Threaded Thursday: Speaking of Be-Bop

While searching for the lyrics to Perdido on Monday, you may recall that we ran across a fun bop vocal version by Dave Lambert and Buddy Stewart. So let’s pull that thread and go back to the first record by the duo.

G‑Noters and a New Bop Tune 

We land in 1945, when both singers were with Gene Krupa’s band as part of the G‑Noters vocal group. Dave composed a bop tune for the band called What’s This, which he and Buddy scat‑sang rather than the band performing it as an instrumental.

Let’s spin the Krupa band’s Columbia recording:

That’s a blast! Dave and Buddy blend beautifully, and we get boppish solos from Charlie Ventura on tenor sax and Don Fagerquist on trumpet woven in.

The Duo Steps Out

Dave and Buddy stayed together after leaving Krupa, performing and recording with bop musicians and carving out a little corner of the vocal‑bop world that still feels fresh.

Here they perform a live version of Lambert's Deedle in 1949 with no less than Charlie Parker:

They blend right in!

A Gentle Spoof

They also made this fun record with Charlie Barnet’s band for Capitol in 1949, gently spoofing the craze with Be-Bop Spoken Here:

Dave and Buddy show they were good sports, having fun with the Matty Malneck and Milton DeLugg song.

A Joy Cut Short

Tragically, Buddy Stewart died in an automobile accident in 1950, but the joy he brought to these records lives on.

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: Caravan Across the Century

Yesterday, we heard several versions of Juan Tizol’s classic Caravan as played by various Duke Ellington groups. For today’s side‑session, we’ll wander a little farther into the dunes and check out how other bands and artists have handled this ever‑mysterious tune.

“Caravan” might be the most recorded number in the entire Ellington band book, and from the very beginning it inspired wildly different interpretations. We’ll do a little decade‑hopping and hit some highlights.

1937: The First Wave of Covers

We start with Bunny Berigan on Victor, recorded just a couple of months after Duke’s own version:

A sharp arrangement by pianist Joe Lippman, and Bunny’s growl trumpet is absolutely convincing. He could do anything he wanted with that horn!

Next up, pianist Edgar Hayes and his band for Decca, also in 1937:

I think I say all the time that Edgar Hayes had an underrated band. I stand by that statement!

And the tune even crossed the Atlantic that same year, where Ambrose recorded it for British Decca:

Three takes from 1937, each bringing its own flavor to the journey.

1946–1949: New Rhythms, New Ideas

This caravan moves fast, so let’s hop off in 1946 to catch Charlie Barnet on the Apollo label:

Charlie could never resist an Ellington‑related number.

Then in 1948, pioneer electric guitarist Les Paul gives the tune a then‑modern facelift on this multitrack gem for Capitol:

Possibly the first guitar‑centric Caravan — but far from the last.

Next, tenor sax star Flip Phillips teams up with Latin legend Machito for this 1949 Mercury side:

I’m sure Juan Tizol approved!

1952–1953: A Curious Case of Influence

We enter the 1950s with a fascinating take by The Esquire Boys for the small Rainbow label in 1952:

A very cool reworking featuring guitarist Danny Cedrone, who would soon play the iconic solo on Bill Haley’s Rock Around the Clock.

Then comes the intrigue: Ralph Marterie’s hit version for Mercury in 1953.

Ralph’s record is clearly based on the Esquire Boys’ arrangement from the year before. Was it authorized? Hmmm…

Late ’50s: Stereo, Steel and Swing

Next stop: New Orleans, 1958, where Al Hirt includes an extended version on his Swingin’ Dixie! album for Audio Fidelity:

Lots of fun in early stereo!

The guitars return with Santo & Johnny, whose steel‑guitar take was recorded in 1959 and released as a single in 1960 on the Canadian-American label:

I’m a big fan of Santo & Johnny — Sleepwalk is one of my all‑time favorites.

1960s: Big Signatures from Big Names

I’m also a big fan of Pérez Prado, who cut this version for RCA Victor in 1964:

Sounds great!

