I suspect that most of the better players are adept at playing almost any
song in almost any key, and most people would not consider that a
drawback. A few years back I practiced playing choruses on Cherokee in
all 12 keys as a daily thing. I did it for enjoyment only. The only keys
that were ever called for Cherokee on gigs were Bb and B. I particularly
like to play in the key of G--pianos sound great in that key. I have
found that after I *acquire* a tune, I have no trouble with it in any
other key, sharps or flats. The ability to move from key to key greatly
enhances your job calls, too, especially if you are working gigs with
singers.
I did a gig with this fellow, an excellent singer, who called Body & Soul
in C. I talked him into trying it in Db, the original--you know, it's
only a half-step higher. What a mistake!?! He knew his key, and I moved it
down to C for him at my earliest opportunity. I was on a gig and the guy
called Sophisticated Lady in Db. It was a breeze though I had only played
it in Ab before that. The secret is in *acquiring* the tune, not just
memorizing it. Perhaps that is similar to acquiring a new language.
However, don't get me wrong--it is alright with me if everyone else only
plays songs in only one key, only flat keys, or never plays in G. I
really couldn't care less. Bill Evans was a marvelous player, and I
don't really believe he was hung-up by keys.
BTW, Garner's changes to the bridge of Misty are something like this:
Bbmi7 F7+5b9 | Bbmi7 Eb7b9 | AbMa7 Bbmi7/Eb | AbMa7 |
Ami7 D13 | Cmi7 F13 | Fmi7/Bb Bbdim | Fmi7/Bb Bb13 |
Surprised?? So was I, but I heard his recording of it on the radio one
day and that is essentially what he played. This was probably 25 years
ago, but I don't think I have altered them much over that time. I like
this particular set.
Good luck, and good music--
Bill