Following Sunday’s “Prelude to a Kiss,” today’s WAW took the shortest possible ride on the mental express line — straight to Blue Prelude, the moody 1933 masterpiece by Gordon Jenkins and Joe Bishop.
We’ve got fifteen versions spanning nearly two decades, so let’s get spinning...
The First Blue Notes (1933)
(Raises hand) I’ll admit — before digging into this, I didn’t realize Casa Loma got there first. I always assumed the debut belonged to Isham Jones, since both Bishop and Jenkins were working with his band at the time. But apparently Bishop brought the tune to Glen Gray before anyone else.
Still, Isham Jones wasn’t far behind. His version — arranged by Bishop — followed in April 1933 for Victor:
It’s a terrific chart, with Sonny Lee shining on trombone and a wonderfully present tuba from Richard Kissinger in the rhythm section. Within a year or two, most bands would swap the tuba for string bass, but here it adds a great period flavor.
At this point the tune seems to have existed only as an instrumental. But by May 1933, Jenkins had added lyrics — and if the melody was already moody, the words sealed the deal.
The first vocal version came from prolific studio singer Chick Bullock, backed by his Levee Loungers on a budget‑label release:
Chick was a terrific singer, but an eye condition limited him to studio work.
Next up was Adrian Rollini with his studio group, featuring Howard Phillips on the vocal:
I love Adrian's switching between vibes and bass sax, though Phillips’ vocal is a bit emphatic. Not so for the next singer…
On June 13, the say after Adrian's record date, Bing Crosby recorded his version for Brunswick:
This is the one that put the song on the map — Bing’s career was exploding, and Blue Prelude rode the wave.
For one more 1933 entry, we get a female vocalist: Loretta Lee, singing with George Hall’s orchestra on Bluebird.
And yes — those early‑’30s buff Bluebirds are irresistible.
A Theme Is Born (1940-1941)
We jump to 1940 for the best‑known incarnation of Blue Prelude: as Woody Herman’s theme song. Here's his Decca recording, with Woody himself on the vocal:
Between Isham Jones’ 1933 version and this one, Woody had joined the Jones band, Jones retired, and the musicians reorganized with Woody as leader. Blue Prelude became his theme, and composer Joe Bishop was still on hand, arranging and playing flugelhorn.
The song was now a standard, and the recordings kept coming.
Also from 1940: Bob Wills and His Texas Playboys, with Joe Ferguson on the vocal:
You know I’m all over a vintage Western Swing take on a standard!
From 1941, we get Jimmie Lunceford with Dan Grissom on Decca:
A jaunty treatment, with typically superb work from altoist Willie Smith.
Postwar Shades of Blue (1945–1949)
In 1945, former Basie vocalist Helen Humes recorded a lovely version for the small Philo label:
That bowed‑bass intro from Alfred Moore is a knockout!
Label intrigue: Philco thought “Philo” sounded too close to their name, so the label became Aladdin!
Next, the sultry Lena Horne stepped up on the Black & White label in 1947:
Beautifully supported by Phil Moore.
Also in 1947, Woody Herman revisited the tune for his Columbia album 8 Shades of Blue:
A lot had happened in seven years — a new theme (Blue Flame), a move from Decca to Columbia, the triumph of the First Herd, and then disbanding. Note the label credit: Woody Herman with Orchestral Acc. — this was a studio group, not his working band.
The 1950 Curtain Call
We close with three versions from 1950...
First up: The Ames Brothers on Coral:
More label intrigue: This cut was issued as the flipside of second pressings of the Ames’ hit Sentimental Me, which was the original flipside of their smash Rag Mop. But when Sentimental Me also became a hit, Coral swapped it out so they wouldn’t have to sell two blockbusters on one disc!
Next, an unissued‑at‑the‑time Decca recording by the great Mildred Bailey:
Knowing this was among her final recordings before her early death in 1951 gives it heartbreaking poignancy.
And finally, we come full circle: Gordon Jenkins himself recorded Blue Prelude for his Decca album Playing His Own Compositions, with Bonnie Lou Williams singing his lyrics:
Mr. Jenkins really was a remarkable talent!
Fifteen preludes to a whole lot of blues — and if the prelude is this sad, imagine what the actual blues sound like!
