Word Association Wednesday: A Nocturnal Stroll

For today’s Word Association Wednesday, it didn’t take long for me to wander from Duke Ellington’s Echoes of Harlem to another Harlem‑themed classic: Earl Hagen’s Harlem Nocturne.

The tune has inspired so many covers and reinventions since its 1940 debut that its origin story can feel a bit lost in the fog. But the tale goes like this:

Earl Hagen — then a trombonist and arranger for Ray Noble’s band — attended a Duke Ellington performance with his bandmate, alto saxist Jack Dumont. They were knocked out by Johnny Hodges’ alto sound, so Hagen wrote “Harlem Nocturne” in an Ellington mood, with a featured part for Jack.

The 1940s: A Slow Burn

The First Whisper: Ray Noble (1940)

Naturally, the first recording was by Ray Noble and his Orchestra, featuring Jack Dumont, on Columbia in 1940:

Such an atmospheric record — it sets the whole template.

Interestingly, despite its later status as a standard, Harlem Nocturne didn’t spark a wave of immediate recordings. It was a slow burn, just like the tune itself.

A Rare Early Echo: Shep's Reeds (Early 1940s)

The only other early‑’40s version I can find is this radio transcription by Shep Fields and his New Music:

That’s Shep’s all‑reed band — and it sounds great.

A Shift Toward R&B: Johnny Otis (1945)

The next commercial release seems to be by Johnny Otis in 1945 for the Excelsior label, featuring René Block on sax:

This one nudges the tune toward rhythm and blues — and René Block could really hold a note.

A Popular Turn: Randy Brooks (1945)

Also in late 1945, trumpeter/bandleader Randy Brooks recorded a popular version for Decca. Despite Randy’s virtuosity on trumpet, the spotlight goes to saxist Eddie Caine:

Across the Pond: Ted Heath (1948)

In 1948, British bandleader Ted Heath recorded a fine version for British Decca with alto saxist Leslie Gilbert:

A lovely reading.

The 1950s: The Tune Finds Its Crowd

Dick Jurgens Invites Us to Dance (1950)

Veteran bandleader Dick Jurgens recorded a nice version for his 1950 Columbia album Your Dance Date With Dick Jurgens:

It kind of seems like Harlem Nocturne is being treated as something of a standard with its inclusion on this album of mostly familiar songs.

Ray’s Trumpet Glows (1950)

Ray Anthony cut his version for Capitol in 1950 — and breaks tradition by featuring his own trumpet instead of sax:

I’ve always been partial to this one — the trumpet really works! And those Miller‑esque reeds make sense — you may recall that Ray had played with Glenn Miller as a teenager in the early 1940s.

Stan's Sketch (1953)

Also for Capitol, Stan Kenton recorded this striking 1953 version:

Kenton loved to experiment, so of course he features his piano against that big, brassy sound — and no alto sax solo.

Herbie Brings Back the Sax (1953)

Later in 1953, sax star Herbie Fields recorded a popular version for the Parrot label:

The Big One: The Viscounts (1959)

From here, there are zillions of versions — but we have to stop at the most famous: The Viscounts from 1959 on Madison:

It hit the Top 40 twice — in 1959 and again in 1965 (on the Amy label) — and it’s unforgettable.

1960: Space‑Age and a Vocal Turn

Esquivel’s RCA Victor Magic (1960)

In 1960, the always‑fascinating Esquivel included a version on his RCA Victor album Infinity in Sound:

I really dig Esquivel — no one else ever sounded quite like him!

His version features vocalese and has just one word, “Nocturne, sung at the endwhich makes it seem like the tune never had lyrics. But it did — written by Dick Rogers — though they’re rarely heard.

A Fascinating Vocal: Ernestine Anderson (1960)

One vintage vocal version does exist: Ernestine Anderson, on her Mercury album The Fascinating Ernestine:

Fascinating indeed. And awesome!

The Plot Thickens

Caterina's Blues (1957)

Now for some intrigue: there’s also a rival set of lyrics by Sid Robin, retitling the tune Nocturne for the Blues. The first recording was by Caterina Valente on Decca:

I’m not sure how I feel about Caterina’s vocal, but Sy Oliver’s backing is terrific!

