The first time I choreographed to "Take Five," I tripped over my own feet in the 5/4 section—then discovered the unexpected freedom in that asymmetry. Jazz demands more from dancers than predictable backbeats. It asks you to listen, adapt, and find your footing in spaces where the rhythm shifts beneath you.
This summer, skip the standard pop playlist. These five jazz touchstones—spanning swing, modal jazz, soul-jazz, and hard bop—offer choreographic possibilities that mainstream tracks simply cannot match. Each selection includes practical guidance on skill level, tempo, and where it belongs in your routine structure.
"Take Five" — Dave Brubeck Quartet (1959)
Tempo: ~174 BPM | Time Signature: 5/4 | Best for: Intermediate to advanced dancers; mid-routine transition or technical showcase
Brubeck's unexpected 5/4 meter initially disorients—then liberates. The piano vamp cycles through two bars of 3+2, then 2+3, creating a subtle rhythmic displacement that rewards dancers who lean into the asymmetry rather than fight it.
Choreographic approach: Use the opening saxophone melody for isolations and controlled footwork. When Joe Morello's drum solo erupts at 3:14, shift into explosive, space-devouring movement. The 5/4 structure naturally breaks 8-count habits; try phrases of 10 counts (two 5/4 bars) rather than forcing standard 8-count choreography.
Pro tip: Practice counting "1-2-3, 1-2" then "1-2, 1-2-3" to internalize the two-bar pattern before stepping into the studio.
"Sing, Sing, Sing" — Benny Goodman (1938)
Tempo: ~174 BPM in swing time | Best for: Partner dancers with solid Lindy Hop or East Coast Swing foundation; high-energy peak of routine
Goodman's Carnegie Hall recording remains the definitive swing dance adrenaline rush. Gene Krupa's extended drum solo—starting around 4:30—builds through nearly three minutes of escalating intensity that can sustain a full choreographic sequence.
Choreographic approach: The opening clarinet glissando demands immediate, committed energy. Use the brass-section riffs for synchronized ensemble work or sharp partner turns. Krupa's solo section works best for solo jazz vocabulary (Charleston variations, Suzie Qs, fall-off-the-logs) rather than sustained partner connection—beginners often struggle to maintain lead-follow dynamics through the solo's rhythmic complexity.
Skill-level reality check: The tempo and length make this genuinely demanding. If your dancers cannot comfortably sustain swingouts at 170+ BPM for six-plus minutes, consider the shorter 1937 studio recording (under three minutes) or edit strategically.
"Feeling Good" — Nina Simone (1965)
Tempo: Variable; opening ~66 BPM, building to ~84 BPM | Best for: Advanced beginner to intermediate; opening statement or emotional climax
Simone's definitive version—she transformed Anthony Newley and Leslie Bricusse's 1964 theatrical composition into raw, liberated soul-jazz—unfolds across nearly five minutes of deliberate, dramatic construction. The tempo breathes; rubato passages demand musical maturity.
Choreographic approach: The sparse bass-and-drum opening invites slow, grounded movement with sustained extensions. As horns enter and Simone's voice gains power, build toward fuller body engagement. The final minute's triumphant release works as routine finale or, conversely, as an opening that establishes emotional stakes for everything following.
Critical note: This is not a "feel-good background" track. Simone's delivery carries the weight of struggle and transcendence. Choreograph with intention, or choose something lighter.
"Cantaloupe Island" — Herbie Hancock (1964)
Tempo: ~88 BPM | Best for: Intermediate to advanced; contemporary, jazz-funk, or hip-hop influenced routines; mid-routine groove section
Hancock's Blue Note original—later sampled by Us3 for 1993's "Cantaloop (Flip Fantasia)"—bridges hard bop and the funk-influenced direction jazz would take. The syncopated bassline and vamp-based structure create a loop-friendly foundation that contemporary dancers recognize intuitively.
Choreographic approach: The 16-bar vamp pattern supports repeated movement motifs with subtle variation. Try threading popping and locking techniques through the horn melody, then releasing into fuller hip-hop or contemporary vocabulary during Freddie Hubbard's trumpet solo. The track's hip-hop lineage means audiences under 40 often respond with recognition even to the original recording.
Structure insight: The head-solo-head format (melody, improvisation, melody return) maps naturally to
