Monday Side‑Session: We Got It Good

For today’s side‑session, we follow up on Duke Ellington’s “I Got It Bad (And That Ain’t Good)” with ten contemporary covers from the 1941–42 period — a little cross‑section of how the tune moved through popular music right when it was new.

So, let's start spinning...

We start with Dinah Shore on Bluebird:

The tune fits early‑Dinah perfectly — that clean, youthful phrasing she had in the early ’40s.

Next up is Ella Fitzgerald for Decca:

Quite lovely. This comes from the period when Ella was still fronting the Chick Webb band after Chick’s passing, and you can hear that blend of band-singer polish and her emerging solo personality.

Then we have The Charioteers on Okeh:

A warm group sound with Billy Williams leading the way.

A number of bands also picked up the tune, usually with a canary handling the vocal. Here’s Benny Goodman with Peggy Lee on Columbia:

Typically solid work from Benny and Peggy — clean, poised, and right in their wheelhouse.

Jimmy Dorsey recorded his version for Decca with his star vocalist Helen O’Connell:

I think this type of song fits Helen better than the novelties she sometimes performed. JD’s alto is solid as usual.

Les Brown and Betty Bonney cut the song for Okeh:

Betty tends to be overshadowed by Doris Day in the Les Brown story, but she was excellent too — and this track shows it.

Bunny Berigan recorded his version with Lynne Richards for the small Elite label:

These relatively late records by Bunny are always intriguing — you can hear both the brilliance and the strain of those final years.

Next up is Vaughn Monroe, who had Marilyn Duke sing the vocal for Bluebird:

This is from the period when Vaughn was more of a bandleader who sang, rather than a singer who lead a band, as I like to say, as he didn't sing on every record and also recorded instrumentals.

We get a rare male vocalist as Eddy Howard takes the vocal himself on his Columbia side:

Eddy, like Vaughn, had his greatest success post-WWII, as they were able to directly compete with the singers in away most bandleaders could not.

The most intriguing contemporary cover to me is this version by Earl Hines on Bluebird:

What I find fascinating is the vocal arrangement: Madeleine Greene and the Three Varieties sing in the third person, while Billy Eckstine sings about himself having it bad. And that is good!

There have been countless remakes of “I Got It Bad” in the decades since, but these contemporary covers give us a snapshot of how the tune lived in its own moment — across labels, across styles, across the early‑’40s pop landscape.

We got it good!

Sundays with Duke #37 – Ivie’s Got It Bad

We remain in 1941 with Duke Ellington, settling in with another true Ellington classic: I Got It Bad (And That Ain’t Good).

🤸🏾Jump‑for‑Joy Genesis

Composed by Duke with lyrics by Paul Francis Webster, the song was introduced by the incomparable Ivie Anderson in the Ellington musical revue Jump for Joy. 

Naturally, the band hit the studio for Victor with Ivie to capture the magic:

She is in peak form here, wrapped in one of Johnny Hodges’ signature velvet-alto arrangements. 

The record became an instant hit, even finding its way into a Soundie:

It's always a treat to see the band in motion, and especially wonderful to see Ivie!

Duke kept I Got It Bad in the band's repertoire for years even after Ivie departed the band in 1942 due to health challenges. 

🎙️Black‑and‑White Brilliance

In 1946, as a solo artist, Ivie recorded this version for the Black & White label:

It’s a gift to have another reading of this tune from Ivie — a perfect showcase for her warmth and phrasing.

🎤 Aladdin After‑Hours

Al Hibbler brought a different texture to the piece during his time with Duke, and he leaned into that sound for his own 1946 session for the Aladdin label:

Anchored by Harry Carney's baritone sax, this date features a stellar lineup. Al, Harry, trumpeter Shorty Baker, and altoist Russell Procope were all moonlighting from the Ellington orchestra.

🎷 Newport Nightfall

Fast-forward to 1956. We return to the Newport Jazz Festival for a purely instrumental take released on Columbia, putting Johnny Hodges right back where he belongs: in the spotlight:

The crowd knows exactly what they are hearing, and they dig it!

🎼 Songbook Splendor

No retrospective on this tune would be complete without Ella Fitzgerald. Her 1957 Songbook sessions for Verve with Duke’s band are legendary, and this track is no exception:

Ella graces us with the rarely heard verse, and the extended arrangement gives Johnny’s alto yet another moment to glow.

📀 Popular Perfection

We keep the spotlight on Johnny in 1960 for this exquisite track from RCA Victor's The Popular Duke Ellington:

It’s a masterclass in economy and feeling.

🎺Satchmo's Spotlight

Then in 1961, Louis Armstrong sang and played this version with Duke as part of their Roulette sessions:

Trummy Young and Barney Bigard sat out this tune, so it's just Louis with Duke backed by Mort Herbert on bass and Danny Barcelona on bass. That's pure Satch!

