Monday Side-Session: A Passel of Preludes

For today’s side‑session, we’re spinning a dozen memorable versions of Duke Ellington’s Prelude to a Kiss.

There have been zillions of recordings over the years, but I’ve distilled a playlist of twelve that carry particular historical or musical interest — to me anyway!

Himber Hits It First

Although Duke’s and Johnny Hodges’ 1938 recordings were popular, there seems to have been only one contemporary cover: Richard Himber and his Rhythmic Pyramids Orchestra, with vocalist Stuart Allen, on Victor in 1938:

The tune adapts well to a more “dance band” style, but oddly enough, no other bands or labels picked it up at the time.

A Novachord Nicety

The next version is more of a novelty. Ted Steele and his Novatones recorded it using the early Novachord synthesizer for the 1940 Decca album Mood Indigo, which featured Ted’s interpretations of Ellington songs:

Very intriguing! Kind of ethereal, if you will. And an early "concept" album!

Brown's Brief Blast

After that, “Prelude to a Kiss” went dormant for a few years — but by the mid‑1940s, sparks began to fly again. Les Brown recorded a V‑Disc version in 1944:

It’s a nice reading, but since it wasn’t commercially issued, it didn’t make much of a dent.

Carter’s Capitol Caress

The next commercial release seems to be Benny Carter’s 1947 Capitol recording:

A gorgeous showcase for Benny’s alto.

Getz Goes Nordic

By the early 1950s, the floodgates opened. Here’s a 1951 Swedish side by American tenor star Stan Getz:

Very cool!

Teddi Takes the Torch

We finally get another vocal version in 1953, when Teddi King included it on her Storyville album ’Round Midnight:

The simple piano accompaniment by Beryl Booker lets the lyrics shine.

Sassy Sarah Swoons

A flurry of vocal versions followed, including this one from Sarah Vaughan on her 1954 EmArcy album Images:

The song fits The Divine One like a glove.

Eckstine Enters Elegantly

And it’s a Warehouse law that I include any performance of an Ellington number by Billy Eckstine, so here he is on MGM, also from 1954:

The album that track comes from — I Let a Song Go Out of My Heart — is naturally awesome. Oh, and I think it's also mandatory that I say "Mr. B" at least once!

Gleason Gets Misty

We shift gears with this lush 1957 version from Jackie Gleason’s Capitol album Music to Make You Misty:

The alto solo is by Toots Mondello — a name that sounds like something Jackie might invent (I believe "Toots Mondello" founded the fictional Raccoon Lodge on The Honeymooners), but Toots (born Nunzio) was a respected big‑band veteran.

Vic's Velvet Version

The lushness continues with Vic Damone’s 1958 Columbia album Closer Than a Kiss:

Lovely backing from Frank DeVol to support Vic’s great voice.

Joya's Jewel-Box Gem

Jumping ahead to 1965, we meet up with my favorite Ellington singer, Joya Sherrill, who included the tune on her 20th Century Fox album Joya Sherrill Sings Duke:

Johnny Hodges and Cootie Williams back Joya on this track — just awesome!

Hodges' Homecoming

And speaking of Mr. Hodges, we’ll sneak back to 1962 for our closing selection: Johnny’s version from his Verve album The Eleventh Hour:

A gorgeous way to bring us full circle to 1938.

Do you have a favorite version — maybe one I didn’t include? Let me know in the comments!

Monday Side-Session: More from the Heart

We follow up on Duke Ellington’s 1938 classic I Let a Song Go Out of My Heart with a parade of covers and remakes — and boy, did they come fast and furious. Duke’s original was an instrumental, but the lyrics by Henry Nemo, John Redmond and Irving Mills (?) caught fire almost instantly. Of all the Ellington tunes that sprouted lyrics after the fact, this is the one where I can’t not hear the words when the band plays the melody. If you know what I mean!

Let's start spinning...

Hot Lips Page (Bluebird)

Most of the 1938 responses were vocal versions, but let’s start with an instrumental detour. Here’s trumpeter Hot Lips Page with a Bluebird side that jumps right out of the speakers:

He had hot lips all right!

Now the canaries take over with four stellar vocal renditions from that same whirlwind year.

Mildred Bailey (Brunswick)

Mildred is backed by the band of her then‑husband Red Norvo. It’s always fun to compare the sides issued under Mildred’s name with the ones issued under Red’s name with Mildred as the vocalist. The “solo” sides let her stretch out in ways the Norvo discs sometimes don’t.

Connie Boswell (Decca)

Such a wonderful stylist — that rhythmic ease, that conversational glide. Connie never forces this tune; she just lets it bloom.

