Monday Side-Session: She Swings the Band!

Among the versions of Ring Dem Bells we heard yesterday was one by Andy Kirk and his Clouds of Joy, as arranged by the great Mary Lou Williams - The Lady Who Swings the Band. So for today's side-session, let's turn the spotlight on Mary Lou and see what she and Andy were up to in 1930, the year Duke Ellington first recorded Ring Dem Bells!

The Idea (1930)

By 1930, Mary Lou Williams had established herself as a composer, arranger and pianist with Andy Kirk and his Twelve Clouds of Joy. It's almost impossible to comprehend the level of talent as well as determination it took for a 20-year-old Black woman to succeed in the music business almost 100 years ago!

Here's a 1930 Brunswick recording by the Kirk band of Mary Lou's composition Mary's Idea:

That's pretty advanced for 1930. If Duke was leading the way towards more modern sounds, Mary Lou wasn't far behind. She had ideas all right!

The New Idea (1939)

In 1939, Mary Lou was still working with Andy Kirk (now with a non-specified number of Clouds of Joy), though not exclusively, as other bandleaders such as Benny Goodman were now contracting her for arrangements. She and Andy revisited Mary's Idea for this Decca record, giving it a snappy, modernized arrangement that perfectly captures the peak of the Swing Era.

That amply demonstrates that Mary Lou and the Kirk band were keeping up with the times!

The Tribute: The Lady Who Swings the Band (1936)

For fun, let's jump back to 1936 for another Decca record - this one a direct tribute to Mary Lou herself. It’s The Lady Who Swings the Band!

That's just a blast! The uncredited vocal is by Harry Mills of the Mills Brothers. I don't know how he came to sing that number with The Clouds of Joy, but I think it's awesome!

It's also interesting to catch the legendary lyricist Sammy Cahn near the beginning of his long career. He and his early writing partner Saul Chaplin were creating a lot of specialty material at this time and someone had the great idea for them to salute Kansas City's Mary Lou! 

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Drop a comment for which "Idea" do you prefer - the 1930 original or the 1939 update. Either way, she swung it!

Sundays with Duke #10: Flippin' and Ringin'

We’re flipping over Duke Ellington’s record of Three Little Words to find a Duke original that also made its debut in the 1930 film Check and Double Check: Ring Dem Bells.

The Original: Duke Ellington (1930)

This Victor recording is famous for its high energy and the literal bells ringing out, but the real highlight is the scat vocal by trumpeter Cootie Williams. It shows a playful side of the band that worked perfectly for the silver screen.

The Reunion: Lionel Hampton (1939)

While the song didn't get many covers immediately, it picked up serious steam by the end of the decade. In 1939, Lionel Hampton recorded this burner for Victor. Hamp was with Benny Goodman at the time and was leading stellar "pick-up" groups for recording dates.

If you check the label, you'll see a powerhouse combo of Goodman and Ellington sidemen—and Cootie Williams is right there revisiting the tune! Keep an ear out for Hamp giving a shout-out to pianist Jess Stacy.

The Arrangement: Charlie Barnet (1940)

Charlie Barnet "helps" Billy May with an arrangement!

As I’ve mentioned before, Charlie Barnet was a massive Ellington and he had the good fortune to employ a young Billy May as arranger. For this 1940 Bluebird session, they turned Ring Dem Bells into a modern swing masterpiece.

Let's spin it:

The Clouds of Joy: Andy Kirk (1941)

Andy Kirk admires the arrangement by Mary Lou Williams!

Another legendary architect of the era was pianist and arranger Mary Lou Williams - The Lady Who Swings the Band! Here she is providing a sharp, driving arrangement for Andy Kirk and his Clouds of Joy on Decca. It’s a testament to the song’s durability that it sounded just as fresh in 1941 as it did in 1930.

If you listen closely to the brass figures behind the solos, you can hear the same sophisticated DNA that Mary Lou would later bring to her arrangements for Duke himself. She was one of the few who could speak Duke’s musical language fluently and still add her own Kansas City grit to it.

The Solo Stamp: Fats Waller (1941)

Finally, we see the song move from the big bands to the solo piano. The incomparable Fats Waller put his own unmistakable stamp on the tune for the Victor album Hot Piano. Without the bells or the brass, Fats proves that the "swing" was built into the melody all along.

With so many legends taking a swing at this one, which version rings your bell? Are you a fan of Cootie’s original scatting or Fats’ solo piano stride?

Threaded Thursday: The Giant Typewriter

We’ve spent the last few days counting Three Little Words and hearing how Ev'ryone Says 'I Love You', even adding P.S. I Love You to a letter! But today, we finally find ourselves completely speechless with a song that claims the English dictionary simply isn't big enough: "Too Marvelous for Words."

