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?