June Richmond with Jimmy Dorsey (Decca)

June Richmond was likely the first Black singer to be featured regularly with a major white band. She was no novelty — she could sing — but the public wasn’t ready, and her stay with Jimmy was far too short.

This record also gives Jimmy plenty of alto space, which makes for a fascinating comparison with Johnny Hodges. Johnny admired JD’s tone and technique, and you can hear why.

Martha Tilton with Benny Goodman (Victor)

The biggest vocal hit of the tune in 1938. Prime BG, with a sparkling Edgar Sampson arrangement and the Liltin' Miss Tilton in peak form.

I love how each of these women puts her own stamp on the song.

To hear a male vocalist tackle it in 1938, we have to cross the Atlantic...

Mantovani with Ken Crossley (Columbia UK)

Annunzio Mantovani was so associated with lush postwar mood music that it’s easy to forget how jaunty his 1930s records can sound!

Now let’s time‑hop to 1954 for a pair of male vocalists who each brought their own distinctive style to the tune.

Al Hibbler (Norgran)

Former Ellington vocalist Hibbler sounds terrific here, and the arrangement is pure Ellingtonia.

Billy Eckstine (MGM)

You know I’m all over any record of Billy singing an Ellington tune!

We go from Mr. B to Miss D to show that the ladies were still at it in the ’50s...

Dinah Washington (EmArcy/Mercury, 1954)

An extended version from After Hours with Miss D gives Dinah and the band a chance to really pour out their hearts.

Ella Fitzgerald (Verve, 1957)

From her magnificent Duke Ellington Songbook. Ella makes the melody feel inevitable, with great support from Ben Webster on tenor and Barney Kessel on guitar.

Let's wrap up with one more instrumental version...

Eddie "Lockjaw" Davis with Shirley Scott (Prestige)

Tenor man "Lockjaw" and organist Shirley romp through the tune in awesome 1959 stereo from the album Jaws.

So: lots of songs from lots of hearts. Which one makes your heart sing?

Tuesday Tidbit: The Singers Join the Caravan

Yesterday we roamed through a whole caravan of instrumental versions of the Juan Tizol/Duke Ellington classic Caravan. There are so many instrumental takes that you can almost forget the tune even has lyrics. So today, we let the singers climb aboard.

Mills Magic in the Mirage

We’ll warm up with a “vocal” version that doesn’t actually feature the lyrics at all — the fabulous Mills Brothers and their patented instrument imitations on this 1938 Decca recording:

They often imitated instruments on their 1930s records, but this is the only one I know where they skip sung lyrics entirely. Pretty cool!

Also cool: this 1942 Soundie of the Mills performing Caravan:

I’m not sure why they’re dressed like that, but they sound terrific — and the dancing is snazzy.

Valaida's Vocal Venture

The first version to actually feature the lyrics came from Valaida, the singer/trumpeter, on this Swedish recording from 1939:

I’m not sure whether it was released in the U.S. at the time. Valaida Snow was American, but like several other Black artists of the era, she found greater popularity in Europe.

Mr. B Meets the Mirage

We have to jump all the way to 1949 for the first version with lyrics on a major American label. That honor goes to Billy Eckstine on MGM:

Billy’s voice fits the mysterious mood of the song beautifully, and Hugo Winterhalter’s accompaniment wraps around him like desert night air.

Nat Navigates the Night Sky

Next stop: 1957, for something of an “authorized” version from Nat King Cole. I say that because Juan Tizol himself brings his valve trombone to the session for Nat’s Capitol album After Midnight:

It sounds wonderful — Nat’s trio is joined by Jack Costanza on bongos to deepen the atmosphere. An awesome album, by the way!

Even better, Nat performed the tune on his TV show with Juan right there beside him:

So cool to see them in action!

Bobby Brings the Breeze

We skip ahead to 1960 for one more vocal Caravan, this time from Bobby Darin on his Atco album This Is Darin:

You just can’t beat Bobby singing a standard. That's an awesome album as well!

And here’s Bobby again, performing the same arrangement on TV in 1973:

He looks and sounds so good that it’s hard to believe he’d be gone within a year.

So, the vocal caravan may not be as long as the instrumental one, but there are some real gems in these dunes!

Warehouse Whispers

One last wandering thought as our caravan heads home: I’ve always been curious about Irving Mills’ credits on these songs. Did he actually ever make any contributions? He’s listed as the sole lyricist for Caravan, but did he actually write them? Did he hire a ghostwriter? Did a passing sandstorm blow the paperwork into his lap? And while Duke shares composer credit with Juan Tizol, most folks agree Juan brought in that hypnotic melody, with Duke adding his usual Ellington sparkle. The publishing world back then was its own little oasis of mysteries!