The Association: "Words"

Written in 1937 by lyricist Johnny Mercer with composer Richard Whiting, this tune is a masterclass in clever writing. It’s the ultimate "word" song because it’s about the failure of words to do the job! Johnny Mercer was the goods!

The song was introduced in the Warner Brothers movie Ready, Willing and Able, where it was featured as part of a famous musical number performed on a giant typewriter. Naturally, the record labels were ready and willing to get this one onto wax immediately.

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The First Out: The Casa Loma Orchestra (1937)

The first act to record the tune was Glen Gray and the Casa Loma Orchestra. When we last checked in, vocalist Kenny Sargent was adding the P.S., but now he's at a loss for words!

Let's spin the Decca Record:

The Big Hit: Bing Crosby (1937)

The most popular version at the time came from Bing Crosby (also for Decca), backed by Jimmy Dorsey and his Orchestra. Bing was at the peak of his powers here, proving why he was the king of the "croon" for the decade.

I do like how Bing includes the verse, a luxury allowed to a solo singing star that band singers did not enjoy in 1937!

The Radio Star: Phil Harris (1937)

I'm kind of partial to this version on Vocalion by Phil Harris. Phil had joined Jack Benny's radio show just the year before; while he would eventually become known for his comedic timing, at this point, he was still very much established as a top-tier musician and bandleader.

The "Hot" Take: Chu Berry & Hot Lips Page (1937)

For a really fun, contemporary take on the song, we turn to a studio group headed by tenor sax great Chu Berry on Variety Records. This one features the legendary trumpeter Hot Lips Page supplying the vocal, giving the "marvelous" lyrics a bit more grit and swing.

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They're all just too marvelous! Do you prefer the polished Casa Loma sound, or does the Chu Berry "Hot" take win the day?

Word Association Wednesday: The Postscript

We’ve spent the last few days hearing those Three Little Words (1930) and seeing how Ev’ryone Says ‘I Love You’ (1932). Today, we move into 1934 to see what happens when you decide to commit those words to paper.

The Association: "Words"

Written by the legendary Johnny Mercer and Gordon Jenkins, P.S. I Love You is a masterclass in the power of the "written word." Mercer had a genius for the mundane; the song is structured like a casual letter - mentioning the weather and such - only to drop the real message in the postscript!

The Original: Rudy Vallée (1934)

Rudy Vallée and his Connecticut Yankees took this straight to the top of the charts in 1934. Rudy’s signature croon—often delivered through his famous megaphone—was the perfect fit for a song that feels like an intimate, private letter meant for only one set of eyes. 

Let's spin his Victor record:

Rudy's career went on for decades after 1934, but he was getting past his peak as a romantic singing star, getting shoved aside by the Crosby and Columbo types.

The "Everyone is Saying It" Connection: Eddie Stone (1934)

Remember Eddie Stone? On Monday, we heard him with Isham Jones's orchestra proving that "everyone" was saying those three little words in 1932. By 1934, Eddie was leading his own band on the Bluebird label, and he seems to have decided that some things are better put in writing. 

I really like Eddie Stone's vocals. He's got his own distinctive style. Kind of a sly, conversational delivery with a touch of humor. No one else sounded quite like him!

The Casa Loma Letter: Glen Gray (1934)

Finally, we have Glen Gray and the Casa Loma Orchestra on Decca. This version features a smooth, heartfelt vocal by Kenny Sargent. 

Kenny's another singer who had his own delivery that set him apart from the typical band vocalists of the day. You always know it's him when you drop the needle on a Casa Loma record!

The Casa Loma band, now officially billed with Glen Gray as leader, was featuring more vocals by this point, contrasting with their earlier fast-paced instrumentals like Casa Loma Stomp. 

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Do you still find yourself reaching for a pen and paper to say what's on your mind, or has the "Postscript" become a lost art in the age of the text message?

Monday Side Session: Saying the Words

Yesterday, we saw how Kalmar and Ruby provided Duke Ellington with one of his biggest hits, Three Little Words, in 1930. Two years later, that same songwriting duo provided the musical heartbeat for what is arguably the greatest Marx Brothers movie of them all: Horse Feathers (1932).

Continuing our "Word" theme, today’s side session focuses on the delightful Ev’ryone Says ‘I Love You.’ I've always thought of this as a sort of sequel to Three Little Words, as everyone is now saying said words!

I've written about this song before, but I think it's time to revisit it in this context!

The Marx Brothers Connection

One of the best things about Horse Feathers is that every brother gets a crack at this song. You get the "straight" version from Zeppo, the harp-driven beauty of Harpo, the piano-pounding of Chico, and of course, Groucho delivering it with his trademark guitar-strumming sarcasm while sitting in a canoe.

Here's a link to a montage of all the brothers giving the song a whirl (with Spanish subtitles):

But while the movie is a comedy classic, the song was also a genuine hit for the dance bands of the day.

