J.J. Johnson, Vol. 2
Blue Note Records 332144
Written by the Same Composer or Team...
This section shows the jazz standards written by the same writing team. Click on a name to see all of a writer's jazz standards.

Sammy Cahn and Jule Styne

YearRankTitle
1947131Time After Time
1944300I Fall in Love Too Easily
1948372It’s You or No One
1945554Let It Snow! Let It Snow! Let It Snow!
1948689It’s Magic
1944735I’ll Walk Alone
1946785The Things We Did Last Summer
1945962It’s Been a Long, Long Time
Reading and Research
Additional information on “Time After Time” may be found in:

2 paragraphs including the following types of information: music analysis.

1 paragraph including the following types of information: summary and performers.

Includes the following types of information: song lyrics.

Copyright 2005-2008 - JazzStandards.com - All Rights Reserved      Permission & contact information

Home | Overview | Songs | Biographies | History | Search | Bookstore | About