Monday Side‑Session: Getting Rexatious

After enjoying yesterday’s Rex Stewart showcase, Boy Meets Horn, with Duke Ellington’s full band, today we swing our side‑session spotlight over to a handful of small‑group outings that put Rex right at the front of the stand. All were released as by Rex Stewart and his 52nd Street Stompers on Irving Mills’ short‑lived but fascinating Variety label — a perfect home for these little planets orbiting the Ellington universe.

December 1936: Enter “Rexatious”

This session yielded tow titles. Rex is on cornet, joined by Lawrence Brown (trombone), Johnny Hodges (alto), and Harry Carney (clarinet and baritone sax). The rhythm section is Billy Taylor on bass, Sonny Greer on drums, and non‑Ellington ringer Ceelle Burke on guitar. Duke sits this one out — no piano on the date.

First up is the grammatically challenged but cleverly titled Rexatious.

Flip the disc and you get Lazy Man’s Shuffle.

The surprise here is Ceelle Burke switching to steel guitar — and it’s a delight. A tiny glint of Hawaiian sunshine sneaking into the Ellington orbit.

July 1937: Four Sides, One Session

The next four titles come from a single July 1937 session. Duke returns on piano, but the rest of the rhythm section is decidedly non‑Ellingtonian: Brick Fleagle (guitar), Hayes Alvis (bass), and Jack Maisel (drums). Johnny and Harry are back on saxes, with no trombone this time.

We start with The Back Room Romp. Freddie Jenkins joins on trumpet for this one number only.

It's subtitled “A Contrapuntal Stomp,” and it earns it — lines weaving, ducking, and teasing each other. And whatever Freddie is doing to get that trumpet sound… I dig it!

The flipside drops the subtitle (and Freddie), but keeps the wordplay charm — Tea and Trumpets.

For the next disc, we start with Swing, Baby, Swing:

Here’s where the label intrigue begins: later pressings quietly retitled the tune Love in My Heart. You’d assume lyrics were added, but the composer credits remain Duke and Hayes Alvis, and no vocal version seems to exist. A Variety‑label mystery for the ages.

The flipside keeps its original name — and it’s one of those titles that only reveals its alliteration when spoken aloud: Sugar Hill Shim Sham:

A Little Planet Called Rex

These small‑group sides are pure fun — relaxed, inventive, and full of personality. Everyone sounds like they’re having a blast, and Rex is unmistakably in his element. They’re miniature worlds in the Ellington cosmos, glowing with their own little atmospheres.

Aren’t we glad Rex met his horn?

Sundays with Duke #27 - Rex Meets Horn

We finish Duke Ellington’s impressive run of 1938 recordings with one more classic - Boy Meets Horn.

Two from Duke and Rex

The piece was written by Duke in collaboration with cornetist Rex Stewart specifically to show off Rex’s half‑valve technique. Duke supposedly enjoyed the challenge of building a melody around Rex’s six best notes - and somehow turning that limitation into a feature.

Let’s give the Brunswick record a spin:

That’s just a lot of fun. Rex is practically winking at us with his cornet, but the record never tips into pure novelty. It’s clever, but it swings!

Interestingly, the band had recorded an earlier version a few months before, in September 1938, under the odd title Twits and Twerps:

That one does lean more toward novelty. I kind of like it, but the finalized version holds up better - and Boy Meets Horn is an awesome title!

A Contemporary Cover

For a fascinating early cover of the tune, jump ahead to 1940 for this Columbia version by Benny Goodman, featuring trumpeter Chris Griffin:

Chris really shows his prowess here. He was an excellent all‑around musician - a real pro - but he’s mostly remembered as something of a footnote, the “other” guy in Benny’s powerhouse 1930s trumpet section alongside Harry James and Ziggy Elman. How could you attract any attention with two of the most extroverted, charismatic trumpet stars of the entire era playing next to you?

Another curiosity: this is one of the relatively few Benny Goodman records without a clarinet solo by BG. The only other one that comes immediately to mind is Ziggy’s And the Angels Sing. There must be a couple more. Anyone know one?

This was actually the first version of Boy Meets Horn that I was familiar with, as it was the flipside of the 78 of BG's theme song Let's Dance and I've had that 78 forever!

Rex Takes It With Him

As with other showcase numbers Duke wrote for his sidemen - like Echoes of Harlem” for Cootie Williams - the band played Boy Meets Horn frequently on the radio and at personal appearances. But Duke never recorded it again in the studio. Everything had already been said.

And just as Cootie kept Echoes of Harlem in his book after leaving the band, Rex continued to feature “Boy Meets Horn” as a signature piece. He recorded it several times with his own groups.

