In a jazz context, Chet Baker is perhaps the definitive interpreter of “Time After Time,” and his initial recording of the tune from 1954 (The Best of Chet Baker Sings) is his best-loved version, featuring excellent examples of both his singing and his trumpet playing. J.J. Johnson’s elegant interpretation from later that year (The Eminent J.J. Johnson, Vol. 2) features prominent bass work from Charles Mingus and a great double-timed solo that offers a glimpse of the song’s utility as a swinging tune. Stan Getz’s 1957 recording (Award Winner) with Lou Levy on piano is a fully-swinging version and features Getz at his finest.

Noah Baerman - Jazz Pianist and Educator

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

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