Cliff Burwell, music · Mitchell Parish, lyrics · Written in 1928 and recorded that year by Rudy Vallee and Jimmie Noone
Sweet Lorraine
Sweet Lorraine is a 32-bar song from 1928, with music by Cliff Burwell and words by Mitchell Parish. Its chords move around the circle of fifths, so the tune is easy to learn and leaves soloists room. Nat King Cole's trio records kept it in circulation, and Art Tatum played it on many records.
Eight versions from 1928 to 1962 show the song as a trio vocal, an early clarinet record, a swing band, solo piano, bebop tenor, a Paris septet, a piano and guitar trio and an organ group. Every step uses the same 32 bars, so the chart works for each one.
Cole sings with only piano, guitar and bass behind him. With so few instruments, each chord change is easy to follow against the chart.
Try this
Play bars 1 to 4 of the chart as a loop (G6 F7 E7, Am7 D7 B7/D♯, Em7 E♭7 Dm7 G7, C7 B7♭9) and hum the melody over it. Smaller version: play only the root of each chord.
The front line is Noone's clarinet and Poston's alto saxophone, with piano, banjo, tuba and drums behind them. Count the choruses against the 32-bar chart.
Try this
Play the last four bars of the chart (E7 A7, Am7 D7, G6 C7 C♯°, G6/D D7), the stretch that brings the song home. Smaller version: play only the root of each chord.
Trumpet, clarinet, alto saxophone and tenor saxophone play over a rhythm section of piano, guitar, bass and drums. Listen for which horn takes each chorus.
Try this
Play bars 5 to 8 of the first A section as a loop (E7 A7, Am7 D7, Bm7 E7, Am7 D7♯5) at a medium swing tempo and hum the melody over it. Smaller version: play only the first chord of each bar.
One pianist covers every chord of the chart with no band. Follow the chart bar by bar and notice how much of the 32-bar form you can still hear.
Try this
Play the second A section's last four bars in your own voicings (E7 A7, Am7 D7, G6 C7 C♯°, G6/D Dm7 G7), using two or three notes of each chord. Smaller version: play a root and a seventh for each chord.
Gray plays tenor saxophone over a piano, bass and drums rhythm section. At 4:05, the track holds several choruses, so follow the chart and count them.
Try this
Play the bridge from the chart (C6 E7, Am7 A♭7 Gm7 C7, Fmaj7 E7, Am7 A♭7 Gm7 C7, Fmaj7 E7, E♭7♯11 D7, Fmaj7 E7, E♭7♯11 D7). Smaller version: play only the first chord of each bar.
Trumpet, trombone, alto saxophone and tenor saxophone share the front line over a piano, bass and drums rhythm section. At 2:33 the track is short, so follow the chart once through, then again.
Try this
Play the move from the second A into the bridge (G6 C7 C♯°, G6/D Dm7 G7, then C6 E7, Am7 A♭7 Gm7 C7). Smaller version: play only the root of each chord.
The trio has no drummer, so piano, guitar and bass keep the time between them. Follow the chart and listen for how the three instruments divide the chords.
Try this
Play the whole first A section as a loop of eight bars, ending on the first ending (Bm7 E7, Am7 D7♯5). Smaller version: play only bars 1 to 4.
At 9:26 the track holds many choruses. Larry Young plays organ and Thornel Schwartz plays guitar; follow the chart to find where each chorus begins.
Try this
Play the 32-bar chart once through at a slow swing tempo and count the choruses on the record as you go. Soloing version: take one chorus of the A section using chord tones of each chord. Smaller version: play only the root of each chord.
Cole recorded the song again in August 1956 with a quintet that included Harry Edison on trumpet and John Collins on guitar. Capitol released it on the album After Midnight.
The tune runs 32 bars, AABA, in G major on the iReal Pro chart. JazzStandards.com gives the original key as F major, so a record may sit in a different key from this chart. Each A opens on G6, F7 and E7, then Am7, D7 and B7/D♯, and reaches Em7, E♭7, Dm7 and G7 in bar 3. Bar 4 holds C7 and B7♭9, and bars 5 and 6 pass through E7, A7, Am7 and D7, a chain of dominants that falls back toward G. The A sections differ only in bars 7 and 8. The first ends with Bm7 E7 and Am7 D7♯5, which turns back to the top. The second ends with G6 C7 C♯° and G6/D Dm7 G7, which leads into the bridge. The last A ends with G6 C7 C♯° and G6/D D7. The bridge moves up a fourth to C major, which JazzStandards.com describes as a modulation to the fourth degree of the key. It runs C6 E7, then Am7 A♭7 Gm7 C7 and Fmaj7 E7, repeats those two bars, then plays E♭7♯11 D7, Fmaj7 E7 and E♭7♯11 D7 again, and the last D7 leads to G for the final A.