Monday Side‑Session: More Sophistication

We follow yesterday’s overview of Duke Ellington’s Sophisticated Lady with a handful of contemporary cover versions, all from 1933!

The instrumental versions started flowing almost immediately after Duke’s original 1933 recording took off. Here’s a lovely one by Glen Gray and the Casa Loma Orchestra from a rare Victor session:

I believe the violin solo is by Mel Janssen, who was acting as the band’s front man at this point while president Glen Gray remained in the sax section. Victor was the first label to bill the group as Glen Gray and the Casa Loma Orchestra, in contrast to their concurrent Brunswick releases, which simply credited The Casa Loma Orchestra. Within a couple of years, Glen would be leading the band outright and billed accordingly on Decca.

I’ve mentioned before how important the Casa Loma band was in the evolution that led to the big‑band era. Another huge influence was arranger Don Redman, who cut some remarkable records in the early 1930s - including this version of Sophisticated Lady:

This one was released under Don’s own name on the Brunswick label, but the same recording also appeared under the pseudonym Earl Harlan and his Orchestra on the budget labels - Perfect, Banner, Melotone, and the rest of that family. You practically need to be Philo Vance* (or your favorite early‑’30s sleuth) to untangle it all. Regardless of the label gymnastics, it’s a terrific Redman arrangement.

We get a different kind of sophistication from this hotel‑style recording by Richard Himber on Vocalion:

Richard Himber is credited as Dick Himber on this label, and I know that's a nickname rather than a pseudonym, but still...

Much less sophisticated - at least in theory - were The Georgia Washboard Stompers, who turned in this cool take for Bluebird:

Apparently the Georgia Washboard Stompers are the same loose aggrragtion as the Washboard Rhythm Boys whom we heard playing Duke's Old Man Blues. They went by a bunch of names for various labels. What would Hezzie think?

Still in 1933 but heading in yet another direction, we have a solo piano version by the great Art Tatum on Brunswick:

That’s some astounding virtuosity!

To sneak in one more instrumental version, we hop over to England for this one from Billy Cotton on the Regal Zonophone label:

We close out this side‑session with one of the very few vocal versions of “Sophisticated Lady” from the early 1930s. And if we could pick just one group, it would be The Boswell Sisters, who waxed it for Brunswick in 1933:

I know I say it every time we spin one of their records, but the Bozzies were something else. And Connie/Connee is in a league of her own!

Curiously, this label lists only Duke Ellington as composer without mentioning Mitchell Parish as lyricist, so no label is safe from intrigue today!

One of the quiet delights of chasing Sophisticated Lady through 1933 is realizing she never shows up wearing the same outfit twice. Victor dresses her in formal evening wear, Brunswick gives her a smart tailored suit, and the budget labels send her out the door in a perfectly good knockoff with a different name pinned to the lapel. Don Redman becomes Earl Harlan, the Casa Loma boys gain or lose Glen Gray depending on which corporate parent is footing the bill, and the same performance can look like three different records if you’re flipping through a stack too quickly. Our sophisticated lady wasn’t just a song - she was a master of costume changes.

I hope you enjoyed our little stroll in and around 1933 with that sophisticated lady!

*William Powell portrayed Philo Vance in the 1933 Warner Brothers picture The Kennel Murder Case. Great flick!

Sundays with Duke #16 – Sophistication to Spare

As we continue our musical journey with Duke Ellington, we come across another of his compositions that grew into one of the great standards - Sophisticated Lady.

The Early Years & The "Daddy" That Wasn't

Here’s the popular instrumental version recorded for the Brunswick label in May 1933:

The lovely arrangement features solos by Otto Hardwick on alto sax and Barney Bigard on clarinet, with Duke himself at the piano. The melodic trombone solo is by Lawrence Brown, whose smooth, lyrical style provided a striking contrast to Tricky Sam Nanton’s plunger growl and Juan Tizol’s valve trombone. That trio has to be the greatest trombone section ever assembled!

In researching the tune’s history, I was surprised to learn that Duke had previously recorded it for Victor in September 1932, but that take was rejected and does not survive. The wacky part? It was originally titled My Sophisticated Daddy!

Not as wacky, but still surprising: Duke had also recorded another earlier version in February 1933, but that take was issued only in the U.K. on the British Columbia label!

Let’s spin that one:

You can have some fun with a spot‑the‑difference game between the two 1933 versions, but keeping track of these variations makes my head spin a little!

Interesting to see Otto Hardwick and Lawrence Brown get composer credit on that label, along with Duke's wheeler-dealer manger Irving Mills.

A bit more intrigue enters the picture when you consider Duke’s original intention for the title. He meant it as a tribute to the women who were important to him growing up - teachers and mentors he genuinely considered sophisticated. But when manager Mills had Mitchell Parish add lyrics, the song became the story of a world‑weary socialite wondering whether the sophistication was all it was cracked up to be.

Apparently Duke was fine with the new lyrics. He knew they were good, and he knew they would help the tune become a standard. Besides, he almost always performed it as an instrumental anyway.

