Sixties Saturday: R.I.P. Neil Sedaka

 

R.I.P. Neil Sedaka

Threaded Thursday: The Evolution of a Stomp

Yesterday, we saw how the Casa Loma Orchestra and Fletcher Henderson were competing for the “hot” crown in 1931. Today, we’re pulling a thread that spans nearly a decade to see how one specific arrangement by Fletcher Henderson eventually set the world on fire.

While Benny Goodman eventually became the “King of Swing” using Fletcher’s charts, Henderson had been refining this particular “Stomp” for years with his own band.

The Prototype (1928)

Here is Henderson’s first pass at Jelly Roll Morton’s classic tune. It’s "hot jazz," but you can still hear the remnants of the 1920s “oom-pah” rhythm. It’s a great record, but it hasn't quite learned how to swing in the modern sense yet.

The Breakthrough: "New King Porter Stomp" (1932)

By 1932—the same era as our Casa Loma discussion yesterday—Henderson updated the chart. This version features the same "Connie's Inn" powerhouse lineup we talked about yesterday, including Coleman Hawkins and Rex Stewart. You can hear the "riff" style starting to take over the driver's seat.

The Blueprint (1933)

One year later, Fletcher recorded it again. This is essentially the “final draft.” The brass and reeds are playing off each other with a precision that rivals the Casa Loma boys, but with that unmistakable Henderson drive and soul.

The Explosion: Benny Goodman (1935)

Finally, the thread reaches its destination. In 1934, a struggling Fletcher Henderson began selling his arrangements to a young Benny Goodman. In 1935, Benny’s orchestra took this exact blueprint into the studio and created the anthem of the Swing Era.

The X-Factor: While the arrangement was Henderson's, we have to give props to the legendary Bunny Berigan for adding that "little something extra." His electrifying, soaring trumpet solo provided the spark that put this version over the top. It’s the sound of a soloist at the peak of his powers. And with BG's clarinet and Gene Krupa's drums, a great arrangement turned into a cultural phenomenon!

Is it overkill to listen to four versions of the same song in one go? Not in the Warehouse! Watching history being written in real-time is half the fun. Which version has the most “stomp” for your dough?

Word Association Wednesday: The Stomp!

For today’s Word Association Wednesday, it was a relatively short jaunt from 1929’s Cotton Club Stomp to 1931’s “Casa Loma Stomp,” which was naturally performed by the Casa Loma Orchestra!

The Architects of Precision

Let’s listen to the band’s recording (the first of many recordings of the song) on OKeh:

That’s prime, early Casa Loma, showing off the band’s intricately arranged and performed style. Arranger Gene Gifford also composed the song and was largely responsible for the band’s signature sound.

At this point, the Casa Loma Orchestra had been incorporated for a couple of years and included longtime members Glen Gray on sax and Pee Wee Hunt on trombone. Glen was the leader but didn’t front the band as conductor yet, which is why the label doesn’t show "Glen Gray and the Casa Loma Orchestra" as future labels would.

The Casa Loma Orchestra is an early example of a white dance band performing jazz music that’s roughly comparable to what Black bands of the time were playing—although in a more “rehearsed” sounding manner than, say, Duke Ellington’s.

The "Connie’s Inn" Contrast

For an interesting contrast, let’s spin a contemporary cover version of Casa Loma Stomp by Connie’s Inn Orchestra on the budget Melotone label:

Despite the name sounding like a real band à la the Casa Loma Orchestra, Connie’s Inn Orchestra was actually a pseudonym for the great Fletcher Henderson Orchestra! At the time this was recorded, the group included the legendary Coleman Hawkins on tenor sax and future Ellington star Rex Stewart on trumpet.

It's not particularly a stretch to say that the groundwork laid by the Casa Loma band, combined with the arrangements of Fletcher Henderson, led directly to the future success of Benny Goodman and the Swing Era!

Which band makes you stomp and yell for more? Do you prefer the clockwork precision of Gifford's arrangement or the fire of the Henderson boys?

Monday Side Session: The "Mizz" Connection

Yesterday we celebrated the 10th anniversary of Cotton Club Stomp with Duke Ellington’s 1939 remake. But if you flip that 78-rpm shellac over, you find a fascinating "side sesh" story involving one of Duke’s biggest admirers: Charlie Barnet.

The B-side is a moody little number called In A Mizz, and the history behind it is a tangled web of Ellington influence.