🎵 Verve Velvet

Because there is truly no such thing as "too much" Johnny Hodges, we close our set with his 1962 Verve recording backed by Billy Strayhorn and the orchestra:

It's a sophisticated, wonderful farewell.

One thing's for sure: Ivie and Johnny may have "had it bad," but for us, that’s very good!

Monday Side-Session: Sittin' and Singin'

Following yesterday’s look at Duke Ellington and Billy Strayhorn’s Just a‑Settin’ and a‑Rockin’, today we slide over to the covers, remakes and lyrical detours that kept the tune alive through the mid‑’40s and beyond.

As I mentioned, once Lee Gaines of The Delta Rhythm Boys introduced lyrics, the tune’s title shifted from settin’ to sittin’ — and the song suddenly had a whole new life.

Let's start with some versions from 1945...

🎙️ The Delta Rhythm Boys Get It Rolling

First, let's spin The Delta Rhythm Boys’ popular 1945 Decca record:

This one has that easy, confident glide the group specialized in — tight harmonies, a relaxed beat, and a groove that feels like it’s leaning back in a chair. You can hear why this version helped the lyrical “sittin’” catch on.

For further illustration, here's a video clip Lee and the fellows:

Nice!

🌟 Thelma Steps In

Here’s a terrific version by Thelma Carpenter on the Majestic label:

Thelma gives the tune a buoyant lift — her phrasing is crisp, her tone warm, and she swings the melody without ever pushing it too hard. It’s one of those versions where the band and singer feel perfectly matched.

🎤 June & Stan Swing the Verse

Next up: Stan Kenton on Capitol with June Christy:

June Christy sounds terrific here — bright, playful, and rhythmically sharp — and she gets to sing the rarely heard verse, which is a treat in itself. Kenton’s band gives the tune a bit more punch, but June keeps it cool and stylish.

Here's a video of clip pf June with the Kenton band:

Retro-crush mode fully engaged!

🎷 Georgie’s Webster‑Warm Tenor

For one more 1945 version, here’s tenor sax star Georgie Auld with vocalist Lynne Stevens on the Musicraft label:

Georgie brings a warm, slightly breathy tenor sound that nods toward Ben Webster’s feel on the Ellington original. And Lynne is definitely an underrated canary. Together they make a version that feels both relaxed and musically alert.

🎶 The Pied Pipers Blend It Beautifully

Moving to 1946, here’s a non-commercial transcription recording from The Pied Pipers:

A smooth, well‑balanced group performance with June Hutton leading. The Pipers give the tune a lighter, more polished sheen — almost a radio‑friendly gloss — but they keep the rhythmic bounce intact.

🎺 Delta Rhythm Boys Return

                                                  

While in 1946, we also encounter The Delta Rhythm Boys again, as they sing another version of Just a‑Sittin’ and a‑Rockin’ for Decca, this time backed by Charlie Barnet and his Orchestra:

Not sure why Decca had the group return to the tune so soon, but the more relaxed pace and big band backing give this version a totally different vibe.

🌫️ June's Recollection

Let’s jump ahead to 1959 for three more versions, starting with June Christy’s remake for her Capitol album Recalls Those Kenton Days:

Always great to hear Misty Miss Christy with that wonderful Capitol Records sound!

🇸🇪 Alice's Swedish Sparkle

Next up is Swedish singing star Alice Babs with this cut from her Decca album Alice and Wonderland:

I think she’s absolutely delightful but it's not just the charming accent - she has serious music chops as well.

Word is that Duke Ellington was impressed with this recording, which prompted him to want to work with Alice, resulting in some wonderful joint projects!

And we're fortunate enough to also have a video clip of Alice in action:

Total retro-crush mode!

🎹 Shirley Rocks the Keyboards

Let’s close out with an instrumental version – Shirley Scott with this single taken from her Prestige album Scottie Plays the Duke:

"Scottie" gives the tune a stylish instrumental reading, moving between piano and organ with her usual soulful touch. She keeps the melody intact but adds subtle harmonic twists that make the track feel fresh and modern.

Hope you enjoyed sittin’ and rockin’ with me today!

Sundays with Duke #36: Settin’ and Sittin’

As we stay parked in 1941 with Duke Ellington, we hit upon another classic Ellington–Strayhorn collaboration: Just a‑Settin’ and a‑Rockin’.

📀 Swingin’ into Summer ’41

The band recorded it for Victor in June, with Ben Webster featured on tenor sax:

That just moves along at such a relaxed, swinging pace, as if the band really is just a-settin' and a rockin'!

The other soloists are Ray Nance on trumpet, Barney Bigard on clarinet, and the unmistakable Tricky Sam Nanton on trombone.

