Monday Side-Session: Memories of the Blackbird

Yesterday we listened to Duke’s elegant Black Beauty, his tribute to the legendary Florence Mills. But the "Queen of Happiness" inspired more than just one masterpiece. One of the most enduring standards in the American Songbook, Memories of You, was written by Eubie Blake and Andy Razaf for the 1930 Blackbirds revue as a direct nod to the vacancy Florence left behind.

Satchmo Gets the Vibe

Let’s start with Louis Armstrong’s definitive 1930 recording. Not only is Louis in top form here, but this track is historically significant for featuring a young Lionel Hampton. It is widely considered the very first time the vibraphone was recorded in a jazz setting!

I love how the shimmering sound of the vibes adds such a dreamy, nostalgic layer to Louis’s vocal.

The Ellingtonian Side-Trip

Lionel Hampton returned to the song in 1939 with a studio pick-up group on Victor:

It sounds great, and a glance at the label explains why: it’s basically a Duke Ellington small unit! We have Harry Carney on sax, Rex Stewart on trumpet, Lawrence Brown on trombone, Billy Taylor on bass, and Sonny Greer on drums. The only "outsider" is Clyde Hart on piano (filling in for Duke), plus Hamp on vibes. 

Hamp headed a number of these sessions with top-tier musicians for Victor while working with Benny Goodman, right before forming his own powerhouse band.

Trumpet Pyrotechnics

For a completely different vibe, we sneak back to 1938 to listen to trumpet star Sonny Dunham with Glen Gray and the Casa Loma Orchestra on Decca:

If Louis gave us the soul of the song, Sonny gives us the fireworks. His high-note trumpet work on this arrangement is legendary - a masterclass in brass virtuosity that had other trumpet players of the era shaking their heads in disbelief!

Back in the day when I was beginning my Big Band journey, this was the type of record that really caught my ear. I’ve always been drawn to trumpet stars with somewhat idiosyncratic techniques pushed to the limit!

Which do you prefer: the groundbreaking "vibes" and soul of Louis, the Ellingtonian feel of Hamp, or the high-flying pyrotechnics of Sonny?

---

Note: Since it’s Black History Month, let us remember the groundbreaking Florence Mills, the Original Blackbird and the true Black Beauty!

 

Sundays with Duke #6: Portrait of a “Black Beauty”

As we continue our journey with Duke Ellington, we come across a true Ellington masterpiece: Black Beauty. 

Written as a tribute to the legendary musical theater star Florence Mills (shown above) after her tragic passing in 1927, this tune is one of Duke’s most elegant early compositions.

The Washingtonians on Brunswick

Let’s start with this version from 1928 with the band billed as The Washingtonians on Brunswick Records:

You can hear that "Jungle" growl beginning to soften into something more melodic and stately.

The Solo Spotlight

In addition to that recording with the full band, Duke also cut a solo piano version for Okeh:

This is a real treat for us because Duke was so famous as a composer/arranger/bandleader that it can be easy to forget he was also a world-class pianist!

The Sidemen Step Out

Duke recorded prolifically with his orchestra, but he also participated in sessions with smaller "units" from within the band, often issued under the names of his star sidemen.

As an example, here is a later, swing-era version of “Black Beauty” recorded in 1939 by Cootie Williams and his Rug Cutters on Vocalion Records:

What a great feature for trumpet king Cootie Williams, who had established himself as not only a worthy successor to Bubber Miley in the growl department, but also as a brilliant all-around player.

Backing Cootie is an awesome mini-reed section of Johnny Hodges, Barney Bigard and Harry Carney, plus Billy Taylor on bass, Sonny Greer on drums and Duke himself on piano!

The Legacy: Ahmad Jamal

For a non-Ellington-involved recording, we jump ahead to 1956 to hear the great Ahmad Jamal with his trio on the Epic label. Jamal’s use of space and his light touch bring a whole new dimension to Duke’s melody.

Here's his take on Black Beauty:

Cool version! Gotta love those deep cuts!

Does Duke’s solo piano version hit you harder than the full band arrangement, or do you prefer the 1939 swing update?

Threaded Thursday: A Different Kind of Minnie

We spent yesterday with Minnie the Moocher, following her from the Cotton Club to the cartoon world and finally to her big wedding day. 

That got me thinking: Minnie… cartoon… wedding… 1930s… Wasn’t there a song from the early 1930s about a certain other cartoon star marrying a different Minnie? Indeed there was! 

