Monday Side‑Session: We Got It Good

For today’s side‑session, we follow up on Duke Ellington’s “I Got It Bad (And That Ain’t Good)” with ten contemporary covers from the 1941–42 period — a little cross‑section of how the tune moved through popular music right when it was new.

So, let's start spinning...

We start with Dinah Shore on Bluebird:

The tune fits early‑Dinah perfectly — that clean, youthful phrasing she had in the early ’40s.

Next up is Ella Fitzgerald for Decca:

Quite lovely. This comes from the period when Ella was still fronting the Chick Webb band after Chick’s passing, and you can hear that blend of band-singer polish and her emerging solo personality.

Then we have The Charioteers on Okeh:

A warm group sound with Billy Williams leading the way.

A number of bands also picked up the tune, usually with a canary handling the vocal. Here’s Benny Goodman with Peggy Lee on Columbia:

Typically solid work from Benny and Peggy — clean, poised, and right in their wheelhouse.

Jimmy Dorsey recorded his version for Decca with his star vocalist Helen O’Connell:

I think this type of song fits Helen better than the novelties she sometimes performed. JD’s alto is solid as usual.

Les Brown and Betty Bonney cut the song for Okeh:

Betty tends to be overshadowed by Doris Day in the Les Brown story, but she was excellent too — and this track shows it.

Bunny Berigan recorded his version with Lynne Richards for the small Elite label:

These relatively late records by Bunny are always intriguing — you can hear both the brilliance and the strain of those final years.

Next up is Vaughn Monroe, who had Marilyn Duke sing the vocal for Bluebird:

This is from the period when Vaughn was more of a bandleader who sang, rather than a singer who led a band, as I like to say, as he didn't sing on every record and also recorded instrumentals.

We get a rare male vocalist as Eddy Howard takes the vocal himself on his Columbia side:

Eddy, like Vaughn, had his greatest success post-WWII, as they were able to directly compete with the singers in a way most bandleaders could not.

The most intriguing contemporary cover to me is this version by Earl Hines on Bluebird:

What I find fascinating is the vocal arrangement: Madeleine Greene and the Three Varieties sing in the third person, while Billy Eckstine sings about himself having it bad. And that is good!

There have been countless remakes of “I Got It Bad” in the decades since, but these contemporary covers give us a snapshot of how the tune lived in its own moment — across labels, across styles, across the early‑’40s pop landscape.

We got it good!

Monday Side-Session - Taking the Train

For today’s side-session let’s hop back aboard with Billy Strayhorn as we Take the “A” Train for a few more stops.

1941: Cab and Glenn Catch the Ride

We kick off in 1941 with two contemporary covers that prove just how fast Strayhorn’s tune spread across the map once the Duke Ellington version hit.

First stop: Cab Calloway on Okeh:

Cab never imitates Ellington — he just swings his own way. Chu Berry on tenor, Dizzy Gillespie on trumpet, and Cab’s band sounding sharp as ever. He didn’t cut many instrumentals, so this one feels like a little treasure.

Billy May

Then comes, to me, the most fascinating contemporary cover of any Ellington hit ever: Glenn Miller on Bluebird:

Billy May turns the tune into a ballad — a sly, cheeky move, but also gorgeous. That Miller band could float a melody like nobody else - those reeds, the muted brass, a sensuous Tex Beneke tenor solo.

May and Strayhorn were old Pittsburgh pals, so you know they probably had a chuckle together over this arrangement.

1950: Tito’s Latin Express Line

Jumping ahead to 1950, Tito Puente on RCA Victor takes the train onto Latin tracks:

The label may say Tren Expreso, but that’s our "A" Train under the hood — bright, percussive, and full of Puente’s spark.

1954: Tex Swings the Standard Out West

Next stop: the Western plains with Tex Williams on Decca in 1954:

I’m a complete sucker for a big‑band standard played by a Western Swing outfit! It’s like the tune put on cowboy boots and decided to two‑step.

And Dance-O-Rama? I am so in!

1957: Jackie’s Velvet Ride

Back to the city for Jackie Gleason’s take from Velvet Brass (Capitol, 1957):

Velvety indeed — lush, slow‑motion brass with Toots Mondello gliding on alto. It’s the "A" Train dipped in gold leaf.

