Monday Side‑Session: Squeezing Out The Flips

For today’s side‑session, we’re flipping over those two versions of Double Check Stomp from Duke Ellington that we heard yesterday - because around here, the B‑side is never just an afterthought.

The Victor Flip: “Jazz Lips” (1930)

We’ll start with the Victor disc. Its flipside is an Ellington original called Jazz Lips.

As far as I can tell, Duke only recorded this one once, and I don’t think anyone else ever took a crack at it. But it’s a fun little number — compact, confident, and unmistakably Ellington.

What’s funny is that Jazz Lips actually sounds more “jungle‑y” than the Jungle Band flipside we’re about to hear. The growls, the textures, the rhythmic snap - it’s like they accidentally put the Jungle Band track on the wrong label!

The Brunswick Flip: “Accordion Joe” (1930)

Things get a bit wilder when we flip over the Brunswick record, credited to The Jungle Band.

You may remember that accordionist Cornell Smelser (recording as Joe Cornell) sat in on Double Check Stomp. On Accordion Joe, he steps right into the spotlight - and he’s joined by the ubiquitous session vocalist Dick Robertson.

It’s honestly a little surreal to hear Smelser and Robertson dropped into a Jungle Band session. It’s like someone shuffled the personnel cards when nobody was looking. The result is a stylistic curveball in the Ellington library - part novelty tune, part hot dance record, part “wait… what band is this again?”

The All‑Star “Joe”: Cornell and His Orchestra

And the plot thickens...

Cornell Smelser also recorded his own version of Accordion Joe - he co-wrote the song, so why not record it as many times as you can? - for Okeh, this time under the name Cornell and His Orchestra.

This take features a vocal by Artie Dunn, and the studio band is stacked with ringers:

• Jack Teagarden
• Jimmy Dorsey
• Adrian Rollini

It’s basically a who’s‑who of 1930 studio royalty backing an accordion novelty. Only in the 78 era could something this odd — and this delightful — exist.

Which Flip Makes You Flip?

So what’s your pick?

Do you go for Duke’s one‑off Jazz Lips, with its sly, jungle‑tinged swagger?

Or does the all‑star accordion madness of Cornell Smelser’s Accordion Joe win the day?

Either way, it's proof once again that Ellington’s universe is full of delightful detours if you’re willing to flip the record!

Note: There's also a Fleischer Studio cartoon from 1930 titled "Accordion Joe" which does feature the song. It's historically interesting as it features an early prototype of Betty Boop as love interest for Bimbo, the star of the cartoon. It's more than a bit racially insensitive, however, so I won't link to it. You can find it if you look for it.

Sundays with Duke #11: The Double Check

We’re spending another Sunday with the 1930 film Check and Double Check. Last week, we saw the band backing the Rhythm Boys, but today we’re looking at Double Check Stomp, the not-quite title song where the band gets to cut loose!

The Original: Double Check Stomp (Victor - 1930)

First up is the high-energy Victor recording. This isn’t a ballad for movie stars; this is a floor-filler that shows exactly why Duke was the king of the Cotton Club. It really... stomps!

The "Jungle Band" Variant: Brunswick (1930)

Recorded later that same month, Duke took the song over to the Brunswick label, where the band was credited as The Jungle Band. This version has a fascinating secret weapon: guest Cornell Smelser (appearing as Joe Cornell) on the accordion.

It’s a rare sound for 1930s jazz, but Smelser plays it with a rhythmic bite that fits the "stomp" perfectly. It gives the track a completely different texture from the Victor session.

The Trad Remake: Chris Barber (1955)

While other versions were rare in the early days, the British "Trad Jazz" revivalists eventually caught on. Trombonist Chris Barber cut this remake for Columbia in 1955. 

As I'm fond of saying: It’s trad, Dad!

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Which flavor of the "Stomp" do you prefer—the classic Victor drive or the unique accordion swing of the Jungle Band?

Sixties Saturday - Happy "Pye" Day!

Happy Pi/Pie/Pye Day!

Friday Fun (Interrupted): It’s Friday the 13th Again!

We interrupt our regularly scheduled Friday Fun again to note that… it’s Friday the 13th again!

When there’s a Friday the 13th in February, another one follows hot on its heels in March - except in Leap Years, which 2026 is not!

So here we are, back in the land of black cats, ladders, and suspiciously creaky floorboards!

One lucky thing, though: we get to spin another version of Bobby Troup’s 1947 novelty gem Triskaidekaphobia.

This time it’s the Page Cavanaugh Trio on RCA Victor, and it’s a charmer:

That’s snappy enough to ward off at least a few evil spirits.

And if it doesn’t… well, just hop back on that Stairway to the Stars and keep climbing.

Friday Fun: Lots of Stairs

We’ve spent the last couple of days with some devilish music and are even currently enduring Friday the 13th, so what better way to climb back up from down below than with a Stairway to the Stars?

