Chords for Jazz hot

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The evolution of jazz.
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_ _ This orchestra would [Gb] be horrified at the thought of changing a single note or of suppressing the slightest sigh in this [Ab] Largo of Handel. _ _ _
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[Ab] _ _ _ _ [Gb] _ The respect of the [Db] written notes is one of the essential conditions of all classical interpretations, but not so with jazz.
If we say, I have just heard Handel's Largo, we also say, I have just heard a record [G] by Armstrong. _
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By Coleman [G] Hawkins.
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_ _ _ _ By Jack Keegan.
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_ Or by Benny Goodman. _ _ _ _
_ _ [C] _ _ Why this difference? _
_ In jazz music, the execution [Db] is more important than the composition.
_ [Ab] _ How it is played is what counts, [D] not how it is written. _ _ _
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_ _ [A] _ _ _ [G] _ The [Db] melodic theme serves as a bare background for the intricate variations of the hot jazz player, and the value of the piece depends on the [Gb] quality of the interpretation. _ _ _ _
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_ [Ab] _ _ [C] _ Until about _ 1926, jazz music was played straight. _
That is, the melodic theme was more or less respected, and each air was played as written, such [Dm] as, for instance, this one.
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[G] _ _ _ _ [D] _ _ Then jazz, little [Db] by little, lost its coldness, and [B] straight [C] jazz became hot, thanks [B] to a few musicians [D] whose remarkable [G] improvisations gave [Ab] jazz a new lease on [G] life.
_ [C] _ _ Listen to Django [Bb] Reinhardt.
_ [Dm] It is the same melody, but [Cm] what a [A] difference in interpretation.
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_ _ [D] _ _ [G] These three [Ab] musicians will represent [C] two guitars and a [E] bass fiddle.
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[G] _ _ _ Finally, _ _ _ _ here is Stephan Grappelli, _ virtuoso violinist of hot jazz. _ _ _ _
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_ _ [G] _ From [F] the magic strings of the instruments of these five [C] musicians _ [D] was formed the [C] quintet [B] of the Hot [Gm] Club of France.
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_ _ _ _ _ Thank you. _
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