How sweet it is — Ralph Kramden never drove a bus this nice!

1960: Esquivel Goes Off the Rails

Then everything goes gloriously sideways with Esquivel for RCA Victor's 1960 album Infinity in Sound:

All the wild Esquivel touches — sound effects, stereo ping‑pong, space‑age sparkle, and that unmistakable sense of fun. It’s a carnival ride disguised as a train.

Count me in as a Hi-Fanatic!

1967: Homer & Jethro Play It Straight

One last stop: Homer and Jethro from their 1967 RCA Victor album It Ain’t Necessarily Square.

Not square at all — they play it straight, and it’s fantastic! Jethro Burns’ mandolin is brilliant — clean, quick, and full of personality.

Their novelty records were funny, but the musicianship was always dead serious.

Final Stop

A wild ride across decades, genres, and detours — but we’ll Take the “A” Train anywhere it leads us.

Thanks for the ride, Billy!

Monday Side‑Session: Two More Dreams

Following yesterday’s Day Dream — which began life as an instrumental from a Johnny Hodges–led unit inside the Duke Ellington orchestra — let’s spin a couple more dreams from the small groups.

These sides were recorded in 1939 while Duke was still under contract to Columbia, but they didn’t hit the shelves until 1940, after he moved to Victor. That little overlap period produced some of the most relaxed, beautifully lit small‑group moments in the whole Ellington universe.

Just Another Dream — Barney Bigard (Okeh, June 1939)

This one is exactly what the title promises: Just Another Dream, carried almost entirely on Barney Bigard’s clarinet. It’s practically a solo feature from start to finish — a soft, wandering little reverie with Barney’s tone floating like a lantern in a quiet room.

Dream Blues — Johnny Hodges & (Vocalion, September 1939)

Then Johnny steps back in for Dream Blues, and his alto does what it always does: it brings the dream, and it brings the blues. Hodges could make even a simple phrase feel like a velvet curtain being pulled open.

These small‑group sides always feel like a gift — a chance for the individual sidemen to stretch out, breathe, and let their personalities shine without the full orchestra swirling around them.

Musician Roll Call

Both tracks use nearly identical instrumentation, with the spotlight shifting depending on who’s leading the date:

• Barney Bigard group (June):
  Rex Stewart (cornet) and Juan Tizol (valve trombone) support Barney’s clarinet.

• Johnny Hodges group (September):
  Cootie Williams (trumpet) and Lawrence Brown (trombone) join Johnny’s alto.

And anchoring both sessions:

• Harry Carney — baritone sax, the bedrock

• Duke Ellington — piano

• Freddy Guy — guitar

• Billy Taylor — bass

• Sonny Greer — drums

A dream team for dream tunes!

Word Association Wednesday: Another Place

We spin off Duke Ellington’s If You Were in My Place and land squarely in the orbit of the 1941/42 hit Somebody Else Is Taking My Place.

Morgan’s Melancholy Manner

The song was co‑written by bandleader Russ Morgan, and he was the first to record it. Let’s drop the needle on his late‑1941 Decca side:

That’s classic “Music in the Morgan Manner” — the melancholy, sighing trombone, Russ easing into the vocal and The Morganaires wrapping it all in that soft‑focus harmony.

Peggy Perks It Up

But the definitive version arrived almost immediately afterward, when Benny Goodman cut it for Okeh with his brand‑new vocalist Peggy Lee:

The lyrics don’t brighten up any under Peggy’s delivery, but the record sure does. It’s crisp, swinging, and no mystery why it became the hit.

Label intrigue: Benny wasn’t being “demoted” to Columbia’s cheaper Okeh subsidiary. Glenn Miller was selling literal millions on Victor’s budget Bluebird line, so Columbia simply tried the same trick with BG.

Thornhill’s Tongue‑in‑Cheek Take

As 1942 dawned, more bands jumped aboard. Perhaps the wackiest cover of the moment was Claude Thornhill’s Columbia version:

It plays like a gentle send‑up — Claude’s honky‑tonk piano, the wink‑and‑a‑grin vocal by “A Pair of Pairs,” a playful rebranding of The Snowflakes.

Bunny Still Burns Bright

Next comes Bunny Berigan with vocalist Kay Little on the Elite label:

A late Berigan side, recorded just months before his untimely passing. Bunny’s trumpet still gleams, but Kay leans a little hard into the Helen O’Connell style that was popular at the time.

