Threaded Thursday: The Voices in the Fog

Yesterday we listened to some instrumental versions of Erroll Garner’s classic composition Misty, so let’s hear some vocal versions today!

Misty was already popular before it had words, but I think it’s the lyrics added by veteran songwriter Johnny Burke that made it a standard. Whatever the case, it’s hard to imagine that it didn’t always have lyrics!

The Original: Dakota Staton (1957)

A fun part of doing a deep dive into a particular song is discovering that the first recorded version might not be what you think it was! Case in point: Dakota Staton was the first vocalist to record Misty with lyrics when she included it on her 1957 album The Late, Late Show for Capitol Records.

Kind of intriguing that the first vocal version of Misty was something of a deep cut on an artist’s debut album!

The "Divine" Influence: Sarah Vaughan (1959)

The song got a bit more traction when the great Sarah Vaughan recorded it for Mercury as part of her Vaughan and Violins album, as well as including it as the B-side of her big hit Broken-Hearted Melody in 1959.

The Blockbuster: Johnny Mathis (1959)

Apparently Johnny Mathis thought Sarah’s record was divine, and he recorded his version of Misty for his Columbia album Heavenly later in 1959. A 45-rpm single of the song was released and became a massive hit, solidifying the song’s permanent place in the Great American Songbook.

The "Intimate" Miss Christy (1963)

Something that I think is very cool is that “The Misty Miss Christy” – June Christy – recorded her own version! It was included on her 1963 album The Intimate Miss Christy for Capitol.

Oh, yes, Miss Christy was both misty and intimate!

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Which version makes you mistiest? Are you team Staton, Vaughan, Mathis, or Christy?

Word Association Wednesday: Getting Misty

Following Sunday’s trip through the fog with Duke’s Misty Mornin’,my brain naturally stayed in the clouds. Sometimes the word association is so iconic you just have to go with the heavyweight champ: Erroll Garner and his 1954 masterpiece, Misty.

But Misty didn't just stay a piano solo; it became a vehicle for some of the greatest instrumentalists in the game.

The Original: Erroll Garner (1954)

Legend has it Garner composed this in his head while watching a rainbow through the hazy window of a plane. Since he couldn't read music, he had to hum it to himself all the way to a piano! 

Let's spin the Mercury record with his trio:

Dig that "behind the beat" left hand!

The Contemporary Cover: Richard Hayman (1955)

If you take a look at the sheet music at the top of the page, you'll notice that it mentions both Erroll's and Richard Hayman's recordings of the tune - both on Mercury Records. Me being me, I feel the need to give Richard Hayman's version a whirl!

Here he is with harmonica and orchestra from 1955:

Richard Hayman certainly had a way of taking the novelty out of the harmonica to play a smooth ballad!

The Big Band Bloom: Count Basie (1960)

By 1960, the Atomic-era Basie band took a crack at it for the "Dance Along with Basie" album on Roulette Records. This version features a gorgeous, deep-timbered solo by baritone saxophonist Charlie Fowlkes:

That's just wonderful! Charlie was the anchor of the Basie reed section for decades, and he makes that big horn sound as light as air here.

The Soul-Jazz Burner: Richard "Groove" Holmes (1966)

If you think Misty is just a sleepy ballad, Groove Holmes is here to change your mind. He puts the tune on the Hammond B-3 organ, kicks the bass pedals, and absolutely cooks it. It’s Misty with some serious groove:

Whether it’s the piano genius of Erroll, the smooth harmonica of Richard Hayman, the big-band swing of Basie and Fowlkes, or the soul-jazz organ of Groove Holmes—they can all play Misty for me!

Which version is clear as a bell to you?

I'll throw it out there to say that the model on Groove's LP looks the mistiest!

For a little bonus, here's a link  to Erroll Garner playing Misty on the Ed Sullivan show in 1961:

Nice!

Monday Side-Session: Bubber’s "Mileage" Beyond the Duke

Before we move deeper into 1930 with Duke Ellington, let's check in with Bubber Miley, Duke's star trumpeter in the band's early days.

James "Bubber" Miley was an outstanding trumpeter and a master of the growl tone in particular. He and trombonist Joe "Tricky Sam" Nanton were -yes, I'm going there- "instrumental" in shaping the sound during the "Jungle Band" period. Unfortunately, Bubber was famously unreliable, which led to him leaving the band in 1929. He passed away just a few years later in 1932 at the young age of 29.

The Reisman Connection

Let's listen to some of Bubber's work after leaving the Ellington band, starting with this 1930 recording of "What Is This Thing Called Love?" by Leo Reisman and his Orchestra on Victor Records:

That's a pretty early example of a Black musician playing with a white orchestra, but Leo Reisman knew who the man for the job was—and Bubber sounds great!

Bubber Miley and his Mileage Makers

Bubber also released six sides from three sessions on Victor in 1930, billed as Bubber Miley and his Mileage Makers. Let's listen to the full run:

1. The May 16, 1930 Session This first pairing features prolific session vocalist Frankie Marvin: 

2. The July 3, 1930 Session This session included George Bias on vocals: 

3. The September 11, 1930 Session Finally, this session had the great Edith Wilson as vocalist: 

Due to his early death, Bubber Miley seems so rooted in the 1920s, but you have to wonder how his sound would have evolved as the Swing Era truly got under way. He was a pioneer who left us far too soon.

What do you think? Did the "Mileage Makers" have enough gas in the tank to compete with the big bands of the mid-30s?