📝 Lyric Lift & Title Twist

The tune was reasonably popular and stayed in the band’s book — but with a twist. Lee Gaines of The Delta Rhythm Boys added lyrics, the title shifted to Just a‑Sittin’ and a‑Rockin’, and unlike most of Duke’s retro‑fitted vocal numbers, he actually usually performed this one with the lyrics.

📻 Nance Nudges It Along

Although the band didn’t cut a vocal studio version at the time, it turned up frequently on radio broadcasts with Ray Nance handling the vocal. This 1946 aircheck with an extended arrangement is a great example:

It fits Ray beautifully, which likely explains why Duke kept it in rotation.

🎙 Capitol Curiosities

Studio recordings after that were sporadic. Duke and Ray revisited the tune for Capitol in December 1953 in a quartet setting:

An interesting take — unissued at the time.

Later that same month, the full band recorded another version, again with Ray on vocal, also left unreleased:

Hard to say why those two takes stayed in the vault, but they’re both worth hearing. Ray clearly loves singing it!

🌹 Rosie’s Rendition

Another shelved item: this 1956 track with Rosemary Clooney overdubbing her vocal:

It comes from the sessions for the Columbia album Blue Rose, though it didn’t make the original release. That's Buck Clayton with the snazzy trumpet work.

🎤 Ella’s Echo

For a version that did come out contemporaneously, we jump to Ella Fitzgerald’s 1957 Ellington‑adjacent take for Verve:

This comes from Ella’s Duke Ellington Songbook sessions — a small‑group setting rather than Duke’s orchestra — but we do get a welcome cameo from Ben Webster!

🎹 Billy Brings It Back

For the final word on the tune, we once again turn to Billy Strayhorn’s 1963 Reprise album The Peaceful Side for this lovely rendition:

I’ll say it again — very peaceful.

So the recording history of this tune ends up being a little sideways: a hit in 1941, a lyric added later, and a surprising number of versions that spent years just sittin’ in the vault before they finally got to rockin’.

Tuesday Tidbit: Singin’ in the Train

Yesterday we rode Billy Strayhorn’s “A” Train — all instrumentals, all bright rails and easy scenery.

Today we hop aboard two vocal versions from The Delta Rhythm Boys, each with its own charm.

Their first take came in 1941 for Decca, the same year Ellington’s hit version rolled out:

It’s a lively, good‑natured rendition — the kind that feels like someone smiling behind the microphone.

Six years later, the group revisited the tune for RCA Victor:

Also fun, also buoyant… but listen closely. Something shifts.

Warehouse Whispers — A Lyric Mystery in the Stacks

And here’s where the lights dim.

Those lyrics?

They’re not the same.

And the paperwork?

It doesn’t line up.

Billy Strayhorn is always credited as the sole songwriter, but he probably didn’t write either set of lyrics. The official files sit there looking confident, but the recordings tell a different story — the kind that makes a warehouse clerk stop mid‑shuffle and squint at a mislabeled acetate.

Lee Gaines, leader of The Delta Rhythm Boys, is often credited for the 1941 lyrics. But the fingerprints feel fresher on the 1947 version. My hunch: Gaines wrote the later set, not the earlier one.

Then there’s Joya Sherrill, who reportedly wrote her own lyrics and brought them to the Ellington band in 1944 when she joined as a featured vocalist. But those same lyrics show up two years earlier, sung by Betty Roché in the movie Reveille with Beverly (1942).

Joya had a brief stint with the band as a high‑schooler in the summer of ’42, but her lyrics were already circulating — The Delta Rhythm Boys used the "Joya lyrics" for their Decca record in August 1941 — months before she ever stepped onto the bandstand.

Two recordings.

Two lyric sets.

Two possible authors.

And a tune whose official credits sit there like a locked drawer with the wrong key in it.

We love a good mystery — especially one that hums along the rails!

P.S. And, yes, I'm aware that the title of this post is corny even by my standards, but I stand by it!

Monday Side-Session - Taking the Train

For today’s side-session let’s hop back aboard with Billy Strayhorn as we Take the “A” Train for a few more stops.

1941: Cab and Glenn Catch the Ride

We kick off in 1941 with two contemporary covers that prove just how fast Strayhorn’s tune spread across the map once the Duke Ellington version hit.

First stop: Cab Calloway on Okeh:

Cab never imitates Ellington — he just swings his own way. Chu Berry on tenor, Dizzy Gillespie on trumpet, and Cab’s band sounding sharp as ever. He didn’t cut many instrumentals, so this one feels like a little treasure.

Billy May

Then comes, to me, the most fascinating contemporary cover of any Ellington hit ever: Glenn Miller on Bluebird:

Billy May turns the tune into a ballad — a sly, cheeky move, but also gorgeous. That Miller band could float a melody like nobody else - those reeds, the muted brass, a sensuous Tex Beneke tenor solo.