Monroe’s Moments

Vaughn Monroe was still the new kid on the block in 1942 when he recorded his Bluebird version:

Just to keep things interesting, let’s jump ahead to 1958 for Vaughn's RCA Victor remake:

Nothing about this should work — and yet I absolutely dig it!

A Modern Mose‑ment

And while we’re in 1958, let’s close with a snappy instrumental take by pianist Mose Allison from his Prestige album Young Man Mose:

Sounds good!

Turns out Russ Morgan was right all along: everybody was taking his place!

Warehouse Whispers

Apparently Somebody Else Is Taking My Place was composed in 1937 but not recorded until 1941, despite Russ Morgan having a recording contract all along. Hmm...

Threaded Thursday: Ah, So Pure

Opera to Orchestra: Flotow Finds Swing

Following yesterday’s updates to the classical My Heart at Thy Sweet Voice, we keep the thread going with variations on another 19th‑century operatic theme — Martha by Friedrich von Flotow.

Larry's Lovely Lady

And once again, we start with the preeminent classics‑into‑pop arranger of the big band era, Larry Clinton, and his super‑canary Bea Wain.

Let’s spin their 1938 take on Martha for Victor:

That’s another home run for Bea and Larry!

Connee Captivates

I’ve known that Clinton record for so long — and it’s appeared on so many compilations — that I consider it the definitive swing version of the song. So I was surprised sometime later to learn there was an earlier swing adaptation: Connie (Connee) Boswell’s late‑1937 Decca recording backed by Bob Crosby’s Bob Cats.

Let’s spin it:

That’s a great version! I’ve probably run out of adjectives for Connee Boswell, so let’s listen to the glowing introduction to her performance of Martha from the Philco Hall of Fame broadcast of May 7, 1944:

Connee on Camera: Martha in Motion

We’re still not done with Connee — we have two videos of her singing Martha.

First is this 1950 Universal short in which she sings “I Don’t Know Why” and “Martha,” backed by Les Brown and his Band of Renown:

Fun to hear Connee talk a little about the song.

Next is a video transcription from 1952:

How great is it that we have this footage to enjoy?

One thing I wonder: was Connee drawn to the song because one of her Boswell Sisters siblings was named Martha? And what did Vet Boswell think?

I also notice that neither Connee nor Bea sing gender‑flipped lyrics — they seem to be singing to Martha, not about Martha.

Wingy’s Wild Woman

For a contemporary male take, we turn to trumpeter/singer Wingy Manone, who cut his version for Bluebird later in 1938:

Wingy has officially taken Martha off the opera stage and into a juke joint!

Label intrigue: Wingy’s last name is misspelled on the label, which also credits the adaptation to Larry Clinton — though it’s actually closer to Connee’s version!

Rollini’s Radiant Reverie

Now to 1940 for a cool instrumental version by multi‑instrumentalist Adrian Rollini on vibes with his trio for Okeh:

Cooler still: there’s a video from 1948 of Adrian and his Trio playing Martha:

Adrian is best remembered for his ginormous bass sax, but he could play anything.

Crew Cuts’ Catchy Chorus

To show once again how adaptable a great melody can be, we land in 1955 with the fun Mostly Martha by The Crew Cuts on Mercury:

I still remember when I first played this on an old 45 and instantly knew it wasn’t mostly Martha — it was all Martha!

Martha’s Many Masks

Our girl Martha certainly got around, from the opera house to the soda shop, but she remained herself — a pure heart, a catchy tune and apparently no objections to being reimagined every decade!

Monday Side-Session: A Little Bit of Little Jazz

After enjoying trumpet star Roy Eldridge’s take on the Duke Ellington/Cootie Williams classic Echoes of Harlem, it feels like the perfect moment to swing our Side‑Session spotlight over to Roy — “Little Jazz” himself.

As a big‑band aficionado first and foremost, I’ve always loved Roy’s work with Gene Krupa’s band in the early 1940s. So today we’ll spin a quartet of sides that show off the full Eldridge arsenal: fire, finesse, humor, and heart.

Let Me Off Uptown (Okeh, 1941)

A stone‑cold classic, with Roy trading playful jabs with vocalist Anita O’Day before uncorking a sizzling trumpet solo.