Drop a comment with your thoughts.

Sixties Saturday: Toodles!

Last Sunday, during our look at Duke Ellington’s East St. Louis Toodle-Oo, I mentioned that it made me think of Sally Field as “Gidget” using the expression “toodles” to say goodbye. So why not spend a little time with Gidget today on a cold, wintry day here in New England?

The TV Theme

Here’s the 45-rpm single version of the theme from Sally’s 1965-66 TV series, as recorded by Johnny Tillotson on MGM Records:

Nice tune! Johnny Tillotson, who passed away just last year at age 86, cut a lot of enjoyable records back in the day—from "Poetry in Motion" to this bit of TV theme perfection.

The "Twangy" Bonus

For a bonus, let’s listen to my personal favorite Gidget record, which comes from a sort of unusual source: the twangy guitar man Duane Eddy!

Here’s Duane’s version of the title song from the 1961 Columbia movie “Gidget Goes Hawaiian” on Jamie Records:

I’ve had that 45 for a zillion years and I still dig it! It takes that lighthearted Gidget theme and gives it that signature "low-note" grit that only Duane could provide.

Gidget rules! Toodles!

Bonus 78s - It Happens Every Spring!

If you've seen the 1949 movie "It Happens Every Spring" or watched the trailer, you must have notice that it had a catchy title song, which was sung over the opening credits!

Well, said song was placed with all of the big record labels at the time, and they had some of their top artists record it. So, let's give 'em a listen!

Columbia Records had Frank Sinatra record it, backed by his usual collaborator Axel Stordahl:

Decca released this one by Dick Haymes with Gordon Jenkins:

And Capitol had Margaret Whiting with backing from Frank DeVol:

Those are three very talented singers and they all get outstanding arrangements. Stordahl, Jenkins and DeVol, all big band veterans, really knew what they were doing!

Next, we have former Benny Goodman vocalist Art Lund on the newish MGM Records label with Johnny Thompson (whom I don't know other than he backed Art Lund on several MGM records):

I like the vocal backing by The Crew Chiefs, who had formed with Glenn Miller's Army Air Force band, where they often backed Johnny Desmond!

RCA Victor issued the only big band version, by Freddy Martin and his Orchestra with a vocal from young Merv Griffin:

1949 was the same year that Merv recorded "I've Got a Lovely Bunch of Coconuts" with Freddy's band. I remember Merv joking about that being his only hit record!

In addition to those regular commercial releases, we also have a couple of 1949 versions from alternate sources!

The first is Kay Starr, who recorded it on a transcription disc:

Then we have what I've always thought of as the definitive version. It's by Spike Jones, who included it as the serious song on the June 25, 1949 broadcast of his show, sung by Dick Baldwin:

I knew the song from that LP release, which I listened to over and over before I had ever seen the movie!

OK, now I really have spring fever!

Bonus - Christmas Eve!

1940s Christmas Playlist - Part 21 - "When It's Christmas on the Range/Santa's on His Way" (1949)

Our 1940s Christmas music playlist hangs around 1949 with both sides of a Christmas single on MGM Records by the great Bob Wills and his Texas Playboys!

Here's "When It's Christmas on the Range":

And the flipside, "Santa's on His Way":

I like that a lot! I love the Western Swing sound and always appreciate unique songs!

But the Scrooges at "Billboard" didn't like this one either:

I don't know if "When It's Christmas on the Range" was ever properly recorded by anybody else. There are some similarly-titled songs out there, but they're different songs.

An intriguing one was recorded by Eddy Howard in 1940 on Columbia Records:

Not too westerny, this catches Eddy after he had left the Dick Jurgens band but before he started his own band, which caught on in 1946.

Coincidentally, singing cowboy Jimmy Wakely had an album of Christmas carols on Capitol Records in 1949 with the title "Christmas on the Range." Really nice, but no relation!

I think there was only one other recording of "Santa's on His Way," although there are bunch of similarly-titled songs for it too!

The version in question of "Santa's on His Way" comes from a likely source: latter-day Western Swing torch carriers Asleep at the Wheel, who included a faithful version on their 2006 album "Santa Loves to Boogie":

The Wheel has a couple of Christmas albums out there and they're a blast!

George Strait has also been known to remake some Bob Wills songs, so when his 1999 album "Merry Christmas Wherever You Are" came out and I saw that one track was titled "Santa's on His Way," I thought it might be the same song.

It's not, but it's still a good one:

Christmas + Western Swing = Fun!