I’ve rounded up every version I could find from 1939, the year the song was published after being adapted from Frank Signorelli and Matty Malneck’s 1936 instrumental Park Avenue Fantasy, now with Mitchell Parish’s lovely lyrics. You can read more about the original here.

We have an even dozen, so let’s get started!

Glenn Miller and his Orchestra (Bluebird)

For me, this is the definitive version. The Miller band was hitting on all cylinders at this point. Ray Eberle’s vocal here sounds much more polished than on My Reverie, recorded less than eight months earlier. This song also perhaps suits him better.

Jimmy Dorsey and his Orchestra (Decca)

Always interesting to compare Bob Eberly to his younger brother Ray when they sang the same song. I agree with the general consensus that Bob was the better all‑around singer. I think Bob lifted the J. Dorsey band to greater heights while Ray kind of went along for the ride as the Miller band ascended the heights, you know?

Kay Kyser and his Orchestra (Brunswick)

We catch the Kyser band at the peak of its shticky‑sweet formula, complete with the singing song title. Harry Babbitt saves it with the vocal. Kay was hugely popular at the time and in 1939 starred in the first of several successful movies, RKO’s That’s Right, You’re Wrong!

Swing and Sway with Sammy Kaye (Victor)

Sammy Kaye was even more locked into the sweet‑band formula than Kyser, also employing the singing song title gimmick. While Sammy stayed in this lane, Kyser’s band would eventually prove to be much more versatile. Sweet bands depended on their vocalists and Jimmy Brown was an asset to the Kaye band.

Personally, I don't mind the singing song titles, but I don't care for the spoken introduction of the vocalist during the song. It takes me out of the mood. And this is coming from someone who digs gimmicks!

Ella Fitzgerald and the Chick Webb Orchestra (Decca)

Ella brings us out of the sweet‑band world with a great take. She was fronting the late Chick Webb’s band at this point, just before her solo career really took off.

Al Donahue and his Orchestra (Vocalion)

Al Donahue’s band wasn’t overly sweet, but not really swinging either - a pleasant, middle‑lane outfit. Paula Kelly, though, is always awesome.

Carroll Gibbons and the Savoy Hotel Orpheans (Columbia)

A trip across the pond to England! Vocalist George Melachrino would later find great fame as a conductor, but he certainly had the pipes for this. I like this one quite a bit!

Greta Keller (Decca)

Austrian-born cabaret star Greta Keller brings a wistful, world-weary vibe that adds a touch of sophistication to the climb.

Martha Raye (Brunswick)

You’d think we’d be going from the sublime to the ridiculous here, but Martha plays it straight. She was a talented singer, though her comic gifts (and large mouth) were too great for Hollywood to ignore. Her then‑husband Dave Rose provides the accompaniment.

Chick Bullock and His Levee Loungers (Vocalion)

Prolific session singer Chick Bullock fronts a studio band here. He was a total pro and in-demand for a reason.

Kenny Baker (Victor)

Tenor star Kenny Baker sounds great! He had come to prominence on the Jack Benny radio show but branched out into just about every entertainment field. In 1939, he co‑starred in MGM’s At the Circus with the Marx Brothers. Groucho took the vocal honors in that film with Lydia, the Tattooed Lady, however!

The King’s Men (Vocalion)

We wind up with The King’s Men. Fans of the Fibber McGee and Molly radio show will instantly recognize the quartet’s trademark blend. It’s a treat to hear a Ken Darby vocal arrangement on a ballad rather than their usual novelty fare they performed on the show.

We’ve now climbed twelve flights of the stairway, so we’re well and truly in the stars. Which version elevates you the most?

Threaded Thursday: Holiday in Hades

Turning up the heat a bit, we follow yesterday’s look at “Hell’s Bells” with another pair of numbers that keep us in that extremity (as our friend Mr. Dickens would say) - both from the pen of the Larry Clinton!

The Visual Pun: Shades of Hades (1936/1938)

Before forming his own band, Larry was already a highly successful arranger for top outfits like Glen Gray and the Casa Loma Orchestra. For them, he wrote the wonderfully titled Shades of Hades in 1936.

Let's spin that Decca recording:

The Casa Loma band always struck me as very arrangement‑driven, so it’s no surprise they gravitated toward Clinton’s charts. He gave them exactly the kind of crisp, clever writing they thrived on.

After forming his own band, Larry got the chance to record his own version for Victor in 1938.

I have to say, I love the title as a visual pun - it looks like it should rhyme, but it absolutely doesn’t when you say it aloud!

The Hit He Couldn't Have: Satan Takes a Holiday

For our next Hades-themed tune, we back up to 1937, when Larry was submitting arrangements to Tommy Dorsey. Among them was his original composition Satan Takes a Holiday, which became a massive hit for the TD orchestra.

