The term also refers to any tune that follows the standard 12-bar blues chord progression, whilst being played in the jazz style, rather than the traditional blues style. Blues music was a major influence in the development of jazz, and such tunes are extremely common in the jazz repertoire. (In addition to the chord progression, jazz players borrowed many other stylistic devices from the blues, such as blue notes, blues-like phrasing of melodies, and blues riffs.) A jazz blues will usually feature a more sophisticated -- or at any rate a different -- treatment of the harmony than a traditional, "blues" blues would, but the underlying features of the standard 12-bar jazz progression remain discernible. One of the main ways the jazz musician accomplishes this is through the use of chord substitutions: a chord in the original progression is replaced by one or more chords which have the same general "sense" or function. An important example of this occurs in the 9th and 10th bars, where the usual blues progression is almost always replaced by the typical jazz cycle-of-fifths progression. One well-known artist that sang this form of jazz was Billie Holiday. Jazz blues music is also usually a more difficult piece to write if you try to write it in music form. ; ii minor --> V. The 12-bar blues form, in B flat, often becomes
Bb7 / Eb7 / Bb7 / Bb7
Eb7 / Edim7 / Bb7 / Dm7-G7
Cm7 / F7 / Dm7-G7 / Cm7-F7or in C
C7 / F7 / C7-Db7 / C7
F7 / Gb7 / C7 / Em7-Am7 /
Dm7 / G7 / C7 / G7Where each slash represents a new measure, in the jazz-blues. The significant changes include the Edim7, which creates movement, and the III-VI-II-V or I-VI-II-V turnaround, a jazz staple. The Schoolhouse Rock! song Where the Money Goes is a good example of this genre.