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?

"Jingle Bells" - Part 14 - Les Paul (and Mary Ford)!

We continue to mine the Capitol Records vaults for more "Jingle Bells" and Christmas EPs and come away with a much less wacky artist than our friend Yogi Yorgesson - the pioneering guitar wizard Les Paul!

Les Paul probably did more than anyone to put the electric guitar on the map and that along with his pioneering use of multitracking have cemented his place in music history.

His playing and multitracking are on full display on his 1951 recording of "Jingle Bells":

That still sounds great!

Les was of course also known for his records with his wife Mary Ford (who had previously sung on Gene Autry's "Melody Ranch" radio show under her (sort of) real name Colleen Summers) and they recorded this offbeat number based on "Jingle Bells" in 1953:

That's an odd one with an odd vibe and I find it oddly fascinating!

Odd in another way is Les and Mary's take on "Rudolph the Red-Nosed Reindeer" from 1955:

No threat to Spike Jones and George Rock!

It's fun, if cutesy, that the label credits the vocalist as "Liddo Marwy Ford."

(I don't know if Dorothy Parker ever saw that record label, but if she did, I'm sure she fwowed up!)

As with Yogi, Capitol released a Christmas EP of various Les and/or Mary tracks in 1955:

I think that was the first release of Les's recording of "Santa Claus is Coming to Town," which also wound up as the flipside of "Rudolph" the next year.

Here's that record:

The EP also included "Silent Night" with Mary, which had been the flipside of "Jingle Bells."

Here's that one:

Then they also included the flipside of "Jungle Bells," which was "White Christmas":

I think I have all that straight, but whatever the case, that four-song EP is solid!

Here's a fun clip of Les and Mary performing their hit "The World is Waiting for the Sunrise":

Fun fact: the lyrics to that 1919 song were written by Gene Lockhart - Bob Cratchit from 1938's MGM version of "A Christmas Carol!"