Then in 1967, Bert Kaempfert records his own unmistakable take, released in the U.S. on Decca:

You could do a blindfold test and spot both Prado and Kaempfert instantly!

1976: Disco in the Dunes

A quick stop in 1976 for — of all things — a disco version of “Caravan” by Rhythm Heritage on ABC:

I was a young big‑band fan in 1976 and don’t remember hearing this one. I’m sure I would’ve been horrified, but now it’s a fun artifact of the era.

2000: A Rockabilly Blast

We end our trek as a new century dawns with Brian Setzer’s roaring take with his orchestra from the 2000 album Vavoom!:

A long ride — but worth every mile! But how do we get the sand out of all those guitar amps?

Threaded Thursday: More Nobility

Following yesterday’s deep dive into Harlem Nocturne — the Earl Hagen tune introduced by Ray Noble and his Orchestra before becoming a jazz standard — we pick up the thread with another Noble‑born classic destined to become a standard: Cherokee.

We’re doing another deep dive, but for the first few selections we’re going in reverse chronological order so we can start with the definitive version.

Barnet and Billy's Blast

And that, of course, is the classic 1939 Bluebird recording by Charlie Barnet:

That smash recording — with Billy May’s terrific arrangement and Charlie’s romping tenor — is one I’ve known forever. It showed up on just about every big‑band compilation I snapped up back in the day, and for good reason. A certified classic!

The Noblest Take (1938)

I’d always known that Ray Noble wrote Cherokee as part of his Indian Suite, but it took a while before I finally heard Ray’s own version.

Here’s his 1938 Brunswick recording:

A really lovely record — refined, elegant, almost like the older brother to Barnet’s rowdy little sibling.

Spud Sneaks In (1938)

For years I assumed Ray’s version was the first. But much later I learned that Spud Murphy actually beat him to the punch, recording Cherokee in April 1938, months before Ray’s October date. No idea why, but there it is!

Here’s Spud’s Decca side:

And yes — thank you, Internet — this was also when I learned that Spud Murphy had a band in the late ’30s. I’d only known him as an ace arranger for Benny Goodman and others.

Once Barnet’s record hit big, other bands jumped in.

The Count Doubles Down (1939)

Count Basie recorded a two‑sided Decca version later in 1939:

Another completely different take — relaxed, swinging, and very Basie.

Jimmy's Jam (1940)

And because Decca never minded issuing multiple versions of the same tune, Jimmy Dorsey got his crack at it in 1940:

Very nice — and unmistakably JD. The man could play!

Bird Breaks the Barrier (1942)

The tune’s adaptability helped make “Cherokee” a favorite among jazz musicians. The chord structure is famously tricky but incredibly rewarding for improvisers.

Charlie Parker loved it and used it as the basis for his early bebop experiments. Here’s a non‑commercial “Bird” workout from 1942:

You can hear how the world wasn’t quite ready for that in ’42 — it still astounds.

The story goes that Parker planned to record “Cherokee” for Savoy in 1945, but the label didn’t want to pay royalties (sorry, Ray). So Bird took the chords and created Ko Ko.

Let’s spin it since we're spinning:

Take a close look at the label for the eye‑popping personnel in the Ri Bop Boys.

Singing the Unsung (1942)

Back to Cherokee itself: Ray Noble also wrote lyrics, but the tune is overwhelmingly performed as an instrumental. There was one early vocal version, though — on Bluebird in 1942 by The Deep River Boys:

Very interesting — and very different.

A Sassy Switch (1956)

I don’t think another vocal version appeared until Sarah Vaughan included it — with a gender twist — on her 1956 Mercury album Sarah Vaughan in the Land of Hi‑Fi:

That really swings — and how fantastic is Cannonball Adderley on alto?