The Blanton Connection

We’re going to spin some of those later recordings, and what better place to start than this 1940 Columbia version - one of the first recordings by the famed Blanton/Webster band, nicknamed for bassist Jimmy Blanton and tenor saxist Ben Webster, two brilliant musicians who had relatively short but highly memorable stints with the band.

Nice to hear a baritone sax solo by the ever‑present Harry Carney added to the mix.

Of the four sides recorded at that session, three featured vocals by Ivie Anderson, including former Ellington instrumentals Mood Indigo and Solitude. But Sophisticated Lady was kept as an instrumental. Hmmm…

As mentioned, this was an early recording featuring bassist Jimmy Blanton, a tremendous innovator on his instrument. Duke admired him so much that he recorded several piano‑and‑bass duets with him.

Among them was this intimate take on “Sophisticated Lady,” recorded in October 1940 after the band returned to the Victor label:

Some sources say James Blanton preferred the Jimmie spelling rather than the commonly used Jimmy. Whatever the case, his premature death in 1942 at only 23 was a tremendous loss to the music world.

The Later 1940s: Revisiting the Lady

Duke and his band were still with Victor in 1945 when they revisited some of his most memorable pieces. Included was this updated version of Sophisticated Lady:

I love Duke’s minute‑long piano solo that opens the record. You get the impression he really loved playing this tune.

I’m not sure how those sides were originally issued, but by the early 1950s they were appearing on “greatest hits”‑type albums, such as the 1954 release shown above.

We stop in 1947 for this small‑unit performance released on V‑Disc, featuring our man with a bari sax, Harry Carney:

Those V‑Discs really are a treasure trove - preserving performances that might otherwise have been lost.

The 1950s: The Ladies Sing

A lot of early LPs, like that RCA Victor release, were compilations of earlier 78s. But some artists quickly saw the longer format as a chance to record extended arrangements. A case in point is Duke’s first 12‑inch album, “Masterpieces by Ellington” (Columbia, 1951). Included in these “uncut concert arrangements” is what I think is the only proper studio recording of Sophisticated Lady by Duke to include a vocal. Said vocal - a brief but striking appearance in the eleven-minute track - is by the mysterious “Yvonne.”

That’s really something. Apparently Yvonne is Yvonne Lanauze, whose real name was Eve Smith. My head keeps spinning!

I mentioned this version as the only proper studio recording of the song with a vocal so that I don’t sound like a liar when we get to this next recording, which features Rosemary Clooney singing with the Ellington orchestra on Columbia in 1956:

This cut, from the album “Blue Rose,” actually has Rosie’s vocal overdubbed onto the instrumental track that Duke and the band recorded separately. Pretty cutting‑edge for the time - commonplace now.

The 1960s: Victor-ious Albums

Next, we skip ahead to 1966 for two very different RCA Victor releases, both intriguing in their own way.

First is “The Popular Duke Ellington,” which features updated arrangements of several of Duke’s best‑known numbers. Naturally, “Sophisticated Lady” makes an appearance.

You know that sounded awesome on the home stereo set!

The tune pops up again on “The Duke at Tanglewood,” which teams Duke with Arthur Fiedler and the Boston Pops.

Now that’s a sophisticated setting!

Being from the Boston area, I’m well aware of the Pops and remember Arthur Fiedler releasing many albums on RCA’s Red Seal imprint — some featuring fellow RCA artists, many featuring fun arrangements of current pop tunes.

We’ve been on quite a ride with Duke’s lady — from title changes to mood‑altering lyrics, from misspelled bassists and pseudonymous singers to overdubs and a classical venue. But what a wonderful ride!

Drop a comment to let me know your favorite!

Friday Fun: One More Thing

For this week’s Friday Fun, we land on a thing that doesn’t swing - Phil Harris’ The Thing!

Here’s Phil’s big 1950 hit on RCA Victor:

This, to me, is exactly how a novelty record should work: a clever song, an engaging singer, and an arrangement that gets in, gets the laugh, and gets out. No wonder it was such a, ummm, monster hit!

There were a few cover versions of “The Thing,” but somehow it just doesn’t sound right unless Phil Harris is the one delivering the punchlines.

But here’s where it gets even more fun: a sly little reference to The Thing pops up in Homer and Jethro’s parody of Hank Williams’ Cold, Cold Heart, recorded as Cold, Cold Heart No. 2 for RCA Victor in 1951.

See if you can catch it:

Pretty clever!

Hank Williams was reportedly a fan of Homer and Jethro and loved hearing what the boys did to his songs. Honestly, who could blame him - they were masters of affectionate mischief!

And it just goes to show - one Thing leads to another…

Threaded Thursday: A Noble Effort

We pick up the Ray Noble thread for a quick post today. A small, but lovely stitch!

I mentioned yesterday how Ray had a solid reputation as both a composer and a bandleader - and how wonderful Al Bowlly was as his featured vocalist. 

