This coming Monday, January 12, marks the sixtieth anniversary of the premiere of the Batman TV series on ABC! What better way to celebrate than by cranking up Neal Hefti’s legendary, driving theme?
Here is the original 45 rpm version by Neal on RCA Victor:
The rarely heard flipside, "Batman Chase," is also incredibly cool—it captures that frantic, pop-art energy of the show perfectly.
Those stereo mixes sound great!
If you haven’t watched the series in a while, I’m inviting you to join me in a "real-time" retrospective: I’m going to watch each episode on the same date it originally aired all those years ago! Since the show famously aired in two parts, it’ll be a fun mid-week tradition.
As we depart Chattanooga, we’re going to take one more quick ride on a musical choo
choo!
This time our conductor is the great Louis Jordan, who along
with his Tympany Five, brings us Choo Choo Ch’Boogie on Decca Records in
1946!
Here comes Mr. Jordan:
Louis Jordan made a ton of great records, but everything just
seems to come together just right on this record! Listeners rode it for 18 weeks at number one on the R&B charts!
Pianist Wild Bill Davis and guitarist Carl Hogan keep the
drivers drivin’ on this sleek jump-blues express! You know young Chuck Berry
was listening!
Note that one of the co-writers is Milt Gabler, Louis’s
producer at Decca, who helped Louis become King of the Jukeboxes!
And was it such a 'jump' for Milt Gabler to go from
producing Louis Jordan’s jump blues to Bill Haley’s Rock Around the Clock?
Not at all—the tracks were already laid!
It’s probably no surprise that the early Duke Ellington tune
Choo Choo made me think of other Choo Choo songs! Kind of a “word association”
thing, I guess!
In any event, I would think that the most famous of all choo
choos is the Chattanooga Choo Choo, made famous by the Mack Gordon/Harry Warren
song introduced by Glenn Miller and his Orchestra in the 1941 movie “Sun
Valley Serenade” from 20th Century Fox.
Let’s listen to Glenn’s recording on Bluebird Records:
That recording was an enormous hit in 1941, becoming the
first record to sell a million copies in about 15 years. It was even awarded the
first official gold record, with a literal record spray painted with gold paint presented to Glenn as a publicity stunt!
But you know what? I find it a little hard to listen to! Here’s
why…
Many years ago, I came across a Glenn Miller LP (shown
above) which was a promo item for Salada Foods ("That's Salada Tea!") and it's something of a mishmash of recordings. Mostly studio cuts of Bluebird/Victor
singles, but it also included a track by Glenn’s AAF band and two soundtrack
recordings!
The first track on side one was the soundtrack recording of
Chattanooga Choo Choo from “Sun Valley Serenade” – the whole shootin’ match! The
band part with Tex Beneke and The Modernaires (plus Paula Kelly) and the song and dance routine
with Dorothy Dandridge and The Nicholas Brothers!
Here’s a video of the number in question:
Now, what really caught my ear is that the band portion is
an extended arrangement, much longer than the 78-rpm single version. It
includes Tex whistling and whatnot.
But it’s the second instrumental chorus that's not included on the single version that blew me away! Specifically,
the smooth-as-silk saxes, which I now know are Hal McIntyre on alto, Tex on
tenor, and Ernie Caceres on baritone, with Wilbur Schwartz and Al Klink
supplying the clarinet flourishes on that particular extra chorus - Wilbur also plays alto and Al also plays tenor in that awesome sax section!
This extra chorus comes after the instrumental of the bridge of the song. You expect the vocal to start if you're conditioned by the single version, but there's a cool extra chorus!
It’s not hyperbole to say that the extra 20-something seconds
of that extra chorus was instrumental (yes, I went there) in turning me
into a big band (and Miller) fan so many years ago (although I prefer not to do the math)!
So, the commercial single version of Chattanooga Choo Choo,
only having about three and a half minutes to work with, really sounds to me
like just a condensed version of Jerry Gray's “real” arrangement, with about a minute missing!
And to really get into the weeds, I like how Tex sings "All aboard... get aboard..." on the soundtrack version vs. "Get aboard... all aboard..." on the single version! Yeah, I know!
There’s actually a handy transition in the full soundtrack
version where it goes from the band part to the dance part, so some reissues cut
the track there, which is fine. Then at some point, the true stereo tracks of the songs from "Sun Valley Serenade" were found and issued (Yes, stereo in 1941!). To me that gives us the definitive version of Glenn Miller and
his Orchestra playing Chattanooga Choo Choo!
Let’s listen to that version:
Yup, that’s the goods!
I have a couple of notes on the video clip…
I love seeing the band in action and the interplay between
the musicians.
I like how Hal McIntyre (already looking like a future star
bandleader) mouths something to Tex right before he gets up and starts
whistling and how Glenn directs Tex over to sing with the Modernaires.
You also see at what point Paula Kelly (my sneaky MVP of the
recording) joins in! (See more about Paula and the Mods and the actual original A-side of the platter here!)
It’s cool to see Billy May and teenage Ray Anthony (still
around at age 103!) in the trumpet section and Glenn’s good pal Chummy McGregor
on piano. (Not to "dis" John Payne, the movie’s leading man who portrayed the
band’s pianist - he’s cool) and everyone else.
And only a couple of reaction scenes of Milton Berle and
thankfully no dialogue over the music with Lyn Bari, who's steaming because Mr. Payne is MIA (which lets Chummy sit in at this "rehearsal") along with perceived romantic rival Sonja Henie, although if you've seen any movie ever made, it's no spoiler as to whom John Payne winds up with!
