Tonality is a term often used to describe the music of the common practice period (roughly 1600-1900). This study examines the music of mid twentieth-century jazz composer Thad Jones in light of an extended common practice, explicating ways in which this music might be best understood as tonal. Drawing from analyses of three of Jones’s big band compositions: To You, Three and One, and Cherry Juice, this study examines three primary elements in detail. First is Jones’s use of chord-scale application techniques in the orchestration over various chordal qualities represented by the symbols, revealing traditional as well as innovative methods by Jones. Second is Jones’s use of harmonic progressions, demonstrating his connection to past practice as well as modern jazz variations. Third is Jones’s use of contrapuntal connections and their traditional relationship to functional tonality, but in a chromatic scale-based environment. Jones’s music is presented in this study to demonstrate a tonal jazz common practice that represents an amalgamation of traditions including twentieth-century scale-based procedures, Renaissance and early twentieth-century modality, eighteenth- and nineteenth-century voice leading schemas, and Baroque and Classical descending-fifth progressions. Also included as an appendix is a list of possible note errors in the published scores of To You, Three and One, and Cherry Juice.