The Sweet & Bouncy: Anson Weeks (1932)

Let's go "Dancin’ with Anson!" Anson Weeks and his Orchestra give the song a treatment that is incredibly bouncy and fun. Featuring the Moreing Sisters on the vocal, this Brunswick record captures the optimistic, lighthearted spirit that kept people's spirits up during the early '30s.

The Classy Contender: Isham Jones (1932)

For a slightly more sophisticated take, we turn to the legendary Isham Jones. His band was always top-tier and "classy." This Victor record features violinist/vocalist Eddie Stone, and it shows how a great melody can move seamlessly from the zaniness of a Marx Brothers film to the high-end ballroom.

The Warehouse Favorite: Russ Carlson (1932)

Finally, from the depths of the Warehouse collection, we have Russ Carlson and his Orchestra on the budget Crown Records label. There’s something special about these less-discussed recordings. I especially enjoy the vocal here by Elmer Feldkamp - it’s a delightful performance that rounds out our look at how "ev'ryone" was indeed singing this song in 1932.

The Warehouse Find: Raie Da Costa (1933)

Everyone was saying it, but was anyone playing it? Yes, indeed! Popular South African born pianist recorded an extremely snappy instrumental version in 1933 for the British HMV label.

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Five very different versions of the same Kalmar & Ruby tune. Are you a fan of the "bouncy" Anson Weeks style, or do you prefer the Marx Brothers' original mayhem?

Sundays with Duke #9: Three Little Words, One Big Ghost

We move into 1930 with Duke Ellington and come across Three Little Words - a song that was a massive hit for him, though it was a rare case of a "Duke hit" not actually written by Duke or anyone in his band. This one comes from the legendary songwriting team of Bert Kalmar and Harry Ruby.

The Silver Screen Connection

The song was featured in the (not-yet RKO) Radio picture Check and Double Check, which starred Freeman Gosden and Charles Correll in their famous radio roles of Amos 'n' Andy.

While the problematic nature of Amos 'n' Andy is well-documented, the film remains a vital piece of history for jazz fans because it provides a rare opportunity to actually see the Duke Ellington Orchestra in their 1930 prime.

The Record: Duke & The Rhythm Boys

Duke recorded Three Little Words for Victor Records, and he brought in some heavy hitters for the vocal: The Rhythm Boys. This trio - comprising Al Rinker, Harry Barris, and a very young Bing Crosby - had recently been the breakout stars for Paul Whiteman.

After leaving the “King of Jazz,” they were essentially freelancers when they teamed up with Duke. In the film, you hear their voices, but you don't see them; because of the segregation rules of the time, the film used "ghosting"—the white trio sang off-camera while black members of Duke’s band mimed the words.

Let's give it a spin:

You can definitely hear how this record has more of a mainstream sound than the “jungle” records of Duke’s band at the time. Still with that little something extra, though!

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The Contrast: The Smile of Beauty (1930)

To see just how differently this song could be handled in the same year, we turn to The Ipana Troubadours, a studio band led by Sam Lanin and featured on a popular radio show sponsored by said toothpaste.

Here’s their Columbia record featuring vocalist Paul Small: 

Definitely more "square" than Duke’s version, it reflects the “dance band” sound of the time - the sound that the Casa Loma Orchestra was just starting to threaten. It’s also a perfect illustration of 1930s pop culture: a record of a radio show orchestra playing a song from a movie based on a radio show!

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The Crooning Troubadour (1931)

Anybody else want that sweet guitar?

We go from a band of troubadours to just open - The “Crooning Troubadour,” Nick Lucas! Guitar and ukulele-playing vocalists like Nick were extremely popular in the mid-to-late 1920s and were still hanging around in the early 1930s before the "Crosby style" took over completely.

Here’s his take for Brunswick from early 1931:

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The Standard: Claude Hopkins (1934)

Three Little Words quickly became a jazz standard. One of my favorite follow-ups from the 1930s comes from pianist and bandleader Claude Hopkins, who recorded this snappy instrumental version for Brunswick Records in 1934:

It’s a great record from an underrated band that shows just how much "swing" could be squeezed out of those three little words!

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The "Export Only" Rarity: Gene Krupa (1935)

By 1935, the song was so popular that musicians were looking for any excuse to record it. Star drummer Gene Krupa led a small group of musicians pulled from the Benny Goodman Orchestra for this session. Interestingly, this "Chicago Jazz" version wasn't released in the States initially - it was produced specifically for the European market! 

Here's Gene and they boys on the British Parlophone label:

Very intriguing to compare this to the smoother swing of BG's full orchestra!

Which version makes you say those three little words? 

Three Little words is best-remembered (if at all) these days as the title of a 1950 MGM movie purporting to tell the story of Bert Kalmar and Harry Ruby. But that's another story for another day.

Sixties Saturday: R.I.P. Neil Sedaka

 

R.I.P. Neil Sedaka