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

Threaded Thursday: The Evolution of a Stomp

Yesterday, we saw how the Casa Loma Orchestra and Fletcher Henderson were competing for the “hot” crown in 1931. Today, we’re pulling a thread that spans nearly a decade to see how one specific arrangement by Fletcher Henderson eventually set the world on fire.

While Benny Goodman eventually became the “King of Swing” using Fletcher’s charts, Henderson had been refining this particular “Stomp” for years with his own band.

The Prototype (1928)

Here is Henderson’s first pass at Jelly Roll Morton’s classic tune. It’s "hot jazz," but you can still hear the remnants of the 1920s “oom-pah” rhythm. It’s a great record, but it hasn't quite learned how to swing in the modern sense yet.

The Breakthrough: "New King Porter Stomp" (1932)

By 1932—the same era as our Casa Loma discussion yesterday—Henderson updated the chart. This version features the same "Connie's Inn" powerhouse lineup we talked about yesterday, including Coleman Hawkins and Rex Stewart. You can hear the "riff" style starting to take over the driver's seat.

The Blueprint (1933)

One year later, Fletcher recorded it again. This is essentially the “final draft.” The brass and reeds are playing off each other with a precision that rivals the Casa Loma boys, but with that unmistakable Henderson drive and soul.

The Explosion: Benny Goodman (1935)

Finally, the thread reaches its destination. In 1934, a struggling Fletcher Henderson began selling his arrangements to a young Benny Goodman. In 1935, Benny’s orchestra took this exact blueprint into the studio and created the anthem of the Swing Era.

The X-Factor: While the arrangement was Henderson's, we have to give props to the legendary Bunny Berigan for adding that "little something extra." His electrifying, soaring trumpet solo provided the spark that put this version over the top. It’s the sound of a soloist at the peak of his powers. And with BG's clarinet and Gene Krupa's drums, a great arrangement turned into a cultural phenomenon!

Is it overkill to listen to four versions of the same song in one go? Not in the Warehouse! Watching history being written in real-time is half the fun. Which version has the most “stomp” for your dough?

Word Association Wednesday: The Stomp!

For today’s Word Association Wednesday, it was a relatively short jaunt from 1929’s Cotton Club Stomp to 1931’s “Casa Loma Stomp,” which was naturally performed by the Casa Loma Orchestra!

The Architects of Precision

Let’s listen to the band’s recording (the first of many recordings of the song) on OKeh:

That’s prime, early Casa Loma, showing off the band’s intricately arranged and performed style. Arranger Gene Gifford also composed the song and was largely responsible for the band’s signature sound.

At this point, the Casa Loma Orchestra had been incorporated for a couple of years and included longtime members Glen Gray on sax and Pee Wee Hunt on trombone. Glen was the leader but didn’t front the band as conductor yet, which is why the label doesn’t show "Glen Gray and the Casa Loma Orchestra" as future labels would.

The Casa Loma Orchestra is an early example of a white dance band performing jazz music that’s roughly comparable to what Black bands of the time were playing—although in a more “rehearsed” sounding manner than, say, Duke Ellington’s.

The "Connie’s Inn" Contrast

For an interesting contrast, let’s spin a contemporary cover version of Casa Loma Stomp by Connie’s Inn Orchestra on the budget Melotone label:

Despite the name sounding like a real band à la the Casa Loma Orchestra, Connie’s Inn Orchestra was actually a pseudonym for the great Fletcher Henderson Orchestra! At the time this was recorded, the group included the legendary Coleman Hawkins on tenor sax and future Ellington star Rex Stewart on trumpet.

It's not particularly a stretch to say that the groundwork laid by the Casa Loma band, combined with the arrangements of Fletcher Henderson, led directly to the future success of Benny Goodman and the Swing Era!

Which band makes you stomp and yell for more? Do you prefer the clockwork precision of Gifford's arrangement or the fire of the Henderson boys?