May and Strayhorn were old Pittsburgh pals, so you know they probably had a chuckle together over this arrangement.

1950: Tito’s Latin Express Line

Jumping ahead to 1950, Tito Puente on RCA Victor takes the train onto Latin tracks:

The label may say Tren Expreso, but that’s our "A" Train under the hood — bright, percussive, and full of Puente’s spark.

1954: Tex Swings the Standard Out West

Next stop: the Western plains with Tex Williams on Decca in 1954:

I’m a complete sucker for a big‑band standard played by a Western Swing outfit! It’s like the tune put on cowboy boots and decided to two‑step.

And Dance-O-Rama? I am so in!

1957: Jackie’s Velvet Ride

Back to the city for Jackie Gleason’s take from Velvet Brass (Capitol, 1957):

Velvety indeed — lush, slow‑motion brass with Toots Mondello gliding on alto. It’s the "A" Train dipped in gold leaf.

How sweet it is — Ralph Kramden never drove a bus this nice!

1960: Esquivel Goes Off the Rails

Then everything goes gloriously sideways with Esquivel for RCA Victor's 1960 album Infinity in Sound:

All the wild Esquivel touches — sound effects, stereo ping‑pong, space‑age sparkle, and that unmistakable sense of fun. It’s a carnival ride disguised as a train.

Count me in as a Hi-Fanatic!

1967: Homer & Jethro Play It Straight

One last stop: Homer and Jethro from their 1967 RCA Victor album It Ain’t Necessarily Square.

Not square at all — they play it straight, and it’s fantastic! Jethro Burns’ mandolin is brilliant — clean, quick, and full of personality.

Their novelty records were funny, but the musicianship was always dead serious.

Final Stop

A wild ride across decades, genres, and detours — but we’ll Take the “A” Train anywhere it leads us.

Thanks for the ride, Billy!

Sundays with Duke #35: Take It!

As we step into 1941 with Duke Ellington, we hit one of the absolute crown jewels of the Ellington catalogue: Billy Strayhorn’s immortal Take the ‘A’ Train.

The band recorded it for Victor in February 1941.

Let’s spin it:

Everything about this record feels perfectly balanced — Duke’s attention‑grabbing piano intro, Ray Nance’s two bright trumpet solos, and Strayhorn’s subtle yet intricate backgrounds that glide underneath the melody.

It’s the performance that announced Billy Strayhorn’s arrival to the wider music world and confirmed Ray Nance as a worthy successor to Cootie Williams.

The tune was so well‑received that it became the Ellington band’s theme song, staying in heavy rotation from then on.

Out of the countless performances, here’s a distilled playlist of some of the most notable...

Broadcast Brilliance (1951)

First up is this revised arrangement from a 1951 radio broadcast spotlighting Paul Gonsalves on tenor:

It almost sounds like a different tune — leaner, cooler, and built around Gonsalves’ long‑line phrasing.

Uptown Unleashed (1952)

Gonsalves returns on this epic version from the 1952 Columbia album Ellington Uptown, also featuring vocalist Betty Roché:

The early LP format gave Duke room to stretch out, reinventing the song with extended solos and a more dramatic arc.

Newport Nostalgia (1956)

From the 1956 Newport Jazz Festival, we get a more traditional reading:

Ray Nance steps back in on trumpet, bringing that familiar sparkle.

Ella Takes the Train (1957)

Ella Fitzgerald once again joins with Duke and the band for her 1957 take from the Duke Ellington Songbook on Verve:

A blast of joy — Duke’s classic piano intro, Ella’s scatting, and the band’s playful train sound effects.

Duke in the Foreground (1960)

From Duke’s 1960 Columbia album Piano in the Background:

Despite the album title, Duke’s piano is very much in the foreground, and it’s wonderful.

Piano Royalty Meets (1962)

Staying with Columbia, here’s a track from Duke's 1962 album that teamed his band with Count Basie's band — First Time! The Count Meets the Duke:

Two titans in one studio — yet both leaders let Billy Strayhorn take the piano solos. A quiet, unmistakable sign of respect.

Ray Nance trades trumpet lines with Basie's Sonny Cohn just to keep things fair!

A Popular Performance (1966)

We wind up with Duke’s 1966 RCA Victor album The Popular Duke Ellington, which appropriately leads off with Take the "A’" Train:

Twenty‑five years after its initial departure, the train still sounds fresh!

A Cinematic Closing  — Hollywood Gets on Board (1943)

As a bonus, here's a fun clip from the 1943 Columbia picture Reveille with Beverly:

There’s young Betty Roché singing and Ray Nance showing off some dance steps. The band is shown performing on a railroad train — even though the real “A” Train was a subway line. The story goes that Duke told Strayhorn to “take the A Train” to reach his home in Sugar Hill.

Good thing Billy made the trip!