Taking "Ames" at the Classic

Let’s close with another vocal version that brings us full circle: The Ames Brothers, from their 1960 RCA Victor album The Ames Brothers Sing the Best of the Bands, with a Sid Ramin arrangement inspired by Charlie Barnet and Billy May:

An awesome finale to our twenty‑year stroll with the sweet maiden. Hope you enjoyed it!

Sundays with Duke #21: Echoing Through the Years

As we step into 1936 with Duke Ellington, we arrive at another classic - Echoes of Harlem.

Duke wrote this one as a showcase for the band’s growl‑trumpet master Cootie Williams, and it remains one of the most atmospheric portraits in the Ellington songbook.

The First Echo: Brunswick, 1935

Let’s start with the original Brunswick recording:

A perfect spotlight for Cootie — so perfect, in fact, that he adopted it as his theme song.

The Small‑Group Mood: Cootie's Rug Cutters (1938)

Duke didn’t make another studio recording of the tune, though he played it live for years.

He did join Cootie for a small‑group Vocalion session in 1938, issued under Cootie Williams and His Rug Cutters:

Not exactly rug‑cutting material, but a beautifully moody variation.

The Admirer’s Tribute: Charlie Barnet (1939)

Next comes a non‑Ellington version from one of Duke’s biggest admirers, Charlie Barnet, who recorded the tune for Bluebird in 1939:

A really cool reading - respectful, swinging, and unmistakably Barnet. Of note is that Cootie is listed as a co-writer on this label, but I don't think I've seen such a credit any where else!

The Theme Song Lives On: Cootie’s Capitol Version (1946)

Since Echoes of Harlem was Cootie’s theme, he revisited it several times with his own band.

Here’s a lovely 1946 version for Capitol:

Capitol records from those days sound great - and this one’s no exception.

Little Jazz Steps In: Roy Eldridge (1951)

Another trumpet titan, Roy Eldridge, clearly loved the tune as well. He recorded it more than once; here’s his 1951 take for the small Prestige label:

“Little Jazz” always sounded awesome — and he brings a different kind of fire to the piece.

A Capitol Echo: Jonah Jones & Glen Gray (1962)

Speaking of great‑sounding Capitol records, here’s one more: Jonah Jones with his Quartet, backed by Glen Gray and the Casa Loma Orchestra, from 1962:

Those late‑’50s/early‑’60s Glen Gray albums are gems - and I always love how Glen is dressed on those covers!

Cootie’s showcase truly echoes through the years, inspiring trumpeters across generations and giving each era its own shade of Harlem twilight.

"Rockin' in Rhythm" (1931)

Next up in our survey of Duke Ellington songs is the unstoppable “Rockin’ in Rhythm,” first recorded in 1931. This tune became a staple of the Ellington book for decades, and for good reason—it really does rock.

The First Recording: The Harlem Footwarmers (1931)

Duke's first recording of the song was released under the "Harlem Footwarmers" name on Okeh Records. It’s a perfect snapshot of the band’s high-energy transition into the 1930s.

The Carney Connection: The heart of this song belongs to baritone saxophonist Harry Carney. The song was actually built around a riff Harry was "noodling" with during a rehearsal. Duke heard it, stopped the band, and said, "What was that? Play it again." Duke then built the arrangement around it, creating the ultimate showcase for Carney's massive, anchor-like tone—a sound that would stay in the band for the next 47 years!

The Organ Twist: Milt Herth Trio (1938)

Jumping ahead to 1938, the Milt Herth Trio put their own spin on the tune for Decca Records. This one features Frank Froeba on piano, O’Neil Spencer on drums, and Milt himself on the Hammond organ.

A fun, bouncy take — and unmistakably Herth.

The Big Band Lift: Charlie Barnet (1940/1947)

Charlie Barnet was no stranger to Duke’s music, and he cut a terrific version of “Rockin’ in Rhythm” for Bluebird in 1940:

Sounds great!

Barnet must have had a special affection for the tune, because he returned to it in 1947 for the independent Apollo label - this time with legendary tap dancer Bunny Briggs providing a joyous scat vocal:

Bunny later danced with Duke's band quite a bit!