All of that is summed up beautifully on two sides of a 12‑inch 78 rpm record recorded for England’s HMV in 1936:

The record was also issued on Victor in the U.S., and it’s a perfect little showcase of Noble’s gifts. Across these two sides you get seven songs - all gems - written or co‑written by Ray, essentially a built‑in résumé for anyone wondering what all the fuss was about.

Eight minutes well spent!

Happy Jackie Robinson Day!

Today is Jackie Robinson Day for Major League Baseball, marking the anniversary of Jackie's debut with the Brooklyn Dodgers in 1947.

To help mark the occasion, let's spin Count Basie's great cover of Buddy Johnson's Did You See Jackie Robinson Hit That Ball?, recorded with Taps Miller for RCA Victor in 1949:

That's trumpeter Taps Miller on the vocal. Just pure joy!

Word Association Wednesday: A Sweet Thing

For this week’s Word Association Wednesday spin‑off from “It Don’t Mean a Thing (If It Ain’t Got That Swing),” my wheels were turning around the word thing. I wanted something from roughly the same moment in time, and Ray Noble’s Love Is the Sweetest Thing popped right into my head.

The Sweetness Begins

Ray is in the white suit and Al is the far left.

Ray recorded the song in England in September 1932 for HMV with vocalist Al Bowlly:

That record came out in 1933 and became a big hit on both sides of the pond, cementing Ray’s reputation as a composer and bandleader.

Fun side note: HMV was especially good at pushing Noble’s catalog internationally - released here on Victor - one of those early examples of a label realizing they had a transatlantic star on their hands and packaging him accordingly.

Bowlly Adds the Verse

The wonderful Al Bowlly also recorded his own version without Ray Noble for British Decca:

Nice to hear the verse!

A Cinematic Sprinkle

The song also made its way into the 1932 British film Say It With Music, where bandleader/vocalist Jack Payne performed it — and he recorded it for the Imperial label as well:

Dig that awesome custom record label.

This Side of the Pond

Skinnay Ennis is at the drums.

To close, let’s sneak in an American version. Here’s Hal Kemp’s 1933 Brunswick recording with Skinnay Ennis on the vocal:

I love those Kemp/Ennis sides from the 1930s.

It’s also fun hearing this song bookended by two very different 1930s vocal personalities: Al Bowlly, all velvet warmth and romantic glow, and Skinnay Ennis, the king of the feather‑light, half‑smiling whisper. If Bowlly is a rich dessert, Skinnay is a meringue.

Ninety‑plus years later, you still can’t argue: Love Is the Sweetest Thing.

Monday Side-Session; More Things That Swing

We follow up on Duke Ellington’s classic It Don’t Mean a Thing (If It Ain’t Got That Swing) with a handful of covers and remakes - and there have been a zillion.

We start right in 1932, hot on the heels of Duke’s original, with three versions from the same year...

🎙️ The Mills Brothers (Brunswick, 1932)

I really dig those early‑’30s Mills Brothers records where they imitate musical instruments and John Jr. handles the bass notes and the guitar. They make the whole thing feel like a pocket orchestra.

🎶 The Boswell Sisters (Brunswick, 1932)

The Boswell Sisters’ records just don’t sound like anything else — they’re their own little universe of harmony, rhythm, and mischief.

With Duke’s original, that makes three Brunswick versions in 1932. Not bad for a tune that had barely cooled on the bandstand!

RWK was on the cover of Time in 1927 at age 19!

🎺 Roger Wolfe Kahn & His Orchestra (Columbia, 1932)

A full‑blown early‑’30s dance‑band treatment with a croony vocal trio - and, if the discographers are right, a young Artie Shaw on clarinet! It’s fascinating to hear the song refracted through that pre‑Swing‑Era lens.

As with many hit songs of the 1930s, after the initial flurry of recordings, the tune went quiet for a while. Labels didn’t really remake older songs yet. But by 1939, a couple of intriguing revivals pop up...

🥁 Lionel Hampton (Victor, 1939)

Hamp was always digging up older tunes for the pickup groups he led on his Victor side-hustle while moonlighting from the Benny Goodman band. He always sounds great - pure energy.

🤠 The Tune Wranglers (Bluebird, 1939)

A Duke Ellington song played by a 1930s cowboy band? You know I'm in! It’s a blast, but vocalist Red Brown sings, “If you haven’t got that swing.” Wouldn’t you expect a cowboy to say ain’t?

Jumping ahead to the 1950s, we get three more gems...

🎤 Al Hibbler (Chess, 1951)

Former Ellington vocalist Al Hibbler sounds terrific here, and that Tricky Sam Nanton‑inspired trombone solo - maybe Matthew Gee - is a knockout!

🎙️ Mel Tormé (Coral, 1954)

This tune sits right in Mel’s wheelhouse. His version also features some Tricky Sam‑style trombone, likely courtesy of big‑band veteran Murray McEachern.

🌙 June Christy (Capitol, 1958)

The Misty Miss Christy included this on her album June’s Got Rhythm, and yes - June’s got rhythm all right!

This is really just the tip of the iceberg when it comes to versions of It Don’t Mean a Thing (If It Ain’t Got That Swing), but these are some of my favorites - and they all mean something.