1940s Christmas Playlist - Part 13 - "You're All I Want for Christmas" (1948)

Continuing in 1948 with our 1940s Christmas music playlist, we have song that has had a few recordings, but never really became a standard: "You're All I Want for Christmas."

Frankie Laine had a hit with the song on Mercury Records:

That's a nice record, but very subdued by the usual standards of the dynamic Mr. Laine. Is that why "Billboard" wasn't too keen on it?

That review is cold!

"You're All I Want for Christmas" was co-written by Seger Ellis, whom I know as a singer most prominent in the early to mid-1930s and as a bandleader with his "Choir of Brass" orchestra in the later 1930s.

He had his own recording of "You're All I Want for Christmas" on Bullet Records backed by Owen Bradley. I'd like to hear it, but I haven't been able to get my mitts on it yet!

In any event, Frank Gallagher also recorded the song in 1948 on the small Dana label:

I like that a lot and enjoy the very rare verse added in the middle!

I don't know too much about Frank Gallagher, but he has a nice voice. With such a common name, one's search results get pretty muddled!

There were some  more recordings of the song in 1949, including Hugo Winterhalter's version on the flipside of his "Blue Christmas" on Columbia Records:

"Lush" is the word that springs to mind! One odd thing is that the choir sings "...my whole life long" rather than "...my whole life through." It needs to rhyme with "you" so the change doesn't make sense. But it's all the singers, not just one, so it must have been a mistake on the lyric sheet. Hmmm...

Our old friend Johnny Desmond cut it for MGM Records:

Johnny always sounds good!

Not too many female singers seem to have recorded it, but Anita Ellis cut it for Standard Transcriptions:

Anita was a really good singer who did a lot of radio work and also some ghost vocals, memorably dubbing for Rita Hayworth in "Gilda" from 1946.

There have have been some other recordings, such as this cut from Frankie Avalon's 1962 Christmas album on the Chancellor label:

What's with the song and Frank/Frankies?

This catches Frankie at a career crossroad, as his hit-record-making days were through, but he would star in "Beach Party" the next year!

There have been many Christmas other songs with a similar theme before and after, but "You're All I Want for Christmas" is a nice little nugget!

1940s Christmas Playlist - Part 12 - "Blue Christmas" (1948)

We now hit 1948 with our 1940s Christmas music playlist and we run into the first recording of a classic: "Blue Christmas!"

Here's Doye O'Dell on Exclusive Records:

I like that record a lot. Got the singing cowboy vibe going.

Now, I've known for a long time that Elvis Presley was not the first artist to record "Blue Christmas" and I've also known for a long time that Ernest Tubb had a hit on the country charts with the song in 1949.

I guess I had presumed that E.T. had been the first to record "Blue Christmas," so I was really surprised to find out a few years ago that Doye O'Dell (whoever he is) had recorded it in 1948. Not Ravens rendition of "White Christmas" level (see here), but pretty surprised!

Still don't know much about Doye O'Dell, but that's a solid record. Interesting to see that it was on Exclusive, the same label as some of the R 'n' B songs we heard here.

I don't think the record went anywhere, but Ernest Tubb steps into the picture in 1949 and records "Blue Christmas," scoring a number one Country hit in the process!

Here he is on Decca Records:

I think that is just awesome! I like the rare extra verse too!

Someone had the clever idea to put "White Christmas" in the flipside, so let's hear that:

Back in those dark pre-internet days, it could be hard to get your mitts on records at times and it was quite a while from when I had become aware of E.T.'s version of "Blue Christmas" and the time I finally got to hear it, which was on a cassette!

The song has remained very popular in the country field and has been recorded numerous times in the ensuing years.

But there were a couple of pop versions of "Blue Christmas" in 1949 that moved it totally out of the country!

Decca also had veteran bandleader Russ Morgan record it. Here it is:

Not bad! Russ Morgan was actually at the peak of his fame in 1949, much more popular than he had been during the actual Big Band Era, so go figure!

Over on Columbia records, arranger/conductor Hugo Winterhalter had his own version:

Funny to see Hugo Winterhalter on Columbia, as I strongly associate him with RCA Victor. Hugo had joined Victor by the 1950 holiday season and recorded a similar version of "White Christmas" for that label as well.

So by the time 1950 rolled around, it seemed like any artist in any genre could take a crack at the song.

The great Billy Eckstine wrapped his pipes around it for MGM Records in 1950:

That's another great version!

All of this leads to the most famous recording of the song, a cut on the 1957 Christmas album of one Elvis Presley:

I have to confess that although I think Elvis sounds great, I'm not overly fond of the record. I really don't like the soprano singing whatever that is over and over. But it's a classic. 

50,000,000 Elvis fans can't be wrong!