Here’s a fun version from 1946 on the new Mercury label:

Still sounds great!

Hi‑Fi Nostalgia Arrives

Because the tune was so closely associated with Rex, there don’t seem to have been many versions by other artists until the late 1950s, when hi‑fi remakes of big‑band favorites became a trend.

Case in point: this 1957 version by Tutti Camarata, from his Disneyland album Tutti’s Trumpets, featuring Shorty Sherock:

Tutti and Shorty had worked together in the Jimmy Dorsey band in the 1930s, and by 1957 both were in high demand - Tutti as arranger/conductor, Shorty as a top studio trumpeter.

One more tribute came along in 1962, when Jonah Jones and his trio teamed with Glen Gray and the Casa Loma Orchestra for this Capitol track:

Lots of fun when the boys meet the horns!

In the end, Boy Meets Horn stands as one of those perfect Ellington moments where a private joke, a technical challenge, and a musician’s personality all fuse into something timeless. What began as Duke teasing a melody out of Rex Stewart’s favorite six notes became a signature piece, a calling card and a small masterpiece of charm and invention!

Happy Fourth of July!

 Happy Fourth of July!

In keeping with the situation, let's go back to 1938 and spin the two sides of this Victor Red Seal recording by The Boston Pops Orchestra conducted by Arthur Fiedler:

Enjoy the day!

Threaded Thursday — Gordon Says Good-Bye

After yesterday’s Blue Prelude, which Woody Herman used as a theme, we pick up the thread with another entry in the very specific subgenre of Sad Gordon Jenkins Songs Used as a Theme Song by a Clarinet‑Playing Bandleader: the 1935 Jenkins classic Good‑bye, the long‑time closing theme of Benny Goodman.

Sixteen versions await — let’s lower the needle and begin the spin...

🎩 Goodman’s Gloomy Goodbye (1935)

The first recording came from Benny Goodman in late 1935. Jenkins had written the tune a couple of years earlier while arranging for Isham Jones, who reportedly found it too sad. Benny, however, thought it was perfect for his rising band — and perfect as a theme.

Benny's Victor recording was released at the beginning of 1936. Let's spin it:

Jenkins arranged it, Bunny Berigan supplies the muted‑trumpet obbligato to BG's clarinet, and Jack Lacey adds that lovely trombone solo. A moody, unmistakable classic.

🎙 Kirk’s Kansas City Curtain‑Closer (1939)

Good‑bye didn’t get many other recordings in the ’30s — Goodman’s ownership was that strong — but we do get one more: Andy Kirk’s 1939 Decca side, featuring Pha Terrell singing the lyrics for the first time:

It is a rule of the universe that I must mention that Andy Kirk’s band was underrated and Mary Lou Williams was awesome!

First bit of label intrigue: The label does not include the old-school hyphen in the title.

🌙 Eckstine’s Elegant Exit (1949)

Jump ahead a decade and we meet up with Billy Eckstine, who recorded the tune for MGM:

Mr. B never disappoints. He often dug up older songs that suited his style before it became a thing.

The Album Era Arrives

As LPs take hold in the early ’50s, Good‑bye becomes an album‑cut favorite — moody, slow, atmospheric, perfect for side‑closing.

🎼 Jenkins’ Triple‑Threat Tearjerker (1950)

Gordon Jenkins includes it on his Decca album that also included his version of Blue Prelude — Plays His Own Compositions — with Bonnie Lou Williams returning for the vocal:

A Jenkins song, arranged by Jenkins, conducted by Jenkins — the Jenkins trifecta.

🎷 Ammons’ After‑Hours Adieu (1950)

Tenor star Gene Ammons recorded it as a single for the new Chess label:

Label intrigue: Chess prints the title as Good Bye. Two parts, but no hyphen!

🎹 Kelly’s Blue‑Note Bow‑Out (1953)

A beautifully shaded instrumental from pianist Wynton Kelly on Blue Note’s New Faces – New Sounds:

🎧 Taylor’s Turntable Farewell (1954)

Fellow pianist Billy Taylor’s Prestige version follows:

The album is apparently titled Billy Taylor Plays for D.J.s — but only on the back cover. The front is just Billy’s hands!

🎺 Chet’s Cool‑School Send‑Off (1954)

Chet Baker’s instrumental (he wasn't singing yet) take appears on Chet Baker Ensemble (Pacific Jazz):

More label intrigue: the LP label spells it Goodby. The sleeve gets it right, though!

🌙 Connor’s Lullaby Leave‑Taking (1954)

Chris Connor includes Goodbye on her Bethlehem album Sings Lullabys for Lovers:

A lovely reading. Chris looks heartbreakingly sad on the cover — maybe she was listening to the playback of this tack!