The Velvet Fog Rolls In (1965)

And here’s a moody 1965 take from Mel Tormé, on his very literally titled Atlantic album Mel Tormé Sings “Sunday in New York” and Other Songs About New York:

Smooth as smooth can be. And how about the little nod to the original title at the end?

A Slow, Steady Stroll

I suspected when I stepped onto the Harlem Nocturne path that we’d end up hearing a lot of versions, and her we are 25 years down the road! Hopefully you enjoyed the stroll!

Drop a comment and tell me your favorite — even if it’s one I missed.

Monday Side-Session: A Little Bit of Little Jazz

After enjoying trumpet star Roy Eldridge’s take on the Duke Ellington/Cootie Williams classic Echoes of Harlem, it feels like the perfect moment to swing our Side‑Session spotlight over to Roy — “Little Jazz” himself.

As a big‑band aficionado first and foremost, I’ve always loved Roy’s work with Gene Krupa’s band in the early 1940s. So today we’ll spin a quartet of sides that show off the full Eldridge arsenal: fire, finesse, humor, and heart.

Let Me Off Uptown (Okeh, 1941)

A stone‑cold classic, with Roy trading playful jabs with vocalist Anita O’Day before uncorking a sizzling trumpet solo.

This record is just a blast — ten inches of shellac capturing the whole electric mood of the era.

For extra fun, here's a video transcription of the song:

How cool is that?

After You’ve Gone (Okeh, 1941)

A workout for the ages. Roy tears into this old standard with pyrotechnics that still feel modern.

Rockin’ Chair (Okeh, 1941)

The tempo drops and Roy turns lyrical, delivering a solo that’s a masterclass in melodic storytelling.

Knock Me a Kiss (Columbia, 1942)

A novelty tune elevated by Roy’s charm — he sings, he swings, and the band wraps around him like a well‑tailored suit.

That’s just plain fun!

Taken together, these four sides represent a real peak for Roy, Gene and Anita — a little pocket of perfection in the Krupa discography!

A Little Archeology: Tracing “After You’ve Gone”

Since “After You’ve Gone” is such a signature Eldridge vehicle, let’s dig up a couple of earlier versions that set the stage.

Benny Goodman Trio — After You’ve Gone (Victor, 1935)

Benny on clarinet, Teddy Wilson on piano, and Gene Krupa on drums — three masters in tight formation.

Roy Eldridge & his Orch — After You’ve Gone (Vocalion, 1937)

With vocalist Gladys Palmer, and with Roy already sketching the blueprint for what he’d later unleash with Krupa.

These are just snippets from the long, brilliant career of Little Jazz — but what glorious snippets they are.

Sundays with Duke #21: Echoing Through the Years

As we step into 1936 with Duke Ellington, we arrive at another classic - Echoes of Harlem.

Duke wrote this one as a showcase for the band’s growl‑trumpet master Cootie Williams, and it remains one of the most atmospheric portraits in the Ellington songbook.

The First Echo: Brunswick, 1935

Let’s start with the original Brunswick recording:

A perfect spotlight for Cootie — so perfect, in fact, that he adopted it as his theme song.

The Small‑Group Mood: Cootie's Rug Cutters (1938)

Duke didn’t make another studio recording of the tune, though he played it live for years.

He did join Cootie for a small‑group Vocalion session in 1938, issued under Cootie Williams and His Rug Cutters:

Not exactly rug‑cutting material, but a beautifully moody variation.

The Admirer’s Tribute: Charlie Barnet (1939)

Next comes a non‑Ellington version from one of Duke’s biggest admirers, Charlie Barnet, who recorded the tune for Bluebird in 1939:

A really cool reading - respectful, swinging, and unmistakably Barnet. Of note is that Cootie is listed as a co-writer on this label, but I don't think I've seen such a credit any where else!

The Theme Song Lives On: Cootie’s Capitol Version (1946)

Since Echoes of Harlem was Cootie’s theme, he revisited it several times with his own band.

Here’s a lovely 1946 version for Capitol:

Capitol records from those days sound great - and this one’s no exception.