The Duke Version (1939)

In A Mizz was actually co-written by bandleader Charlie Barnet. Charlie famously idolized Duke (once saying he’d rather have a mediocre Ellington record than a great one by anyone else), so it must have been a massive thrill for him when the Maestro decided to record his song.

Duke gave it to the incomparable Ivie Anderson, who turns "The Mizz" (slang for a miserable mood) into something hauntingly beautiful.

The Barnet Version... featuring "Ellington"

To bring the thread full circle, Charlie Barnet recorded his own version for Bluebird that same year. But here is the kicker: the vocalist on Charlie’s record was a singer named Judy Ellington!

Despite the name, she wasn't related to Duke, but having an "Ellington" sing a song by an Ellington-worshipper that Duke himself was also recording? That’s the kind of synchronicity we live for in the Warehouse.

Two different takes on "The Mizz"—one by the Master and one by the Student. Which version cures your Monday blues?

Sundays with Duke #8: Stomping at the Cotton Club

Moving into 1929 with Duke Ellington, we find Cotton Club Stomp, a tune obviously named after the famed nightclub that was home to Duke and his band at the time.

The Victor Original

Let’s listen to the initial 1929 version on Victor Records:

By this time, the band had parted ways with original trumpet star Bubber Miley, who was apparently as unreliable as he was talented. But Duke came up with a great replacement in Cootie Williams, who was able to carry on the growling plunger-mute style of Bubber while also developing his own distinct, powerful voice.

The Name Game

The name game continued when the Ellington band recorded a version of Cotton Club Stomp for Brunswick in 1930, this time under the Jungle Band moniker.

Let's give that one a spin:

The flipside of that Brunswick record was another stomper with the then-topical title of Wall Street Wail: 

I sometimes see these two identified as the same song with different titles to get around contract exclusivity, but I don't think they’re the same song at all. And Brunswick wouldn’t put the same song on two sides of the same record, right? Listening to them side-by-side, you can hear that while they share that "Jungle" DNA, they are distinct arrangements.

The 1939 Remake

Duke and the boys revisited “Cotton Club Stomp” in 1939, also for Brunswick, with an updated arrangement—this time credited to Duke Ellington and his Famous Orchestra:

I don't think any other band covered "Cotton Club Stomp" at the time, and no one seems to have remade it since, except as modern recreations. Some songs are just uniquely Ellingtonian!

Stomping or wailing, no one did it better!

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!

Friday Fun: Laughing All the Way

After enjoying The Flight of the Bumblebee on Wednesday, I realized we can’t let the week go by without one more take on the tune - this time courtesy of Spike Jones!

The Chaos: The Jones Laughing Record (1946)

Spike used it as the basis for The Jones Laughing Record, recorded for RCA Victor in 1946, and things get wacky fast.

Let’s give it a spin:

The laughter is absolutely contagious. And I love that the label credits the side to Spike Jones and his City Snickers - one of his best pun‑based band names.

The Technique: The Sneezin’ Bee (1957)

The yeoman work of ace studio trombonist Tommy Pederson (brought in as a ringer) can get lost amid the chaos. Fortunately, Spike revisited the concept in 1957 with “The Sneezin’ Bee,” included on his Verve album Dinner Music for People Who Aren’t Really Hungry.

Let’s hear that one:

That’s essentially “The Jones Laughing Record” without the laughing, giving us a chance to really appreciate Pederson’s dazzling technique.

Here’s a fun clip from Spike’s TV show showing Tommy in action — though this time pianist Frank Leightner is the designated sneezer.

We can trace the whole “laughing record” concept back to 1922, when Okeh released a German recording in the U.S. as The Okeh Laughing Record. It became a sensation and spawned countless imitators.

Let’s hear it:

More than 100 years later, it still gets you laughing along.

That record later inspired (and was included on the soundtrack of) the 1955 Walter Lantz cartoon “Sh‑h‑h‑h‑h,” directed by the legendary Tex Avery.

Let’s watch:

That was the final theatrical cartoon of Tex - my favorite cartoon director.

So tell me: how do you like your Bumblebee - with laughing or just the sneezing? Are you team giggles or team hay fever?

Threaded Thursday: A Tip of the Mask

Yesterday, we rode along with the Green Hornet and Harry James. But as any fan of the "Detroit Connection" knows, the Hornet had a very famous uncle over at WXYZ: The Lone Ranger!

The Trendle Connection

For those keeping score at home, both The Green Hornet and The Lone Ranger were brainchildren of the same production team of George W. Trendle and Fran Striker. According to WXYZ lore, Britt Reid (The Green Hornet) was the son of Dan Reid, who was the nephew of John Reid (The Lone Ranger). It’s an early example of a “shared universe,” which is beyond awesome!

