For today’s Word Association Wednesday, playing off Duke Ellington’s Sophisticated Lady, it was only a short hop to arranger/composer Will Hudson’s 1937 tune Sophisticated Swing.
The Original
At the time, Will was co‑leading the Hudson–DeLange Orchestra with lyricist Eddie DeLange, so naturally they were the first to record it.
Let’s spin their Master label version:
That is certainly sophisticated. The Hudson–DeLange band was really good - but does anyone remember them at all these days?
The Cover
Another underrated band of the period was led by pianist Edgar Hayes, who cut this version for Decca in 1937:
Edgar’s piano gives this one a lovely touch.
The Canaries Land
Like many instrumentals of the era, Sophisticated Swing eventually gained lyrics - courtesy of Mitchell Parish, the master of retrofitting words to existing melodies.
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| Canary Gail Reese |
A vocal version was recorded by trumpet star Bunny Berigan with vocalist Gail Reese for Victor:
Bunny is the greatest, and Gail Reese was a pretty slick canary.
I actually first knew the song from this Berigan version - it was on an old LP of his I had - so I was surprised later to learn that the tune was mainly known as an instrumental, with very few vocal takes.
But here’s another one: Bob Sylvester and his Orchestra with Olga Vernon for Variety:
I don’t know much about Bob Sylvester or Olga Vernon other than Bob had worked as an arranger for Hal Kemp, but it’s a nice record. Variety was one of Irving Mills’ labels (as was Master), so I’m presuming that the Sylvester
band was in the Mills stable and that he placed the song with them, since Mills Music was the publisher.
One fun difference between the two vocal versions:
– Gail Reese sings the masculine lyric: “Honey, mascara your eyebrow and come with me.”
– Olga Vernon sings the feminized version: “Let me mascara my eyebrow, my chickadee.”
Also, Olga’s vocal is front‑loaded on the record, rather than appearing in the middle like Gail’s - which was far more standard for 1937. I notice these things!
The 1940s Comeback:
After these early recordings, not much happened with the tune until it started popping up again in the late 1940s.
Les Brown recorded it in 1947 for Columbia:
A great version - it became a staple in the Band of Renown’s book.
Then Count Basie recorded another terrific version in 1948 for RCA Victor:
Not typical Basie, perhaps, but a gorgeous arrangement. I’m thinking that’s future Ellington star Paul Gonsalves on tenor.
Also from 1948, here’s a bit of a throwback by Freddy Nagel and his Orchestra — who used the tune as his theme song — on the independent VitaCoustic label, with a vocal by Jimmy Jett:
The Brown and Basie versions have that crisp post‑war sound, while Freddy Nagel leans toward an old‑school sweet style - exactly what Midwest ballroom crowds wanted.
Fun fact: future superstar Patti Page briefly sang with Freddy’s band around this time!
The Fifties Bands
After this last vocal version, later recordings returned to the instrumental tradition — like this 1950 Decca version by veteran bandleader Russ Morgan:
An interesting record. I don’t hear the melody much, but there’s plenty of Russ’s trademark wah‑wah trombone. Unlike most 1930s bandleaders, Russ was at his peak in the late 40s/ early ’50s.
The early 1950s also saw a wave of younger bandleaders making a splash. One of the most successful was Les Elgart, who used Sophisticated Swing as the title track of his 1953 Columbia debut:
That album was a huge hit and helped make Elgart one of the most popular bands on the college circuit.
I think the version that ultimately made it into the most homes was Jimmy Dorsey’s 1957 recording for Fraternity Records - because it was the flip side of his smash hit “So Rare.”
Let’s spin JD’s version:
It has a haunting quality. This was the second version I knew - I had/have the “So Rare” 45 (not when it was actually a hit, thank you very much) and played both sides a lot.
The Fifties Become the Fifties
I’m presuming Jimmy’s version helped spark the next couple of late‑’50s recordings, both of which take the tune on a bit of a wild ride into the new sounds of the day!
First up: ace country pianist Floyd Cramer, who used it as the flip side of his 1958 RCA Victor single “Flip Flop and Bop”:
A very snappy version - if not exactly sophisticated.
Next, also from 1958, The Applejacks on Cameo Records:
The wildest reinvention yet - a full‑on sock‑hop stroll.
The Boppy 1960s
We return to a jazzier approach with Red Garland’s quartet on the 1962 Jazzland album Solar:
A nice, bop‑ish take.
And we close with a return to the big‑band sound - but with a modern twist - courtesy of organ great Shirley Scott, who included it on her 1966 Impulse! album Roll ’Em:
Not lost on me is that Shirley titled her big‑band salute album after a Mary Lou Williams number. This time, Shirley Scott swings the band!
I can’t imagine that in 1937 Will Hudson thought his tune would travel through so many variations in thirty‑odd years. But as long as they spelled his name right on the royalty checks, who's complaining?
You know, this post started as a quick word association to spotlight the Hudson–DeLange record and maybe Bunny Berigan's… and wound up with an extra dozen versions thrown in. Funny how a tune meant to be a one‑off mention ends up dragging half the record shelf with it.
But honestly… would we have it any other way?