Little Jazz Steps In: Roy Eldridge (1951)

Another trumpet titan, Roy Eldridge, clearly loved the tune as well. He recorded it more than once; here’s his 1951 take for the small Prestige label:

“Little Jazz” always sounded awesome — and he brings a different kind of fire to the piece.

A Capitol Echo: Jonah Jones & Glen Gray (1962)

Speaking of great‑sounding Capitol records, here’s one more: Jonah Jones with his Quartet, backed by Glen Gray and the Casa Loma Orchestra, from 1962:

Those late‑’50s/early‑’60s Glen Gray albums are gems - and I always love how Glen is dressed on those covers!

Cootie’s showcase truly echoes through the years, inspiring trumpeters across generations and giving each era its own shade of Harlem twilight.

Threaded Thursday: The Fabulous Dorseys

After yesterday’s deep dive into Tommy Dorsey’s theme song, I’m Gettin’ Sentimental Over You, let’s keep the Dorsey theme song thread spinning.

Sandman Steps In (1934)

First up is the Dorsey Brothers’ theme, Sandman, recorded for Decca in 1934 with Kay Weber on vocal:

Another sharp Glenn Miller arrangement for the band — but interestingly, the theme doesn’t spotlight either brother. No Tommy trombone, no Jimmy alto or clarinet. A theme song without a Dorsey solo is a curious choice, especially in hindsight.

A Goodman Glow-Up (1935)

For contrast, here’s Benny Goodman’s 1935 Victor recording of Sandman:

Fletcher Henderson’s arrangement is so different from Miller’s that it almost feels like a different tune entirely. Same title, same bones — but the swing DNA shifts dramatically.

Jimmy Finds His Theme: “Contrasts” (1940)

Jimmy kept Sandman as his theme for a while after Tommy left the band, but by 1940 he had adopted the much more familiar Contrasts, recorded for Decca:

A gorgeous showcase for Jimmy’s alto — elegant, fluid, unmistakably JD.

Before the Contrast: “Oodles of Noodles” (1932)

I’d known Contrasts forever, but I’d always heard it was adapted from an earlier Dorsey Brothers–era piece called Oodles of Noodles. It took me years to finally hear the original.

Let’s spin Jimmy’s 1932 Brunswick recording:

When I first played it, I spent the opening 40 seconds thinking, “How on earth is this related to Contrasts?” It’s all noodling, noodling, noodling — and then suddenly, like a magician pulling a rabbit out of a saxophone case, there it is. Contrasts appears, fully formed and waving politely!

Percy Faith Serves It Up (1949)

For a fun contrast to JD’s version, here’s Percy Faith’s 1949 RCA Victor orchestral take:

Not the first tune you’d expect to get the lush‑strings treatment, but somehow it works — a surprisingly graceful expansion of the idea. Kind of like a fancy, gourmet version of your favorite diner dish!

A Hidden Recipe (1947)

But there’s always more digging to be dug! Percy Faith actually had an earlier arrangement of “Oodles of Noodles” that he never recorded commercially — but he did feature it on a 1947 episode of Buddy Clark’s Contented Hour (retitled as "Melody Hour" for AFRS to avoid the Carnation sponsor reference) radio show:

This one plays like a midpoint between Percy’s later orchestral version and Jimmy’s Contrasts, with Al Gallodoro turning in a terrific alto feature.

It’s also interesting that Buddy refers to Oodles of Noodles — not Contrasts — as JD’s theme. He even nods to The Fabulous Dorseys, the biopic released that same year.

Oodles of Fun

I had oodles of fun with these records — hope you did too!

Word Association Wednesday: Gettin’ Sentimental

 

Spinning off Duke Ellington’s “In a Sentimental Mood” for this week’s Word Association, my mind jumps straight to Tommy Dorsey - The Sentimental Gentleman of Swing - and his classic theme, I’m Gettin’ Sentimental Over You.

Let’s trace Tommy’s long relationship with the tune, starting at the very beginning.