This record is just a blast — ten inches of shellac capturing the whole electric mood of the era.

For extra fun, here's a video transcription of the song:

How cool is that?

After You’ve Gone (Okeh, 1941)

A workout for the ages. Roy tears into this old standard with pyrotechnics that still feel modern.

Rockin’ Chair (Okeh, 1941)

The tempo drops and Roy turns lyrical, delivering a solo that’s a masterclass in melodic storytelling.

Knock Me a Kiss (Columbia, 1942)

A novelty tune elevated by Roy’s charm — he sings, he swings, and the band wraps around him like a well‑tailored suit.

That’s just plain fun!

Taken together, these four sides represent a real peak for Roy, Gene and Anita — a little pocket of perfection in the Krupa discography!

A Little Archeology: Tracing “After You’ve Gone”

Since “After You’ve Gone” is such a signature Eldridge vehicle, let’s dig up a couple of earlier versions that set the stage.

Benny Goodman Trio — After You’ve Gone (Victor, 1935)

Benny on clarinet, Teddy Wilson on piano, and Gene Krupa on drums — three masters in tight formation.

Roy Eldridge & his Orch — After You’ve Gone (Vocalion, 1937)

With vocalist Gladys Palmer, and with Roy already sketching the blueprint for what he’d later unleash with Krupa.

These are just snippets from the long, brilliant career of Little Jazz — but what glorious snippets they are.

"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 #13: Setting the Mood

As we hit 1931 with Duke Ellington, we arrive at one of the crown jewels of his entire output: Mood Indigo. Few pieces announce the Ellington sound so completely — the colors, the poise, the sly melancholy, the sense that the band is painting with air.

The discography gets a little twisty right out of the gate. The first recording seems to be this Okeh release credited to the Harlem Footwarmers:

But the waters get muddy, because there’s also this Brunswick recording under the Jungle Band name:

Dreamy Blues was the original title — and only appeared on the very first run — before the tune became Mood Indigo forever after.

Whatever the case, the Victor version from 1931 is the one that became famous, and it still sounds magnificent:

This is the first Ellington original that inspired a zillion cover versions and remakes almost immediately. Everyone wanted a piece of that mood.

Early Covers (1931–1934)

Clyde McCoy returns with this 1931 Columbia recording:

Despite Clyde’s reputation as a corn‑shucker, his style actually works beautifully here — the wah‑wah gives the tune a kind of swampy ache.

A more predictable candidate to cover Ellington was Jimmie Lunceford, whose band cut this terrific version for Decca in 1934:

A lovely arrangement by alto sax man Willie Smith, who always had a knack for elegance.

The Tune Travels (1940s–1950s)

Here’s a fascinating Hawaiian‑style take from Felix Mendelssohn and his Hawaiian Serenaders, recorded for British Columbia in 1942:

I really like this one — it’s dreamy in a completely different way

From 1945, we get Andre Kostelanetz with a lush orchestral version on American Columbia:

The classy “Masterworks” imprint meant 12‑inch discs, so the maestro got two extra inches of groove to play with.

Jumping to 1955, here’s a mambo version by Pérez Prado on RCA Victor:

I'm pretty much a sucker for any Prado mambo take on a standard!

From 1956, Marty Gold gives us a bachelor‑pad arrangement on his Vik album Wired for Sound:

Dig it, cats - it’s pure hi‑fi lounge charm!

Also from 1956, pianist Johnny Maddox tones down the honky‑tonk for this Dot Records 45:

Surprisingly tasteful — it works.

The Co‑Composer Speaks (1957)

Barney (Don't call me 'Albany') Bigard, Duke’s longtime clarinetist and co‑composer of Mood Indigo, recorded his own extended version for his 1957 Liberty album Jazz Hall of Fame:

Pretty cool to hear him stretch out on the tune he helped create.

A Country Twist (1961)

One more before we wrap: in 1961, country piano master Floyd Cramer released this version as the flipside of his RCA Victor hit “On the Rebound”

Nice touch — it’s simple, warm, and unmistakably Cramer.

Tomorrow’s side session will explore vocal versions, and there are some beauties waiting in the wings as Mood Indigo becomes a whole different shade of blue!