While listening to various versions of Fine and Dandy yesterday, I mentioned that Avery Parrish’s piano on the Erskine Hawkins side reminded me of After Hours. So let’s tug that thread and see where it leads.
🎹 Avery Sets the Mood
Here’s the 1940 Bluebird recording of After Hours by Erskine Hawkins and his Orchestra:
It’s easy to understand why that record was a sensation in 1940 — Avery Parrish’s piano pulls you straight into that after‑hours glow and never lets you out.
A little label intrigue: the initial releases listed Erskine Hawkins as the sole composer, but later reissues correctly credit Avery Parrish. I’ve never gotten the sense Hawkins tried to claim the tune; it feels more like a paperwork shuffle than a dispute.
🔥 Floorshow Steps In — 1949
Things get even more interesting with this 1949 side by tenor man Frank “Floorshow” Culley, titled After Hour Session on Atlantic:
To my ears, that’s at most a “re‑imagining” of After Hours, even though Culley and pianist Van Walls are listed as the composers. Whatever the case, After Hour Session is a tasty little groove — and it was a solid R&B hit at the time.
🌙 Benny’s Midnight Trio — 1953
The original title returns — with proper composer credit to Avery Parrish — on this elegant 1952 take by the Benny Goodman Trio on Capitol:
Benny is joined by his frequent small‑group partner Teddy Wilson on piano and the great Jimmy Crawford on drums. BG always surrounded himself with the best!
🍸Mancini at the Blue Hour — 1960
Let’s mix it up with one more version: Henry Mancini’s 1960 reading from The Blues and the Beat:
That’s pure Mancini — smooth, modern, and quietly luxurious. I dig that early‑’60s studio sheen.
Any of these sessions would make fine company for an after‑hours listen. And honestly, the fun is hearing how one little blues thread gets rewoven across twenty years of American music.
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