The 1932 Seed - The Dorsey Brothers Orchestra (Brunswick)

Tommy first recorded the song in 1932 with brother Jimmy on Brunswick:

This early version, with Jean Bowes on vocal, is a gem. What fascinates me is how much of Tommy’s later signature arrangement is already here - the cold open, the first chorus, the general shape of the thing. The first minute is like hearing the blueprint before the mansion gets built.

At this point, Tommy and Jimmy were still top‑tier studio musicians, and the Dorsey Brothers Orchestra existed only as a studio group. The full‑time band wouldn’t come until 1934.

The 1935 Revisit - The Dorsey Brothers on Decca

With the new working band, the brothers took another swing at the tune, this time with Bob Crosby on vocal:

No familiar cold‑open trombone here - instead, Jimmy’s alto sneaks in first.

Young Bob Crosby is clearly leaning toward his brother Bing’s phrasing, but he’d soon grow into his own sound once he began leading his own band.

Not long after this session, the famous Dorsey blow‑up happened: Tommy walked off the bandstand, Jimmy kept the group, and Tommy struck out on his own.

The 1936 Breakthrough - Tommy Dorsey’s Victor Classic

And here it is - the version that became the theme. Tommy’s 1936 Victor recording is one of those sides that practically defines the era. The tone, the phrasing, the poise… it’s the sound of a bandleader stepping into his identity.

The 1947  Version - Slower, Longer... and a Little Mysterious

Tommy recorded a slightly revised version of the song for RCA Victor in 1947:

This one has some intrigue. It’s played slower, stretching past four minutes - too long for a standard 10‑inch 78. It seems the first release was an edited version tucked into the 1951 Theme Songs album set.

The full performance didn’t surface widely until the 1960s, on the Reader’s Digest box The Great Band Era. A legendary set!

The 1953 Decca Update — A New Coat of Paint

By the early ’50s, Tommy was back at Decca and cut a refreshed take on his theme.

I wouldn’t claim this equals the 1936 version - few things do - but it’s charming in its own right, especially with the added chorus and the more modern sheen.

A Constant Through Every Version

Across all five recordings, one thing never wavers: Tommy’s trombone. For my dough, no other musician - on any instrument - could make something feel so intimate, so direct, so... sentimental. It’s a masterclass in emotional clarity.

Bonus: Spike Crashes the Party (1948)

Before we leave the tune, we have to check out Spike Jones’s 1948 parody for RCA Victor:

Listeners in ’48 would’ve instantly recognized Tommy’s theme, which makes the little TD imitation gone wrong all the funnier. Spike always knew exactly where to place his barbs.

And after all that… yeah, I’m gettin’ sentimental too.

Side‑Session Monday: More Sentimental Moods

Following up on Duke Ellington’s standard In a Sentimental Mood, today’s side‑session rounds up some (then) contemporary covers along with a handful of later remakes.

Goodman Gets Moody

Duke’s version was released in 1935, and by 1936 a whole wave of bands jumped on the tune — mostly as an instrumental. First up, Benny Goodman on Victor:

A typically great Goodman record of a Jimmy Mundy arrangement. Murray McEachern sounds wonderful on trombone.

Jimmy Joins In

Jimmy Dorsey’s version for Decca features an even more prominent trombone — Bobby Byrne even gets (slightly misspelled) label credit:

Bobby replaced Tommy Dorsey after Tommy left the Dorsey Brothers Orchestra. Byrne was a fine trombonist and later a bandleader himself, but he couldn’t really compete with Tommy in either category — though honestly, who could?

Pollack’s Parade of Stars

Ben Pollack also recorded the tune for Irving Mills’ Variety label, featuring the great clarinetist Irving Fazola:

Pollack was never quite a top‑tier bandleader, but the roster of future stars who passed through his band is astounding. Around this time, Glenn Miller, Harry James, Charlie Spivak and Freddie Slack were all on the payroll!

McDonough’s Pickup Perfection

Ace studio guitarist Dick McDonough led some pickup groups for the ARC line of budget labels, which still managed to feature top musicians — including trumpeter Bunny Berigan:

This session also includes Toots Mondello on clarinet, Adrian Rollini doing double‑duty on vibes and bass sax, and that steady beat courtesy of the great Cozy Cole on drums.

