Sundays with Duke #38: Everyone’s Jumping

Last Sunday, while we were digging into Duke Ellington’s I Got It Bad (And That Ain’t Good), I mentioned that the tune first appeared in Duke’s 1941 musical revue Jump for Joy. So this week, let’s jump straight to the title song itself.

Herb's Hurdle

Duke and the band recorded Jump for Joy for Victor in July 1941, with Herb Jeffries handling the vocal:

It really is joyous. Herb sounds terrific, but for me, Tricky Sam Nanton quietly steals the spotlight — his trombone practically sings the lyrics. It’s one of those moments where the Ellington band blurs the line between voice and instrument.

Ivie's Impetus

I’d known Herb’s version for years before stumbling across an alternate take from the same session on a later compilation. When I first heard it, I thought, “Hmmm… something’s a little different.” Then after Tricky Sam’s solo, the arrangement shifts — and suddenly Ivie Anderson comes in instead of Herb Jeffries.

It’s such a treat to hear the band try the tune with each vocalist. Herb’s take will always feel like the “official” one to me, but Ivie brings her own sparkle.

Ray's Romp

Duke kept Jump for Joy active in the band’s book, and after Herb left, it became a Ray Nance specialty. The band cut this version for Capitol Transcriptions in 1947, with Ray on the vocal:

This one sticks close to the original arrangement, with Tyree Glenn stepping into the trombone role. Tyree had taken over after Tricky Sam’s passing the year before — and while Tyree was a fine player, no one could truly replace Tricky Sam’s voice‑like magic.

Jimmy's Jump

Ray continued singing the tune for years, but let’s close with something different: an intriguing small‑group instrumental from 1956 featuring Jimmy Hamilton on clarinet:

This unreleased‑at‑the‑time performance is just Jimmy backed by Duke on piano, Jimmy Woode on bass, and Sam Woodyard on drums — a tight little rhythm section giving Hamilton plenty of room to dance, with a cameo from just the band's trombone section only!

So… Who Jumped the Best?

Plenty of jumping goin on — Herb, Ivie, Ray, Jimmy, Tricky Sam, Tyree. Each brings a different kind of lift.

Who jumped highest for you?

Warehouse Whispers

Was this the first song to rhyme groovy with movie? It seems so 1960s!

Sundays with Duke #37 – Ivie’s Got It Bad

We remain in 1941 with Duke Ellington, settling in with another true Ellington classic: I Got It Bad (And That Ain’t Good).

🤸🏾Jump‑for‑Joy Genesis

Composed by Duke with lyrics by Paul Francis Webster, the song was introduced by the incomparable Ivie Anderson in the Ellington musical revue Jump for Joy. 

Naturally, the band hit the studio for Victor with Ivie to capture the magic:

She is in peak form here, wrapped in one of Johnny Hodges’ signature velvet-alto arrangements. 

The record became an instant hit, even finding its way into a Soundie:

It's always a treat to see the band in motion, and especially wonderful to see Ivie!

Duke kept I Got It Bad in the band's repertoire for years even after Ivie departed the band in 1942 due to health challenges. 

🎙️Black‑and‑White Brilliance

In 1946, as a solo artist, Ivie recorded this version for the Black & White label:

It’s a gift to have another reading of this tune from Ivie — a perfect showcase for her warmth and phrasing.

🎤 Aladdin After‑Hours

Al Hibbler brought a different texture to the piece during his time with Duke, and he leaned into that sound for his own 1946 session for the Aladdin label:

Anchored by Harry Carney's baritone sax, this date features a stellar lineup. Al, Harry, trumpeter Shorty Baker, and altoist Russell Procope were all moonlighting from the Ellington orchestra.

🎷 Newport Nightfall

Fast-forward to 1956. We return to the Newport Jazz Festival for a purely instrumental take released on Columbia, putting Johnny Hodges right back where he belongs: in the spotlight:

The crowd knows exactly what they are hearing, and they dig it!

🎼 Songbook Splendor

No retrospective on this tune would be complete without Ella Fitzgerald. Her 1957 Songbook sessions for Verve with Duke’s band are legendary, and this track is no exception:

Ella graces us with the rarely heard verse, and the extended arrangement gives Johnny’s alto yet another moment to glow.

📀 Popular Perfection

We keep the spotlight on Johnny in 1960 for this exquisite track from RCA Victor's The Popular Duke Ellington:

It’s a masterclass in economy and feeling.

🎺Satchmo's Spotlight

Then in 1961, Louis Armstrong sang and played this version with Duke as part of their Roulette sessions:

Trummy Young and Barney Bigard sat out this tune, so it's just Louis with Duke backed by Mort Herbert on bass and Danny Barcelona on bass. That's pure Satch!

