As we step into 1942 with Duke Ellington, we run straight into another classic — Juan Tizol’sPerdido.
Duke arranged the tune, and the band recorded it for Victor that January with solos by Ben Webster, Ray Nance, and Rex Stewart.
Let’s give it a spin:
That three‑note figure just sings “Perdido!” over and over, and the whole thing moves along with that effortless Ellington glide.
A Hit That Stayed Hit
The tune clicked with the public immediately, and Duke kept it in rotation from then on. Other musicians picked up on it quickly too — there have been zillions of versions. Between Perdido and Caravan, Juan Tizol must have been cashing a lot of royalty checks!
At Capitol with Cat
One of the many Ellington recordings of Perdidois this snappy version for the Capitol Transcription Service from 1946:
Cat Anderson was definitely making his presence known in the trumpet section!
Johnny Gets Lost in Paris
While the Ellington band was touring Europe in 1950, Johnny Hodges and several members recorded a small‑group version in Paris for the Vogue label:
French pianist Raymond Fol sits in for Duke — it must have been a dream come true for him to play with a group of Ellingtonians.
Oscar's Outing
Meanwhile, also in 1950, Duke joined bassist/cellist Oscar Pettiford for this take on the Mercer label:
Bassist Lloyd Trotman and legendary drummer Jo Jones complete the quartet for this showcase for Oscar's cello.
Way Uptown
Duke and the band are back in the studio for Columbia in 1952 for this astounding take from the album Ellington Uptown:
The eight-plus minute arrangement takes advantage of the relatively new LP format from Duke's extended piano solo at the beginning to the have-to-hear-it-to-believe-it "chase" sequence featuring trumpeters Clark Terry, Cat Anderson, Ray Nance and Wille Cook and trombonist Britt Woodman!
Harry and the Nonet Detour
Jumping to 1956, we find Juan Tizol playing with Harry James — he worked with Harry both before and after rejoining Duke in the early ’50s — in a small‑band “nonet” setting for a non‑commercial recording of Perdido:
It’s fun to hear Harry introduce the musicians, and even better to hear Juan take a little solo on his own tune!
Ella Arrives with Lyrics
Like many popular instrumentals, Perdidopicked up lyrics along the way, but Duke kept it as an instrumental — except, of course, when Ella Fitzgerald stepped into the studio for Verve with the band in 1957:
Another tour de force for everyone involved.
The Space Age Nonet
Duke returned to the studio in 1958 for Columbia with a nonet (I get to use “nonet” twice!) billed as Duke Ellington’s Spacemen for the album The Cosmic Scene:
A reimagined arrangement for the Space Age.
Duke Not Lost in the Background
Another modern take appears on Duke’s 1960 Columbia album Piano in the Background:
Another great version!
Private Perdido
Duke and the band recorded this next version in 1962, but it was unreleased for decades:
So much wonderful material has been uncovered over the years!
Still Popular
And Duke wasn’t done — he included yet another fresh arrangement on his 1966 RCA Victor album The Popular Duke Ellington:
Dig that bass trombone from Chuck Connors!
Never Lost
My Spanish is pretty good, so I know perdido means “lost,” but luckily for us, Juan’s tune has never been lost!
We remain in 1941 with Duke Ellington, settling in with another true Ellington classic: I Got It Bad (And That Ain’t Good).
🤸🏾Jump‑for‑Joy Genesis
Composed by Duke with lyrics by Paul Francis Webster, the song was introduced by the incomparable Ivie Anderson in the Ellington musical revue Jump for Joy.
Naturally, the band hit the studio for Victor with Ivie to capture the magic:
She is in peak form here, wrapped in one of Johnny Hodges’ signature velvet-alto arrangements.
The record became an instant hit, even finding its way into a Soundie:
It's always a treat to see the band in motion, and especially wonderful to see Ivie!
Duke kept I Got It Bad in the band's repertoire for years even after Ivie departed the band in 1942 due to health challenges.
🎙️Black‑and‑White Brilliance
In 1946, as a solo artist, Ivie recorded this version for the Black & White label:
It’s a gift to have another reading of this tune from Ivie — a perfect showcase for her warmth and phrasing.