Mills Adds the Missing Lyrics

Yesterday I mentioned that In a Sentimental Mood had lyrics by Manny Kurtz (AKA Mann Curtis) and Irving Mills, though Duke never recorded a vocal version. Mills did, however, have The Mills Blue Rhythm Band cut it with vocalist Chuck Richardson:

Lucky Millinder leads the band, and the lineup includes such stars as Henry “Red” Allen on trumpet, J.C. Higginbotham on trombone, Tab Smith on sax, and Edgar Hayes on piano.

Collectively, these 1936 recordings feature a ton of talent!

We encounter another high level of talent as we move into 1937 for an instrumental version by the Quintette of the Hot Club of France featuring guitarist Django Reinhardt and violinist Stéphane Grappelli on the HMV label:

Pretty cool to hear Stéphane take on the tune 25 years or so before his 1963 recording session with Duke

Mr. B’s Velvet Version

The tune became a standard and has been remade many times, but we have to jump ahead to 1948 for another notable vocal version. It’s worth the wait — Billy Eckstine wraps his velvet baritone around the tune for the National label:

There’s something about Mr. B singing an Ellington melody that’s pure magic.

Tommy's Sentimental Trombone

Since we’re already time‑traveling, let’s stop in the 1950s for a couple more instrumental versions of note. The Sentimental Gentleman of Swing, Tommy Dorsey, finally recorded his own version for Decca in 1953:

This was the title track of TD’s album In a Sentimental Mood, and the tune fits his trombone style like a glove.

Hackett's Mellow Mood

Another great musician, cornetist Bobby Hackett, included the song as a track on his 1955 Capitol album In a Mellow Mood:

An absolutely gorgeous nightcap for our little sentimental stroll!

Do you have a favorite version? Let me know in the comments.

Sundays with Duke #20: A Sentimental Solution

As we step into 1935 with Duke Ellington, the classics keep on coming. Today it’s In a Sentimental Mood - a tune so elegant it feels like it’s always existed.

The story goes that Duke composed it at a party to ease the tension between two women. Who knows if that apocryphal tale is true, but it’s a great story and an even better song.

The First Sentimental Spark

The first recording was for Brunswick:

The soloists include alto saxist Otto Hardwick, who may have contributed part of the melody. It certainly sounds like something he could have floated into the air for Duke to sculpt.

Otto Hardwick looking dapper!

As with many Ellington pieces that caught on, In a Sentimental Mood soon acquired lyrics (and Irving Mills as a co-writer). The lyricist was Manny Kurtz - later Mann Curtis - but Duke never recorded a vocal version himself. He did, however, return to the tune often in concert and on record.

Revisiting an Old Flame

One such revisit came in 1945, during those Victor sessions where Duke re‑examined several of his most popular numbers:

I love the jaunty little piano figure he tosses in there—just enough to remind you that even his most “sentimental” moods have a sly grin.

Sentiment, Stripped to the Essentials

Duke’s piano gets even jauntier on this next version, the leadoff track from his 1954 Capitol album The Duke Plays Ellington:

With only Wendell Marshall on bass and Butch Ballard on drums, Duke is truly “playing Ellington” - all touch, color, and quiet authority.

Sentiment Meets the Trane

Jump ahead to 1963 and we find Duke in one of his great late‑career dialogues: the truth-in-advertisingly titled Impulse! album Duke Ellington & John Coltrane. And what better way to open it than with In a Sentimental Mood?

It’s gorgeous - John Coltrane’s tenor tone is like a lantern in the dark, and Duke’s voicings are older, wiser, and more spacious. Interestingly, this is the only Ellington standard the two chose for the album.

A Sentimental Surprise

The next version is a little more mysterious. Recorded in early 1963 but not released until 1976 - two years after Duke’s death - it pairs him with another legend: violinist Stéphane Grappelli.

I don’t know the full story behind the delayed release, but I do know this: the performance is wonderful! Grappelli’s lyricism meets Duke’s harmonic poise, and the tune blooms all over again.

So, there we are - Another Sunday, another Ellington solution with enough sentiment to last for decades!