Sundays with Duke #7: A "Misty Mornin'" in 1928

Today we’re spending some time with one of Duke’s more atmospheric early masterpieces: "Misty Mornin'." While we are moving into the 1929-1930 Victor era, I wanted to circle back to this specific mood piece.

Originally recorded for OKeh on November 22, 1928, this track is a masterclass in texture. While many of the Cotton Club numbers were high-energy "stomps" meant to get people on their feet, this one feels like it was written for that quiet, contemplative hour just before the sun comes up.

The Personnel

You can really hear the "Big Three" of the early Ellington brass section at work here, creating that signature "shimmer" through the fog:

• Bubber Miley on trumpet (providing that soulful, muted longing)

• Joe "Tricky Sam" Nanton on trombone

• Barney Bigard on clarinet

Also of note is that trumpeter Arthur Whetsel gets co-composer credit. I’m thinking it’s another case of one of Duke’s sidemen coming up with a melodic phrase that Duke turned into a completed song.

The Vibe

There’s a specific "chill" to this record. It doesn't scream; it whispers. It’s the kind of tune that makes you want to turn up the collar of your coat and watch the fog roll in over the city. It’s also a great example of how Duke was already experimenting with orchestral colors that no one else in jazz was even thinking about in the late 20s.

[Insert Link: Duke Ellington - Misty Mornin' (1928)]

Dig Lonnie Johnson, returning one last time with a tasty guitar solo!

I’ve always felt this was one of the most underrated tunes from this era. It isn't a "shouter," but it stays with you long after the needle hits the run-out groove.

The 1929 Victor Version

Bubber Miley had left the band and was permanently replaced by Cootie Williams by the time Duke and the boys returned to the tune in May of 1929, when they recorded this version for Victor:

Note that the billing is now Duke Ellington and his Cotton Club Orchestra!

How does each version hit you? Do you get misty?

The British Connection

I was able to dig up one contemporary cover of “Misty Mornin,” which was recorded by British bandleader Spike Hughes for Decca in 1930. Let’s spin that one:

Those British dance bands had it going on in the 1930s!

Bonus Sixties Saturday - Valentine's Day!

 

Happy Valentine's Day!

This really will be a quick post - just long enough to listen to the great Sam Cooke with his 1961 hit Cupid on RCA Victor:

Have a great day!

Sixties Saturday: The Horn Meets the Hornet!

We’re ready for another Sixties Saturday as we pick up on last Wednesday’s “Green Hornet” theme to visit the 1966-67 TV series!

The "Monster" Trumpet

Here’s the great Al Hirt with the theme from the series on RCA Victor:

Al Hirt could play as many notes as anybody since Harry James, so he was the perfect choice for this updated, Flight of the Bumblebee inspired theme. And with backing by the great Billy May, what could be better? Billy’s arrangements always have that extra "punch" that suits a superhero theme perfectly.

The King of the 60s Dial

And I feel the need to listen to Al’s big hit recording of Java from 1964:

It’s got that catchy, finger-snapping rhythm that made it a massive hit. 

Al's propensity for pumping out tons of notes while still keeping the rhythm and melody puts him on my list of idiosyncratic trumpet players of which I'm a fan, joining Bubber Miley, Clyde McCoy, Sonny Dunham, et al.

Between the Hornet and Java, you can hear why they said: He's the King!

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

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

So naturally, we have to spin our traditional favorite for such occasions: Les Brown’s 1946 Columbia recording of Bobby Troup’s Triskaidekaphobia, featuring vocalist Butch Stone.

The Sax-Section Side-Character

Butch Stone is a prime example of a big‑band side character who fascinates me - the guy with a fun nickname who ambles over from the sax section to deliver a novelty or rhythm vocal. Think:

• Butch Stone with Les Brown
• Tex Beneke with Glenn Miller
• Sully Mason with Kay Kyser
• Red Ingle with Ted Weems
• Skeets Herfurt with Tommy Dorsey and Alvino Rey
• And the definitively named Saxie Dowell with Hal Kemp

Honorable mention to some guys I like but who don’t quite qualify: Tony Pastor with Artie Shaw (played sax, but regular first name) and Skinnay Ennis with Hal Kemp (great nickname, but played drums).

And let's not forget that the greatest sax/vocal doubler of all, Louis Jordan (regular name), came to prominence with Chick Webb's band!

Butch's Evolution

Butch Stone didn't just appear in 1946; he had a solid pedigree before joining Les Brown and his Band of Renown. He first recorded with Van Alexander’s band in the late 1930s. Here’s the 1939 Varsity side Hot Dog Joe:

Even at this early point, he was a force to be reckoned with!

Butch then moved to Larry Clinton’s band in 1941 and sang on several Bluebird records, including this one, That Solid Old Man (Is Here Again):

Later in 1941, Butch joined Les Brown, and he stayed for fifty years!

The Signature Showcase

His signature song with the Band of Renown was his 1944 Columbia recording of A Good Man Is Hard to Find.

That one has always fascinated me - now I'm not saying Butch is Louis Jordan, but he takes over and gives Louis a bit of a run for his money with personality to spare!

You know, this was originally just going to be a short and simple post… but as we all know, that’s not how I work. One minute it’s Friday the 13th, the next I’m ranking sax‑section novelty vocalists!

Butch is probably thinking: I don't care if Les Brown thinks my nose is big as long as I get to hang out with Doris Day!