Word Association Wednesday: A Nocturnal Stroll

For today’s Word Association Wednesday, it didn’t take long for me to wander from Duke Ellington’s Echoes of Harlem to another Harlem‑themed classic: Earl Hagen’s Harlem Nocturne.

The tune has inspired so many covers and reinventions since its 1940 debut that its origin story can feel a bit lost in the fog. But the tale goes like this:

Earl Hagen — then a trombonist and arranger for Ray Noble’s band — attended a Duke Ellington performance with his bandmate, alto saxist Jack Dumont. They were knocked out by Johnny Hodges’ alto sound, so Hagen wrote “Harlem Nocturne” in an Ellington mood, with a featured part for Jack.

The 1940s: A Slow Burn

The First Whisper: Ray Noble (1940)

Naturally, the first recording was by Ray Noble and his Orchestra, featuring Jack Dumont, on Columbia in 1940:

Such an atmospheric record — it sets the whole template.

Interestingly, despite its later status as a standard, Harlem Nocturne didn’t spark a wave of immediate recordings. It was a slow burn, just like the tune itself.

A Rare Early Echo: Shep's Reeds (Early 1940s)

The only other early‑’40s version I can find is this radio transcription by Shep Fields and his New Music:

That’s Shep’s all‑reed band — and it sounds great.

A Shift Toward R&B: Johnny Otis (1945)

The next commercial release seems to be by Johnny Otis in 1945 for the Excelsior label, featuring René Block on sax:

This one nudges the tune toward rhythm and blues — and René Block could really hold a note.

A Popular Turn: Randy Brooks (1945)

Also in late 1945, trumpeter/bandleader Randy Brooks recorded a popular version for Decca. Despite Randy’s virtuosity on trumpet, the spotlight goes to saxist Eddie Caine:

Across the Pond: Ted Heath (1948)

In 1948, British bandleader Ted Heath recorded a fine version for British Decca with alto saxist Leslie Gilbert:

A lovely reading.

The 1950s: The Tune Finds Its Crowd

Dick Jurgens Invites Us to Dance (1950)

Veteran bandleader Dick Jurgens recorded a nice version for his 1950 Columbia album Your Dance Date With Dick Jurgens:

It kind of seems like Harlem Nocturne is being treated as something of a standard with its inclusion on this album of mostly familiar songs.

Ray’s Trumpet Glows (1950)

Ray Anthony cut his version for Capitol in 1950 — and breaks tradition by featuring his own trumpet instead of sax:

I’ve always been partial to this one — the trumpet really works! And those Miller‑esque reeds make sense — you may recall that Ray had played with Glenn Miller as a teenager in the early 1940s.

Stan's Sketch (1953)

Also for Capitol, Stan Kenton recorded this striking 1953 version:

Kenton loved to experiment, so of course he features his piano against that big, brassy sound — and no alto sax solo.

Herbie Brings Back the Sax (1953)

Later in 1953, sax star Herbie Fields recorded a popular version for the Parrot label:

The Big One: The Viscounts (1959)

From here, there are zillions of versions — but we have to stop at the most famous: The Viscounts from 1959 on Madison:

It hit the Top 40 twice — in 1959 and again in 1965 (on the Amy label) — and it’s unforgettable.

1960: Space‑Age and a Vocal Turn

Esquivel’s RCA Victor Magic (1960)

In 1960, the always‑fascinating Esquivel included a version on his RCA Victor album Infinity in Sound:

I really dig Esquivel — no one else ever sounded quite like him!

His version features vocalese and has just one word, “Nocturne, sung at the endwhich makes it seem like the tune never had lyrics. But it did — written by Dick Rogers — though they’re rarely heard.

A Fascinating Vocal: Ernestine Anderson (1960)

One vintage vocal version does exist: Ernestine Anderson, on her Mercury album The Fascinating Ernestine:

Fascinating indeed. And awesome!

The Plot Thickens

Caterina's Blues (1957)

Now for some intrigue: there’s also a rival set of lyrics by Sid Robin, retitling the tune Nocturne for the Blues. The first recording was by Caterina Valente on Decca:

I’m not sure how I feel about Caterina’s vocal, but Sy Oliver’s backing is terrific!

The Velvet Fog Rolls In (1965)

And here’s a moody 1965 take from Mel Tormé, on his very literally titled Atlantic album Mel Tormé Sings “Sunday in New York” and Other Songs About New York:

Smooth as smooth can be. And how about the little nod to the original title at the end?

A Slow, Steady Stroll

I suspected when I stepped onto the Harlem Nocturne path that we’d end up hearing a lot of versions, and her we are 25 years down the road! Hopefully you enjoyed the stroll!

Drop a comment and tell me your favorite — even if it’s one I missed.