Here's that Victor record:

Dave Tough does his usual great job on the drums or traps, as it were!

The success of Dorsey’s recordings of “Satan” and “The Dipsy Doodle” (another Clinton original) helped push Larry toward starting his own band. However, because both he and Tommy recorded for Victor, the label didn’t want competing versions. Larry was actually blocked from recording his own hit for twenty years!

The Hi-Fi Redemption (1957)

Larry finally cut his own version of Satan Takes a Holiday for RCA Victor for the album Larry Clinton in Hi-Fi, with a stellar group of studio musicians.

Once again, the drummer steals the show! This time it's Jimmy Crawford (formerly of the Jimmie Lunceford band). His fills absolutely sparkle. If pressed, I might even say "Craw" is my favorite drummer of the entire swing era!

The Spooky Side

An interesting tidbit: The British labels of the time showed the tune as 'Spooky' Takes a Holiday! With that in mind, let's listen to a British version. Here's trumpeter/vocalist Nat Gonella and his Georgians in 1937 on the Parlophone label:

Very intriguing to hear the seldom heard lyrics!

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Who's your MVD (Most Valuable Drummer) on this spooky ride - Davey or Craw?

Word Association Wednesday: Ringing in My Ears

Sunday’s post had Duke Ellington ringing the rafters with Ring Dem Bells, so for this week’s Word Association Wednesday, we follow the echo straight into the underworld. If Duke rings ’em, somebody’s bound to shout Hell’s Bells! - and that’s our cue to go spelunking through the 78 rpm stacks. We've got five versions, so leave us begin...

1. Art Kassel  - The King’s Writer (1932)

We start at the source: Art Kassel, who not only recorded Hell’s Bells but wrote it and used it as the theme song for his "Kassels in the Air" Band. His 1932 Columbia side is a bit raucous for a polite hotel band, but it’s novelty‑adjacent without ever quite tipping into corn, and it sets the tone for everything that follows.

2. Bob Causer (with Dick Robertson) - The Budget‑Label Surprise (1932)

Next, we flip over to the budget bins for Bob Causer and his Cornellians, featuring ubiquitous session vocalist Dick Robertson. Same year, totally different flavor. Robertson actually sings the “It’s certainly hot…” verse - the one Kassel only plays instrumentally - giving us a glimpse of how the tune played when the full lyric was in circulation. Scrappier, cheaper, and absolutely delightful!

3. Hal Kemp - Elegance with a Sly Grin (1932)

From there, we glide into the satin‑smooth world of Hal Kemp. His instrumental take on Brunswick is airy and lightly syncopated - the kind of thing that makes you imagine a hotel ballroom with perfect lighting and a floor that never squeaks. Kemp takes the tune’s novelty edge and files it down to a chic, urbane shimmer, all while keeping the band’s trademark “typewriter” trumpet sound. But in my in mind, I can definitely imagine Skinnay Ennis singing the lyrics!

4. Jimmie Lunceford - Discipline, Fire, and a Ghostly Shimmer (1937)

Then the door swings open and in marches Jimmie Lunceford, whose 1937 Decca recording turns Hell’s Bells into a precision‑swing showpiece. Sy Oliver is the architect here, and his arrangement gives the track its bite: crisp attacks, sly rhythmic kicks, and that buoyant lift only Lunceford’s band could deliver. Adding a delicious layer of atmosphere is pianist Edwin Wilcox, who slips over to the celeste for a few choice moments — a little chiming shimmer that makes the whole thing feel like a haunted music box.

The slower pace of this version actually makes it spookier. It’s been a staple of my Big Band Halloween playlist for years!

5. Clyde McCoy - The 20‑Year Detour (1952)

And then we leap forward two decades to Clyde McCoy, who finally records Hell’s Bells in 1952 — a tune so perfect for his wah‑wah trumpet that you’d swear it had been waiting for him! Why it took him twenty years to wax it is anyone’s guess, but once he does, it’s a wild, swaggering instrumental that feels like the natural endpoint of every version that came before.

Five versions, five angles, one tune that refuses to stay in its lane. From Kassel’s original to Causer’s budget‑label charm, Kemp’s elegance, Lunceford’s fire, and McCoy’s late‑breaking swagger — which one rings your bells?

Bonus Round: Betty Boop turns up the heat (1934)

And for dessert, we hop from the bandstand to the cartoon studio. In Betty Boop’s 1934 short Red Hot Mamma, Betty — voiced by Bonnie Poe — actually sings Hell’s Bells right in the middle of her infernal adventure. It’s exactly what you’d expect from the Fleischer studio: surreal, spicy, and the kind of cross‑pollination that made early ’30s pop culture such a glorious tangle.

With Betty around, "It's certainly hot..."