💔 Dinah’s Dramatic Departure (1956)

Dinah Washington adds her version on the EmArcy album Dinah:

Fun fact: Wynton Kelly is in the band here too!

🎸 Mary Kaye’s Midnight Melt‑Away (1956)

The Mary Kaye Trio includes it on their Decca LP A Night in Las Vegas:

Guitarist/singer Mary and her trio are often credited as the first true Las Vegas “lounge” act — which is extremely cool!

🌆 Mundell’s Moonlit Mood‑Maker (1956)

Guitarist Mundell Lowe contributes a warm instrumental on Guitar Moods by Mundell Lowe (Riverside):

A guitar mood indeed. I remember first hearing Mundell Lowe's name as one of the musicians that Ray McKinley introduces on his 1947 recording of Howdy Friends. Who else but Ray could rhyme Mundell Lowe with fortissimo?

🎺 Butterfield’s Bittersweet Bounce‑Off (1956)

Still in 1956, the great trumpeter Billy Butterfield had a version of Goodbye on his That Butterfield Bounce album on the Westminster label, which was also issued as a 45 rpm single:

A brilliant trumpeter — though “bounce” is not the first word that pops into my mind when I think of Billy!

🎶 Frosh Four‑Part Farewell (1957)

The Four Freshmen include it on 4 Freshmen and 5 Trumpets on Capitol:

You can hear the harmonies that caught young Brian Wilson’s ear and helped shape The Beach Boys’ sound.

🌑 Sinatra’s Lonely‑Night Leave‑Taking (1958)

Frank Sinatra delivers a deeply moody version on Only the Lonely (Capitol):

Nelson Riddle arranged the album, but given Frank and Jenkins’ long history, you know Gordon must have smiled at this one.

🎤 Benny & Rosie’s Reunion Reprise (1956)

Let’s cheat a bit chronologically and slip back to 1956 for a perfect bookend: Benny Goodman revisiting “Goodbye” with his Sextet and guest vocalist Rosemary Clooney on Columbia:

By then Benny had played Good‑bye roughly a zillion times — and with The Benny Goodman Story hitting theaters that year, Goodmania was in full bloom.

Whether it’s Good‑bye, Goodbye, Good Bye, or even Goodby, it’s always a sad parting — but a beautiful one.

Warehouse Whispers — The Hyphen That Hid in the Stacks

Around the Warehouse, they say Good‑bye was the hyphen that refused to retire.

Variations like "to‑day” and “to‑night” slipped out quietly, but this dash kept lurking in the drawers like it knew where the bodies were buried.

Maybe Jenkins liked the old‑world sigh it gave the title. Maybe no one wanted to be the one to chase it out. Either way, it has a ton of period charm!

Word Association Wednesday: The Prelude Gets Blue

Following Sunday’s “Prelude to a Kiss,” today’s WAW took the shortest possible ride on the mental express line — straight to Blue Prelude, the moody 1933 masterpiece by Gordon Jenkins and Joe Bishop.

We’ve got fifteen versions spanning nearly two decades, so let’s get spinning...

The First Blue Notes (1933)

The earliest recording turns out to be Glen Gray and the Casa Loma Orchestra, who cut an instrumental take for Brunswick in January 1933:

(Raises hand) I’ll admit — before digging into this, I didn’t realize Casa Loma got there first. I always assumed the debut belonged to Isham Jones, since both Bishop and Jenkins were working with his band at the time. But apparently Bishop brought the tune to Glen Gray before anyone else.

Still, Isham Jones wasn’t far behind. His version — arranged by Bishop — followed in April 1933 for Victor:

It’s a terrific chart, with Sonny Lee shining on trombone and a wonderfully present tuba from Richard Kissinger in the rhythm section. Within a year or two, most bands would swap the tuba for string bass, but here it adds a great period flavor.

At this point the tune seems to have existed only as an instrumental. But by May 1933, Jenkins had added lyrics — and if the melody was already moody, the words sealed the deal.

The first vocal version came from prolific studio singer Chick Bullock, backed by his Levee Loungers on a budget‑label release:

Chick was a terrific singer, but an eye condition limited him to studio work.

Next up was Adrian Rollini with his studio group, featuring Howard Phillips on the vocal:

I love Adrian's switching between vibes and bass sax, though Phillips’ vocal is a bit emphatic. Not so for the next singer…

On June 13, the say after Adrian's record date, Bing Crosby recorded his version for Brunswick:

This is the one that put the song on the map — Bing’s career was exploding, and Blue Prelude rode the wave.