The Silver Screen Cowboy

Being an aficionado of both OTR and the great Western "B" movies, I couldn't let this week go by without a nod to the "King of the Cowboys" himself. In 1938, a young Roy Rogers recorded a tribute to the masked man’s legendary stallion – Hi Yo, Silver! Let’s spin that Vocalion record:

1938 was a big year for The Lone Ranger. In addition to this song and the continuing popularity of the radio show, he was also the subject of a 15-chapter serial from Republic Pictures! It’s a cool serial, but it’s more Republic than WXYZ; apparently, Mr. Trendle was not happy with the changes made in that serial and its 1939 sequel. The Green Hornet’s serials over at Universal in 1940 are way more faithful to the radio source.

In any event, Roy Rogers was also beginning his career at Republic at the time, having transitioned from Leonard Slye (with the Sons of the Pioneers) to Dick Weston (briefly) and finally to Roy Rogers. You can read more about Roy's early career here

The Palomino Pal

It might seem funny to hear Roy Rogers singing the praises of a horse other than his famous Trigger, but I look at it as Roy "portraying" the Lone Ranger for the record.

As for the timeline, Trigger actually appeared as Maid Marian’s horse under his original name, Golden Cloud, in the 1938 Warner Bros. masterpiece The Adventures of Robin Hood! Roy did eventually record a beautiful tribute to his own horse in 1948. Let’s listen to Roy and The Sons of the Pioneers with That Palomino Pal o’ Mine on RCA Victor:

I can never get enough singing cowboy music!

Singing vs. Swinging

These records represent a vital side of the 1930s and 40s musical landscape. While the big bands were "swinging the classics," Roy was perfecting the "Singing Cowboy" style that would dominate the Saturday matinees.

Which radio-inspired "ride" do you prefer: the high-speed chase of Harry James’s "Bumblebee" or the steady gallop of Roy Rogers’s "Hi Yo, Silver"?

Word Association Wednesday: The Black Beauty Rides

Last Sunday, we were admiring Duke’s Black Beauty. Now, as far as word associations go, as a lifelong buff of Old-Time Radio (OTR), that name leads my brain straight to the sleek, supercharged, and heavily armed "Black Beauty" limousine belonging to The Green Hornet!

The OTR Connection

If you were huddled around the Philco in the late 30s or 40s, you knew that the Green Hornet’s arrival was always signaled by the frantic, buzzing strings of Nikolai Rimsky-Korsakov’s The Flight of the Bumblebee. For us OTR fans, hearing those opening notes meant Britt Reid (portrayed by Al Hodge) was about to go hunting for criminals with his faithful valet, Kato, in the Black Beauty. It’s fascinating how a piece of 19th-century Russian classical music became the definitive sound of American urban vigilantism, thanks to the power of the airwaves.

The Sting of the Bee

While the classical world claims it, I always think of The Flight of the Bumblebee in the Big Band field due to the stellar adaptation of the piece by trumpet star Harry James! Harry first recorded his take on the piece for the small Varsity label in 1940:

By 1941, Harry was recording for Columbia, for which he waxed a ton of big hits. He recorded a somewhat streamlined version for them, and this is the more familiar version most people would know today:

It’s fascinating to compare the two records. The Varsity side has a sort of swingy section in the middle which doesn't appear on the Columbia version. I personally love catching those little evolutionary steps in a band's arrangement!

The Trumpet Battle

I find it interesting to compare this to Sonny Dunham’s treatment of Memories of You from earlier this week. While Sonny was reaching for the stratosphere with his high notes, Harry was showing off his incredible finger dexterity and speed.

Both are masterclasses in what a trumpet can do when pushed to the absolute limit. I had mentioned that I always liked trumpet stars with idiosyncratic styles, and I’d definitely throw Harry in there. He was extremely versatile and played great jazz, but he could also lean into his circus roots when needed!

Which display of brass brilliance impresses you more: Sonny Dunham’s soaring high notes or Harry James’s lightning-fast "Bumblebee"?

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One More for the Road...

Also keeping “The Bumblebee” in the big band field was Jack Fina, the star pianist with Freddy Martin’s band, who adapted the piece into the snappy Bumble Boogie in 1946! Here are Jack and Freddy with their recording on RCA Victor:

It’s not known if Britt Reid had an opinion on that record!

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?

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