🎤 Aladdin After‑Hours
Al Hibbler brought a different texture to the piece during his time with Duke, and he leaned into that sound for his own 1946 session for the Aladdin label:
Anchored by Harry Carney's baritone sax, this date features a stellar lineup. Al, Harry, trumpeter Shorty Baker, and altoist Russell Procope were all moonlighting from the Ellington orchestra.
🎷 Newport Nightfall
Fast-forward to 1956. We return to the Newport Jazz Festival for a purely instrumental take released on Columbia, putting Johnny Hodges right back where he belongs: in the spotlight:
The crowd knows exactly what they are hearing, and they dig it!
🎼 Songbook Splendor
No retrospective on this tune would be complete without Ella Fitzgerald. Her 1957 Songbook sessions for Verve with Duke’s band are legendary, and this track is no exception:
Ella graces us with the rarely heard verse, and the extended arrangement gives Johnny’s alto yet another moment to glow.
📀 Popular Perfection
We keep the spotlight on Johnny in 1960 for this exquisite track from RCA Victor's The Popular Duke Ellington:
It’s a masterclass in economy and feeling.
🎺Satchmo's Spotlight
Then in 1961, Louis Armstrong sang and played this version with Duke as part of their Roulette sessions:
Trummy Young and Barney Bigard sat out this tune, so it's just Louis with Duke backed by Mort Herbert on bass and Danny Barcelona on bass. That's pure Satch!
🎵 Verve Velvet
Because there is truly no such thing as "too much" Johnny Hodges, we close our set with his 1962 Verve recording backed by Billy Strayhorn and the orchestra:
It's a sophisticated, wonderful farewell.
One thing's for sure: Ivie and Johnny may have "had it bad," but for us, that’s very good!
As we linger in 1940 with Duke Ellington, we come across
an early classic from his assistant Billy Strayhorn — Day Dream.
Johnny on Bluebird (1940)
Billy wrote Day Dream as a showcase for the
lush alto of Johnny Hodges, who recorded it as leader of a smaller Ellington
unit in November 1940.
Let’s spin that Bluebird disc:
A couple of things about the label credits: Duke receives co‑writing
credit even though Billy was the sole composer, and the label helpfully reminds
us that this is indeed an Ellington unit!
Duke didn’t record a studio version at the time — Johnny had
already said everything that needed saying — but he kept the tune in the band
book for radio broadcasts and personal appearances.
Lyrics Arrive (1941)
Day Dream acquired lyrics fairly quickly. John
Latouche added them, and the title was slightly adjusted to Day-Dream.
The only contemporary version I can find is this 1941 Decca
side by Jimmy Dorsey with Bob Eberly:
It works quite well as a pop tune, so I’m surprised no other
band picked up on it. I wonder if JD was intrigued by Johnny Hodges’ solo and
wanted to try the tune himself — he does well by it!
LP Era Awakening (1956)
As we’ve seen with other slow-burning standards, Day Dream
didn’t get much traction otherwise until the mid‑1950s, when the LP era really
began to bloom.
Duke finally cut a proper studio version in 1956 for his
Bethlehem album Duke Ellington Presents…:
It doesn’t take long to know that Johnny Hodges is on this
track.
June Floats In (1956)
The next vocal version also arrived in 1956, as June Christy
featured the song on her Capitol album The Misty Miss Christy:
Quite lovely — verse and all.
I think that Warehouse law dictates that I always refer to June Christy's as the Misty Miss Christy, so this time the actual album title did me a solid!
Coop’s Misty Instrumental (1958)
Interestingly, June’s husband, tenor saxist Bob Cooper,
recorded an instrumental version in 1958 for his Contemporary album Coop:
Also actually pretty misty.
Ella Checks In (1957)
We back up to 1957 to check in with our good friend Ella
Fitzgerald, who recorded a lovely version for her Duke Ellington Songbook
on Verve — this time with the Ellington band, including Billy Strayhorn on
piano:
And of course, Johnny Hodges is featured.