Let’s talk about the 1933 British hit, The Wedding of Mr. Mickey Mouse.

The British Connection

Despite Mickey and Minnie’s massive popularity in the States, this tune was strictly a British affair. It was recorded by quite a few artists in England, but I don’t think there was ever a proper American version.

Let’s listen to this representative version by Henry Hall and the BBC Orchestra on the British Columbia label:

Pretty fun, right? A couple of things of interest here: The song mentions the BBC, which certainly marks its territory, so it’s only fitting that the BBC Orchestra recorded it!

The Horace Horsecollar Snub

The lyrics name-drop Pegleg Pete, Pluto, and Clarabelle Cow, but they curiously omit Horace Horsecollar—even though he’s right there on the cover of the sheet music! (See the image at the top of the page). Personally, Horace gets my vote for the most underrated Disney character of all time.

The Mystery Instrumental

On just about every British record, the song is presented as a comedic skit rather than a straight musical number. However, I found this fascinating version on the French Pathé label:

It’s entirely instrumental! I don’t know exactly who the Novelty Dance Orchestra was or where they were based, but it’s a high-energy take that lets the melody shine without the slapstick.

So there you have it: Two Minnies and two weddings!

Word Association Wednesday: From the "Mooche" to the "Moocher"

Last Sunday, we were doing the "lazy gait" to Duke’s The Mooche. Naturally, that word leads me to only one place: the "low-down hoochy-coocher" herself, Minnie the Moocher!

The 1931 Kickoff

If Duke was the sophisticated soul of the Cotton Club, Cab Calloway was its high-voltage engine. In 1931, he and his great orchestra recorded this for Brunswick, and the "Hi-De-Ho" call-and-response became an instant cultural phenomenon.

You can still feel the heat of this track 95 years later!

Minnie Goes to Hollywood (via Animation)

As a connoisseur of vintage animation, I have to highlight the 1932 Fleischer Studios masterpiece. This cartoon is legendary because the animators used rotoscoping to trace Cab’s actual dance moves, turning him into a ghostly, swaying walrus. It is surreal, slightly spooky, and brilliant.

Here’s a link:

That's just wild! I appreciate the live-action footage at the beginning of these cartoons, as it's a rare chance to see the performers in action!

The Wedding of the Century

Minnie’s story didn't end with her "kickin' the gong around." Cab gave her a proper sequel in 1932 with Minnie the Moocher's Wedding Day. It’s a high-energy celebration that proves even a "moocher" can have her day in the sun—and the band is absolutely smoking on this track!

That was easily the event of the 1932 social season!

 

But Cab wasn't the only one celebrating; his Brunswick label-mates The Boswell Sisters cut their own incredible version of the tune.

The Boswell Sisters and the Dorsey Brothers—how can you beat that combo? I love how their tight harmonies give the song a completely different kind of swing.

Between the "Mooche" (the gait) and the "Moocher" (the girl), which one makes you want to get up and move more?

Monday Side-Session: The Okeh Speed Trap

Yesterday, we were crawling through the shadows with Duke's The Mooche. But if you flipped that original Okeh 8623 record over in 1928, you were in for a serious case of musical whiplash.

From the Crawl to the Sprint

While The Mooche was all about that "lazy gait," the B-side, Hot and Bothered, was Duke and the boys operating at a breakneck speed. I love this track because it features Baby Cox again, but instead of her haunting moans, she’s delivering a high-speed "scat" vocal that holds its own against the brass.

Let's give it a spin:

And dig the 12-string guitar solo by the great Lonnie Johnson! I’m not sure exactly how the pairing came about, but Lonnie sat in for two recording sessions with Duke in 1928, and the results were pure magic.

The Name Game Returns

We have a little more pseudonym shenanigans with a second recording of Hot and Bothered that made the rounds of the budget labels under various band names, including the old stand-by, The Washingtonians (see top of page).

But The Whoopee Makers return on the maroonish-colored shellac of Perfect Records:

There’s no Baby Cox or Lonnie Johnson on this one, but the band is still hot under any name and I'm not bothered!

Bubber’s Final Burn

These sessions were among the last great showcases for Bubber Miley before he left the band. On Hot and Bothered, his trumpet isn't just growling—it’s screaming. It’s the perfect companion to The Mooche because it shows the two sides of the "Jungle" coin: the dark mystery and the frantic heat.

Which fits your Monday mood better: the slow-burning Mooche or the frantic Hot and Bothered?