🎵 Verve Velvet

Because there is truly no such thing as "too much" Johnny Hodges, we close our set with his 1962 Verve recording backed by Billy Strayhorn and the orchestra:

It's a sophisticated, wonderful farewell.

One thing's for sure: Ivie and Johnny may have "had it bad," but for us, that’s very good!

Monday Side-Session: Sittin' and Singin'

Following yesterday’s look at Duke Ellington and Billy Strayhorn’s Just a‑Settin’ and a‑Rockin’, today we slide over to the covers, remakes and lyrical detours that kept the tune alive through the mid‑’40s and beyond.

As I mentioned, once Lee Gaines of The Delta Rhythm Boys introduced lyrics, the tune’s title shifted from settin’ to sittin’ — and the song suddenly had a whole new life.

Let's start with some versions from 1945...

🎙️ The Delta Rhythm Boys Get It Rolling

First, let's spin The Delta Rhythm Boys’ popular 1945 Decca record:

This one has that easy, confident glide the group specialized in — tight harmonies, a relaxed beat, and a groove that feels like it’s leaning back in a chair. You can hear why this version helped the lyrical “sittin’” catch on.

For further illustration, here's a video clip Lee and the fellows:

Nice!

🌟 Thelma Steps In

Here’s a terrific version by Thelma Carpenter on the Majestic label:

Thelma gives the tune a buoyant lift — her phrasing is crisp, her tone warm, and she swings the melody without ever pushing it too hard. It’s one of those versions where the band and singer feel perfectly matched.

🎤 June & Stan Swing the Verse

Next up: Stan Kenton on Capitol with June Christy:

June Christy sounds terrific here — bright, playful, and rhythmically sharp — and she gets to sing the rarely heard verse, which is a treat in itself. Kenton’s band gives the tune a bit more punch, but June keeps it cool and stylish.

Here's a video of clip pf June with the Kenton band:

Retro-crush mode fully engaged!

🎷 Georgie’s Webster‑Warm Tenor

For one more 1945 version, here’s tenor sax star Georgie Auld with vocalist Lynne Stevens on the Musicraft label:

Georgie brings a warm, slightly breathy tenor sound that nods toward Ben Webster’s feel on the Ellington original. And Lynne is definitely an underrated canary. Together they make a version that feels both relaxed and musically alert.

🎶 The Pied Pipers Blend It Beautifully

Moving to 1946, here’s a non-commercial transcription recording from The Pied Pipers:

A smooth, well‑balanced group performance with June Hutton leading. The Pipers give the tune a lighter, more polished sheen — almost a radio‑friendly gloss — but they keep the rhythmic bounce intact.

🎺 Delta Rhythm Boys Return

                                                  

While in 1946, we also encounter The Delta Rhythm Boys again, as they sing another version of Just a‑Sittin’ and a‑Rockin’ for Decca, this time backed by Charlie Barnet and his Orchestra:

Not sure why Decca had the group return to the tune so soon, but the more relaxed pace and big band backing give this version a totally different vibe.

🌫️ June's Recollection

Let’s jump ahead to 1959 for three more versions, starting with June Christy’s remake for her Capitol album Recalls Those Kenton Days:

Always great to hear Misty Miss Christy with that wonderful Capitol Records sound!

🇸🇪 Alice's Swedish Sparkle

Next up is Swedish singing star Alice Babs with this cut from her Decca album Alice and Wonderland:

I think she’s absolutely delightful but it's not just the charming accent - she has serious music chops as well.

Word is that Duke Ellington was impressed with this recording, which prompted him to want to work with Alice, resulting in some wonderful joint projects!

And we're fortunate enough to also have a video clip of Alice in action:

Total retro-crush mode!

🎹 Shirley Rocks the Keyboards

Let’s close out with an instrumental version – Shirley Scott with this single taken from her Prestige album Scottie Plays the Duke:

"Scottie" gives the tune a stylish instrumental reading, moving between piano and organ with her usual soulful touch. She keeps the melody intact but adds subtle harmonic twists that make the track feel fresh and modern.

Hope you enjoyed sittin’ and rockin’ with me today!

Monday Side-Session - Taking the Train

For today’s side-session let’s hop back aboard with Billy Strayhorn as we Take the “A” Train for a few more stops.

1941: Cab and Glenn Catch the Ride

We kick off in 1941 with two contemporary covers that prove just how fast Strayhorn’s tune spread across the map once the Duke Ellington version hit.

First stop: Cab Calloway on Okeh:

Cab never imitates Ellington — he just swings his own way. Chu Berry on tenor, Dizzy Gillespie on trumpet, and Cab’s band sounding sharp as ever. He didn’t cut many instrumentals, so this one feels like a little treasure.