Jo Joins the Dream (1960)
Moving to 1960, the wonderful vocalist Jo Stafford recorded Day
Dream for her Columbia album Jo + Jazz:
And yes, Johnny Hodges is featured in this cut as well!
Johnny and Billy Return to the Source (1962)
Then in 1962, Johnny recorded another instrumental take with
Billy Strayhorn for their Verve album:
Another lovely version.
Billy's Solo Dream (1963)
Then Billy recorded a solo piano version for his 1963 United Artists The Peaceful Side:
Quite peaceful, with nice vocalese backing from the Paris Blue Notes.
Joya’s Twist (1965)
Things take an interesting turn when former Ellington
vocalist Joya Sherrill recorded the song for her 1965 20th Century Fox album Sings
Duke. Give a listen and I’ll explain:
You may notice that there’s no sax on that track at all. The
main accompanist is Ellington stalwart Ray Nance on violin. The funny thing —
Johnny Hodges plays on some of the other songs from the album!
Also, the label and liner notes from the original LP show
the song as Day Dreams and credit only Duke as composer, even though the
actual composer, Billy Strayhorn, plays piano on the track!
Note: By this point, the song title had been listed as
Day Dream, Day‑Dream, and Daydream, so why not add an S!
Ray Returns (1966)
Ray Nance and his violin were back in the studio in 1966
with Duke for this lovely, unissued‑at‑the‑time recording:
Ray was first and foremost a trumpet player, but his violin
graced many tracks over the years.
Full Circle (1968)
We come full circle as Duke and the full orchestra — with
Johnny Hodges — record a gorgeous take for the 1968 RCA Victor album of Strayhorn compositions …And
His Mother Called Him Bill:
I can’t hear Johnny’s alto gliding through Day Dream
enough. Billy Strayhorn was onto something back in 1940 — and every version
since just proves the point!
We’re still parked in 1940 with Duke Ellington, and we’ve hit another classic:In a Mellotone.
Let’s spin the original Victor recording:
Johnny Hodges and Cootie Williams are in peak form — Cootie even slips in a sly quote from Never No Lament at the tail end of his solo — but it’s Jimmie Blanton’s bass that steals the spotlight. His lines practically glow.
From Mellotone to Mellow Tone
Duke kept the tune in the band’s book throughout the 1940s, but the song found a second life in the 1950s when producer Milt Gabler added lyrics and nudged the title toward the now-familiar In a Mellow Tone.
Milt had The Mills Brothers record it for Decca in 1955 with Sy Oliver arranging:
It’s a delight — how can you beat the Mills/Oliver combination?
Funny that it took fifteen years for someone to add lyrics — the melody practically chants “in a mellow tone” on its own.
Ella Steps In
Once lyrics existed, Ella Fitzgerald naturally grabbed the tune for her 1957 Duke Ellington Songbook album — one of my favorite playgrounds:
Ella stretches out beautifully here, weaving between the written lyrics and her trademark scat. And yes, Ben Webster is still along for the ride, adding that warm velvet to the edges.
Duke Revisits the Instrumental
Duke circled back to the tune in 1960 for his Columbia album Blues in Orbit, keeping it strictly instrumental:
By this point, the “Mellow Tone” title had fully overtaken the original “Mellotone” spelling — the mellow won.
Louis Joins the Party
Duke recorded another instrumental version in 1961 with Louis Armstrong on Recording Together for the First Time — another favorite playground:
It’s interesting that Louis doesn’t sing the lyrics — even though they existed by then — yet he scats on Cotton Tail, which didn’t have lyrics. Satchmo gonna Satchmo.
And just to keep us on our toes, the label lists the tune as In a Mellowtone!
Here's a link to Duke and Louis performing the song in 1961 on The Ed Sullivan Show:
It's great that so many Sullivan shows were preserved so we can enjoy seeing these wonderful artists!
Betty's Baby
As far as I can tell, Duke never recorded a version using Milt Gabler’s lyrics. But things get wonderfully twisty when we get to Betty Roché, whose specialty with the Ellington band featured a totally different set of lyrics.