Sundays with Duke #5: Mutes, Mysteries, and The Mooche

We are still in 1928, exploring the foundations of the Warehouse with another early classic Ellington composition: The Mooche. This track is the peak of the "Jungle Style"—dark, deliberate, and full of shadows. If you’ve ever wondered about the title, it's not about someone "borrowing" money - it's old Harlem slang for a specific, slow, aimless swagger. I love how the music perfectly mimics that "lazy gait," making it feel like a rhythmic crawl through a midnight club.

Let’s start with what I believe is the first recording of the song, cut for Okeh Records:

That is Baby Cox providing the haunting vocalizing. By this time, the legendary Johnny Hodges had joined the band, beginning his decades-long stay, but trumpeter Bubber Miley - the architect of that growl - wouldn't be around much longer.

The "Duke Brooks" Mystery

"The Mooche" is a song Duke recorded many times, but interestingly, it didn’t lend itself to many cover versions by other bands. However, a fascinating remake appeared in 1945 as part of Capitol Records' "History of Jazz" series.

You can't tell the history of jazz without Duke, but there was a catch: he wasn't a Capitol artist and was under strict contract to Victor at the time. To get around this, Capitol rounded up longtime Ellington drummer Sonny Greer and had him front a group of "The Duke’s Men."

But who was the piano player? The label credits a mysterious "Duke Brooks."

Let's  spin that side:

Once you hear those keys, the mystery vanishes! It sounds great, and when you read the names of the musicians on the session, the high quality is no surprise—contract or no contract, that's the Ellington spirit through and through. Shades of The Whoopee Makers!

The Mooche Goes Latin

Jumping ahead to 1953, we come across a truly fun and unexpected take on RCA Victor by Latin bandleader "Chamaco" Dominguez:

I find this one pretty cool! It proves that the "crawling" rhythm of the original could be translated into a completely different groove while keeping that essential Ellington "mood" intact.

Which version of the "crawling" classic do you prefer: the 1928 original with Baby Cox, the 1945 version with "Duke Brooks" or the Latin-flavored 1953 remake?

Friday Fun: More Columbo and a bit of "Stump"

As the week comes to a close, and since I like to keep a good thing going, I feel that we need to sneak in one more Russ Columbo song!

Let’s listen to perhaps Russ’s most popular number, Prisoner of Love from 1931 on Victor Records:

Like You Call it Madness, this song paints Russ as a tragic character - and a crazy level of romantic. Interestingly, Russ is credited as a co-writer on both songs. It’s hard to say what his exact contributions were, but I like to think he was the one who brought the angst!

The Mid-40s Revival

There was actually a mini-revival of Russ Columbo songs in the mid-1940s. As we saw yesterday, You Call It Madness had a few popular recordings, but the biggest hit of a Columbo tune came in 1946 when Perry Como waxed his version of Prisoner of Love for Victor.

Let's give it a spin:

This was a massive early hit for Perry, and it helped cement "Mr. C" as a major force for decades to come. 

Not to be outdone, Billy Eckstine wrapped his great pipes around the song for National Records in 1945.

Whom do you prefer: Mr. B or Mr. C?

I’m thinking the timeline suggests that someone realized these two Columbo songs were perfect for the "Modern Baritone" sound of Billy Eckstine. Mr. B’s 1945 recordings likely caught the ear of the biz, leading us right to Perry and Nat "King" Cole in '46. Whatever the case, we are all the beneficiaries!

The Wacky "Stump" Finale

Because I can’t resist such things, we need to listen to a wacky novelty version of Prisoner of Love that was “inspired” (or perhaps "inflicted") by Perry Como’s record!

Here is the incomparable Jo Stafford in her guise of “Cinderella G. Stump,” along with Red Ingle and his Natural Seven in 1947 on Capitol Records:

This was the follow-up to their massive hit Tim-Tayshun (itself a parody of a Perry Como remake of an early 1930s Bing Crosby tune). It’s as wild as you’d expect - and note that Jo actually gets credit on the label this time! "Cinderella's Back And Ingle's Got Her" - love, love, love it!

Red actually name-drops "Mr. Como" on the record, but it’s really more of a parody of the song’s high-drama lyrics than of Perry himself. Perry was likely a great sport about it - not only was he co-hosting the "Chesterfield Supper Club" radio show with Jo Stafford at the time, but he and Red Ingle were old buddies from their days together in the Ted Weems band!

From the tragic Russ Columbo to the hilarious Cinderella G. Stump... that’s just how we roll in the Warehouse.