Billy May

Then comes, to me, the most fascinating contemporary cover of any Ellington hit ever: Glenn Miller on Bluebird:

Billy May turns the tune into a ballad — a sly, cheeky move, but also gorgeous. That Miller band could float a melody like nobody else - those reeds, the muted brass, a sensuous Tex Beneke tenor solo.

May and Strayhorn were old Pittsburgh pals, so you know they probably had a chuckle together over this arrangement.

1950: Tito’s Latin Express Line

Jumping ahead to 1950, Tito Puente on RCA Victor takes the train onto Latin tracks:

The label may say Tren Expreso, but that’s our "A" Train under the hood — bright, percussive, and full of Puente’s spark.

1954: Tex Swings the Standard Out West

Next stop: the Western plains with Tex Williams on Decca in 1954:

I’m a complete sucker for a big‑band standard played by a Western Swing outfit! It’s like the tune put on cowboy boots and decided to two‑step.

And Dance-O-Rama? I am so in!

1957: Jackie’s Velvet Ride

Back to the city for Jackie Gleason’s take from Velvet Brass (Capitol, 1957):

Velvety indeed — lush, slow‑motion brass with Toots Mondello gliding on alto. It’s the "A" Train dipped in gold leaf.

How sweet it is — Ralph Kramden never drove a bus this nice!

1960: Esquivel Goes Off the Rails

Then everything goes gloriously sideways with Esquivel for RCA Victor's 1960 album Infinity in Sound:

All the wild Esquivel touches — sound effects, stereo ping‑pong, space‑age sparkle, and that unmistakable sense of fun. It’s a carnival ride disguised as a train.

Count me in as a Hi-Fanatic!

1967: Homer & Jethro Play It Straight

One last stop: Homer and Jethro from their 1967 RCA Victor album It Ain’t Necessarily Square.

Not square at all — they play it straight, and it’s fantastic! Jethro Burns’ mandolin is brilliant — clean, quick, and full of personality.

Their novelty records were funny, but the musicianship was always dead serious.

Final Stop

A wild ride across decades, genres, and detours — but we’ll Take the “A” Train anywhere it leads us.

Thanks for the ride, Billy!

Sundays with Duke #35: Take It!

As we step into 1941 with Duke Ellington, we hit one of the absolute crown jewels of the Ellington catalogue: Billy Strayhorn’s immortal Take the ‘A’ Train.

The band recorded it for Victor in February 1941.

Let’s spin it:

Everything about this record feels perfectly balanced — Duke’s attention‑grabbing piano intro, Ray Nance’s two bright trumpet solos, and Strayhorn’s subtle yet intricate backgrounds that glide underneath the melody.

It’s the performance that announced Billy Strayhorn’s arrival to the wider music world and confirmed Ray Nance as a worthy successor to Cootie Williams.

The tune was so well‑received that it became the Ellington band’s theme song, staying in heavy rotation from then on.

Out of the countless performances, here’s a distilled playlist of some of the most notable...

Broadcast Brilliance (1951)

First up is this revised arrangement from a 1951 radio broadcast spotlighting Paul Gonsalves on tenor:

It almost sounds like a different tune — leaner, cooler, and built around Gonsalves’ long‑line phrasing.

Uptown Unleashed (1952)

Gonsalves returns on this epic version from the 1952 Columbia album Ellington Uptown, also featuring vocalist Betty Roché:

The early LP format gave Duke room to stretch out, reinventing the song with extended solos and a more dramatic arc.

Newport Nostalgia (1956)

From the 1956 Newport Jazz Festival, we get a more traditional reading:

Ray Nance steps back in on trumpet, bringing that familiar sparkle.

Ella Takes the Train (1957)

Ella Fitzgerald once again joins with Duke and the band for her 1957 take from the Duke Ellington Songbook on Verve:

A blast of joy — Duke’s classic piano intro, Ella’s scatting, and the band’s playful train sound effects.

Duke in the Foreground (1960)

From Duke’s 1960 Columbia album Piano in the Background:

Despite the album title, Duke’s piano is very much in the foreground, and it’s wonderful.

Piano Royalty Meets (1962)

Staying with Columbia, here’s a track from Duke's 1962 album that teamed his band with Count Basie's band — First Time! The Count Meets the Duke:

Two titans in one studio — yet both leaders let Billy Strayhorn take the piano solos. A quiet, unmistakable sign of respect.

Ray Nance trades trumpet lines with Basie's Sonny Cohn just to keep things fair!