The Two‑Sider: Lionel Hampton (1948)

Moving to 1948, here’s a powerhouse version by Lionel Hampton, spread across both sides of a Decca 78:

Just one word for that - awesome!

The LP Expansion: Ellington ’55 (1954)

Duke himself revisited Rockin’ in Rhythm for his 1954 Capitol LP Ellington ’55:

Duke took advantage of the LP format to expand on some of his old tunes and it's fun to compare the versions!

The Songbook Swing: Ella & Duke (1957)

Duke recorded the tune again with the great Ella Fitzgerald's scat vocal for the appropriately titled 1957 Verve album Ella Fitzgerald Sings the Duke Ellington Song Book:

That's really fun! Dig those high trumpet notes from Cat Anderson!

The Trumpet Titan: Harry James (1960)

Veteran trumpeter and bandleader Harry James added his own reading of the tune on his 1960 MGM album Harry James Today.

Today or any day, Harry sounds great!

The Scat Finale: Maxine Sullivan & Bob Wilber (1969)

We’ll jump ahead to 1969 for one more scat‑driven version — this one by vocalist Maxine Sullivan with saxophonist Bob Wilber from their Monmouth Evergreen album Close As Pages in a Book:

Maxine’s cool delivery paired with Wilber’s soprano sax (channeling Sidney Bechet) is a perfect 1960s nightcap for a 1930s classic!

From Harry Carney’s original baritone riff to Ella’s fireworks, Rockin' in Rhythm never seems to age. Do you prefer it as a pure instrumental burner, or does the scatting take the prize?

Sundays with Duke #10: Flippin' and Ringin'

We’re flipping over Duke Ellington’s record of Three Little Words to find a Duke original that also made its debut in the 1930 film Check and Double Check: Ring Dem Bells.

The Original: Duke Ellington (1930)

This Victor recording is famous for its high energy and the literal bells ringing out, but the real highlight is the scat vocal by trumpeter Cootie Williams. It shows a playful side of the band that worked perfectly for the silver screen.

The Reunion: Lionel Hampton (1939)

While the song didn't get many covers immediately, it picked up serious steam by the end of the decade. In 1939, Lionel Hampton recorded this burner for Victor. Hamp was with Benny Goodman at the time and was leading stellar "pick-up" groups for recording dates.

If you check the label, you'll see a powerhouse combo of Goodman and Ellington sidemen—and Cootie Williams is right there revisiting the tune! Keep an ear out for Hamp giving a shout-out to pianist Jess Stacy.

The Arrangement: Charlie Barnet (1940)

Charlie Barnet "helps" Billy May with an arrangement!

As I’ve mentioned before, Charlie Barnet was a massive Ellington and he had the good fortune to employ a young Billy May as arranger. For this 1940 Bluebird session, they turned Ring Dem Bells into a modern swing masterpiece.

Let's spin it:

The Clouds of Joy: Andy Kirk (1941)

Andy Kirk admires the arrangement by Mary Lou Williams!

Another legendary architect of the era was pianist and arranger Mary Lou Williams - The Lady Who Swings the Band! Here she is providing a sharp, driving arrangement for Andy Kirk and his Clouds of Joy on Decca. It’s a testament to the song’s durability that it sounded just as fresh in 1941 as it did in 1930.

If you listen closely to the brass figures behind the solos, you can hear the same sophisticated DNA that Mary Lou would later bring to her arrangements for Duke himself. She was one of the few who could speak Duke’s musical language fluently and still add her own Kansas City grit to it.

The Solo Stamp: Fats Waller (1941)

Finally, we see the song move from the big bands to the solo piano. The incomparable Fats Waller put his own unmistakable stamp on the tune for the Victor album Hot Piano. Without the bells or the brass, Fats proves that the "swing" was built into the melody all along.

With so many legends taking a swing at this one, which version rings your bell? Are you a fan of Cootie’s original scatting or Fats’ solo piano stride?