For one more 1933 entry, we get a female vocalist: Loretta Lee, singing with George Hall’s orchestra on Bluebird.

And yes — those early‑’30s buff Bluebirds are irresistible.

A Theme Is Born (1940-1941)

We jump to 1940 for the best‑known incarnation of Blue Prelude: as Woody Herman’s theme song. Here's his Decca recording, with Woody himself on the vocal:

Between Isham Jones’ 1933 version and this one, Woody had joined the Jones band, Jones retired, and the musicians reorganized with Woody as leader. Blue Prelude became his theme, and composer Joe Bishop was still on hand, arranging and playing flugelhorn.

The song was now a standard, and the recordings kept coming.

Also from 1940: Bob Wills and His Texas Playboys, with Joe Ferguson on the vocal:

You know I’m all over a vintage Western Swing take on a standard!

From 1941, we get Jimmie Lunceford with Dan Grissom on Decca:

A jaunty treatment, with typically superb work from altoist Willie Smith.

Postwar Shades of Blue (1945–1949)

In 1945, former Basie vocalist Helen Humes recorded a lovely version for the small Philo label:

That bowed‑bass intro from Alfred Moore is a knockout!

Label intrigue: Philco thought “Philo” sounded too close to their name, so the label became Aladdin!

Next, the sultry Lena Horne stepped up on the Black & White label in 1947:

Beautifully supported by Phil Moore.

Also in 1947, Woody Herman revisited the tune for his Columbia album 8 Shades of Blue:

A lot had happened in seven years — a new theme (Blue Flame), a move from Decca to Columbia, the triumph of the First Herd, and then disbanding. Note the label credit: Woody Herman with Orchestral Acc. — this was a studio group, not his working band.

The 1950 Curtain Call

We close with three versions from 1950...

First up: The Ames Brothers on Coral:

More label intrigue: This cut was issued as the flipside of second pressings of the Ames’ hit Sentimental Me, which was the original flipside of their smash Rag Mop. But when Sentimental Me also became a hit, Coral swapped it out so they wouldn’t have to sell two blockbusters on one disc!

Next, an unissued‑at‑the‑time Decca recording by the great Mildred Bailey:

Knowing this was among her final recordings before her early death in 1951 gives it heartbreaking poignancy.

And finally, we come full circle: Gordon Jenkins himself recorded Blue Prelude for his Decca album Playing His Own Compositions, with Bonnie Lou Williams singing his lyrics:

Mr. Jenkins really was a remarkable talent!

Fifteen preludes to a whole lot of blues — and if the prelude is this sad, imagine what the actual blues sound like!

Tuesday Tidbit: June Joins In

While I was distilling yesterday’s playlist of versions of Duke Ellington’s Prelude to a Kiss, I wound up with four extra takes I desperately wanted to include — but they all came from the same singer — June Christy. And when June records the same Ellington tune four different times across nearly twenty years, that’s not an overflow… that’s a feature!

So today, the last day of the month of June, The Misty Miss Christy gets the spotlight. Let’s drop the needle on all four...

1. The Kentones Keep Up (1945/46)

June’s first encounter with “Prelude to a Kiss” came shortly after she joined Stan Kenton’s band, when she recorded it for the Capitol Transcription Service:

The backing group — mostly Kenton sidemen — was charmingly billed as The Kentones, which feels like exactly the sort of name a Capitol staffer would scribble on a session card at 4:55 PM on a Friday.

These transcriptions were for radio use and not commercially available at the time.

2. A Friendly Gem (1949)

With Kenton temporarily disbanded, June cut another version with pianist Johnny Guarnieri:

The circumstances are a little murky, and the recording didn’t see daylight until the 1990s, but it’s a lovely, intimate reading — almost like stumbling across a forgotten acetate in a studio closet.

3. The Lost Duet Track (1955)

During the sessions for the Capitol album Duet, June and Stan reunited for a studio take of Prelude to a Kiss:

It didn’t make the original LP — who knows why — but it resurfaced as a bonus track on the early‑1990s CD reissue. Those first-wave CD years were a treasure hunt, with “lost” recordings suddenly stepping into the light.

4. Rugolo Brings the Brass (1963)

Finally, we land in 1963 with the version that did get released at the time, from June’s Capitol album Big Band Specials:

Arranged and conducted by fellow Kenton alum Pete Rugolo, it’s a bright, confident, big-band take that lets June glide right over the top.

June clearly had a soft spot for Prelude to a Kiss, and we in the Warehouse are grateful she shared it with us not once, not twice, but four times across nearly two decades. A little constellation of Christy moments orbiting one Ellington classic.