Here’s a 1953 live recording of Betty singing the Baby, You and Me variant:
The announcer mentions the lyrics and title change at the beginning and says it's "soon to be released" at the end — but I can't figure out what release he's referring to!
As far as I can tell, Duke never cut a studio version of that variation, but Betty did — for Bethlehem in 1956:
And here’s the fun part: Bethlehem kept the title In a Mellow Tone and even credited Milt Gabler, despite the lyrics being completely different. I’m guessing Milt didn’t write both sets… but you know we love a little label intrigue!
Billy Brings the Moves
We close out with a wonderfully wacky take on the tune, as Billy May turns it into a cha‑cha for his 1960 Capitol album Cha Cha!:
Billy was well‑known for his sense of humor, and it absolutely shows here — the arrangement is playful, brassy, and just a little mischievous. And what a good sport he was to pose for the album cover in that get‑up. The man committed to the bit!
Whatever the Title…
Whether it’s Mellotone, Mellow Tone, Mellowtone or even Baby, You and Me, one thing stays constant — the tone is mellow!
From yesterday’s detour into the 1938 Mercer/Warren tune that felt like it should’ve been in a Warner Bros. picture (Something Tells Me), we follow the thread to a 1938 Mercer/Warren song that actually was in a Warner Bros. movie: Jeepers Creepers, introduced in Going Places.
The song wasn’t just a hit — it was a big hit, Academy Award–nominated and instantly absorbed into the bloodstream of American pop.
We'll be spinning versions from its 1938–39 moment of peak popularity, let’s drop the needle...
Satchmo Starts the Spell
Louis Armstrong introduced the tune in the film and then cut his Decca version in January 1939:
It’s hard not to treat this as the definitive reading — the one that sets the hypnotic pattern.
Ethel Enters
But Satch wasn’t first in the studio. That honor goes to the wonderful Ethel Waters, who recorded it for Bluebird in November 1938:
I don’t usually slot Ethel into the novelty lane, but she handles the material with real ease.
Ford's Focus
Ford
Victor handed the tune to Larry Clinton, with Ford Leary on the vocal:
Ford was also a trombonist, so he’s similar to the Tex
Beneke/Sully Mason side character, but not from the sax section and Ford was
his middle name, not a nickname.
Pops' Swing Wing
Jack
Then there’s the king of the singer/trombonists, Jack Teagarden, singing with The Four Modernaires and Paul Whiteman’s Swing Wing for Decca:
Always fascinating to hear the Modernaires before their Miller years.
And yes — this is the version used in the 2001 horror film Jeepers Creepers. Not my beat either.
Paula's Peepers
Future Modernaires partner Paula Kelly sings it with Al Donahue’s band on Vocalion:
I’ll say it again: Paula was an underrated canary.
Leo Leaps In
Leo on left, Gene on right
The wonderfully unpredictable Leo Watson gives a relatively “straight” vocal with Gene Krupa on Brunswick:
“Straight” being a very relative term in Leo‑land! Hear more Leo here.
The Mills Make Eyes
A terrific Mills Brothers version — issued by Brunswick only in England at the time:
It sounds exactly like what the Mills Brothers singing Jeepers Creepers in 1939 should sound like!
Ambrose & Evelyn Abroad
While we’re in England, here's Ambrose and his Orchestra with Evelyn Dall on British Decca:
A sharp, stylish arrangement — very Ambrose.
Hot Club Creeping
Then to France for the Quintette of the Hot Club of France:
Django and Grappelly never miss!
A Four‑Vocalist Free‑for‑All
We close with a Benny Goodman Camel Caravan aircheck from January 17, 1939 — four vocalists, each taking a turn. I won't spoil who they are, Johnny Mercer will let you know:
You can probably guess who I think walked away with it.
And One More Cartoon Thread
Before we leave the hypnotic spell of this tune: I have to mention that there was a 1939 Looney Tune titled Jeepers Creepers. A fun watch — and another place where the song’s DNA seeped into the culture.
And yet, after all this spinning…we're still no closer to knowing where those peepers came from!