A Popular Performance (1966)

We wind up with Duke’s 1966 RCA Victor album The Popular Duke Ellington, which appropriately leads off with Take the "A’" Train:

Twenty‑five years after its initial departure, the train still sounds fresh!

A Cinematic Closing  — Hollywood Gets on Board (1943)

As a bonus, here's a fun clip from the 1943 Columbia picture Reveille with Beverly:

There’s young Betty Roché singing and Ray Nance showing off some dance steps. The band is shown performing on a railroad train — even though the real “A” Train was a subway line. The story goes that Duke told Strayhorn to “take the A Train” to reach his home in Sugar Hill.

Good thing Billy made the trip!

Sundays with Duke #34: The Flamingo Takes Flight

We stay parked in 1940 for one more Ellington jewel — Flamingo.

This tune didn’t come from Duke or anyone in the band. It was written by Ted Grouya (music) and Edmund Anderson (lyrics), two writers Duke had just signed to Tempo Music, his new non‑Irving Mills publishing company. He needed fresh material fast: beginning January 1, 1941, radio stations were set to ban all ASCAP‑controlled songs. Duke — and most major composers — were ASCAP members. Suddenly he needed non‑ASCAP songs in the book, and he needed them yesterday. Enter Grouya, Anderson and Billy Strayhorn.

Duke handed Flamingo to Strayhorn to arrange, and the band recorded it for Victor in November 1940, with Billy at the piano and Herb Jeffries floating that dreamy vocal over the top.

Let’s spin it:

That’s a tremendous record. It doesn’t sound like anything else — not in 1940, not in any decade. Herb’s voice doesn’t just sing the melody; it threads itself through the arrangement.

Herb was also a singing cowboy!

And Herb himself was an interesting character: Duke’s first regularly featured male vocalist, he lived to be 100.

I first heard Flamingo on a Reader’s Digest big‑band compilation ages ago, and it jumped out immediately. Johnny Hodges’ alto solo especially — nobody else sounded like that.

The record became a major hit in 1941 and even found its way into a Soundie:

Always fun to see the band!

After Duke's original version hit, plenty of covers appeared, but let’s stay close to the Ellington universe for now.

1944 — The Trio (Signature Records)

Now let’s jump ahead — clean needle drop — to 1944. Here’s an instrumental version credited to The Trio: Eddie Heywood (piano), a young Shelley Manne (drums), and — crucially — Johnny Hodges on alto.

A very cool take. Johnny gets room to stretch out compared to his brief but unforgettable 1940 solo. It’s Flamingo with the spotlight tilted just a little differently.

Herb Keeps His Signature Tune

Flamingo suited Herb Jeffries perfectly, so he kept it in his repertoire after leaving Duke in 1942. He recorded it several times, each one a little postcard from wherever he was musically at the moment.

1950 — Exclusive Records

This 1950 version is from Heb's Magenta Moods album for the Exclusive label:

Nice backing from Buddy Baker — lush, late‑night stuff.

1952 — Coral Records (with Les Brown)

Then Herb teamed with Les Brown and his Band of Renown for this 1952 Coral release:

A lovely version — Les’s band earns its “Renown.” Herb sounds relaxed, confident, like he knows exactly how this tune fits him.

1951 — The Billy Strayhorn Trio

We slide back a year for an instrumental version by The Billy Strayhorn Trio — Billy and Duke sharing piano duties, with Wendell Marshall on bass. Same Mercer release that included their Cotton Tail duet.

Always fascinating to hear Billy and Duke trading piano lines. It’s like watching two master painters sketch the same subject from opposite corners of the room.

1953 — Duke Ellington (Capitol Records)

And now we jump forward again — new label, new decade, same bird — to Duke’s full‑band instrumental version for his 1953 Capitol album Premiered by Ellington:

That’s (of course) Ray Nance on violin and Paul Gonsalves on tenor. Johnny Hodges was leading his own band at the time, between Ellington stints.

That's an interesting early concept album — songs that Duke introduced and/or popularized, but didn't compose.

1954 — Al Hibbler (Norgran Records)

We close with Al Hibbler, who sang Flamingo many times with Duke after replacing Herb Jeffries as the band’s male vocalist. His 1954 version comes from Sings Duke Ellington on Norgran:

Al sings it straight, clearly drawing from Herb’s original phrasing — and he sounds terrific. It’s a respectful, confident reading, like he’s stepping into a suit tailored by someone else but wearing it well.

The Flamingo’s Flight Path

So there’s our little aerial tour of Flamingo — from Herb’s original glide to Hodges stretching out, to Strayhorn and Duke at the piano, to Hibbler’s elegant tribute. A tune that kept finding new thermals to ride.

Tomorrow, we’ll catch even more versions and let this bird keep flying!