I like how the band is on one section of a big soundstage and Dorothy
and the Nicholas Brothers are right on there on the left with their choo choo!
And what a fun number by those three. Dorothy Dandridge is best
remembered, if at all, for various issues she had, but what a bundle of looks
and talent she was! It’s unfortunate that the times didn’t allow her to become as big
a star as her talent warranted.
And the Nicholas Brothers are just phenomenal! It’s great
that this number (as well as the Kalamazoo number from “Orchestra Wives”)
captures them in undiluted form!
Plus, it's a lot of fun to hear the band playing the accompaniment music, including a snazzy tenor sax bit from Tex!
Here's a link to another video of the movie scene, with the stereo track synced in:
So, anyway, yeah, I choo-choo-choose the soundtrack version!
Yesterday we started our journey through the chronology of
Duke Ellington’s recordings with his first recordings as a bandleader on the
obscure Blu-Disc label.
If those two sides were the first bricks in the eventual
skyscraper of Ellingtonia, today we present a little of the mortar, if
you will!
Said mortar is in the form of a session for Blu-Disc from a
few days earlier in November of 1924, when Duke first entered a recording studio,
but…
These weren't released as "Ellington" records.
They were released as backing tracks for a singer named Alberta Prime.
The Technical Hook: Even though Duke’s name isn’t on
the front, this is the same DNA as the Choo Choo session. It’s the
Washingtonians providing the muscle.
Let’s listen to the first side, It’s Gonna Be a Cold,
Cold Winter, a solo vocal for Alberta Prime:
Notice how Duke plays behind a vocalist. Even at this early
stage, he wasn't just "playing chords." He was weaving a tapestry
around the voice.
Now the B-side, Parlor Social De Luxe, which features
longtime Ellington drummer Sonny Greer in a duet with Alberta:
Sonny Greer is the ultimate Ellington “side character,”
serving as Duke’s drummer for about 30 years!
The Warehouse Verdict: I’ve included these because
the Warehouse isn't just about the "Hits." It's about the Context.
To understand the Duke, you have to hear him when he was just a
"work-for-hire" pianist in an obscure Blu-Disc studio.
These cuts do function as a history lesson to me. They’re
important for providing said context, but not something for a playlist in 2026
for repeated listening!
Actual Alberta Hunter!
One thing to note: There has apparently long been a debate
over the identity of singer Alberta Prime. Some think it’s pseudonym for
Alberta Hunter – pseudonyms being very common on record labels in those days –
as we’ll see. But it seems Ms. Prime and Ms. Hunter were two separate people.
And what’s the deal with Blu-Disc records having a really
red label? Were the discs themselves blue? Hmmm…
As we kick off the new year,
I’m thrilled to begin a journey I’ve been planning for some time: Sundays
with Duke. Every Sunday, we’re going to look at a Duke Ellington recording
in chronological order, tracing the evolution of a genius, one 78rpm disc at a
time.
To understand the skyscraper, you have to look at the first
brick. For Duke, that brick is Blu-Disc T1002, recorded in November
1924. This single record contains the two poles of the Ellington world.
At this stage, the band is still The Washingtonians, but in addition to Duke, the band already includes long-running core Ellington band members Sonny Greer on drums, Otto Hardwick on alto sax and (maybe) Fred Guy on banjo, along with original trumpet star Bubber Miley! The mostly obscure trombonist Charlie Irvis rounds out the sextet of musicians.
OK, so what about the music? Let's dig in...
The "A" Side: Choo Choo
"Choo Choo" is a classic 1920s novelty "pep" tune. It’s
light, it’s rhythmic, and it features a literal train-whistle imitation that
was the "viral hook" of its day.
What to Listen For:
The
Whistle: A fun novelty touch, but notice how tight the rhythm section
is underneath it.
The
Energy: This is a young band hungry to make a mark. You can hear the
raw enthusiasm of Bubber Miley and Sonny Greer through the
thin, acoustic recording.
Let’s give it a spin:
Even in this early 1924 session with the Washingtonians, you
can hear the seeds of his genius - specifically his lifelong fascination with the
rhythms and whistles of the American railroad. It’s the first link in a chain
that leads directly to later masterpieces like Daybreak Express and Happy-Go-Lucky
Local.
The "B" Side: Rainy Nights
If "Choo Choo" is the train leaving the station, "Rainy
Nights" is the feeling of looking out the window at the dark city
passing by. This is the "Warehouse Secret" of this session. Even in
1924, Duke wasn't just interested in catchy tunes; he was interested in atmosphere.
What to Listen For:
The
Mood: It’s slower, moodier, and hints at the "Indigo"
textures Duke would master a decade later.
The
Trumpet: Listen to Bubber Miley. You can already hear the beginnings
of that soulful, "vocal" horn style that would define the band’s
identity at the Cotton Club.
Let’s give it a listen:
You can’t really hear Duke’s piano there, but in those days of
acoustical recording with everyone playing into one giant horn, we had to take what
we could get! Within a couple of years, the advent of electrical recording allowed
for more subtlety in the band’s recordings.
The Warehouse Perspective
Starting with these two tracks reminds us that Duke’s genius
didn't appear out of thin air—it was built on the foundation of 1920s dance
music. Whether he was playing a "pep" tune or a "mood"
piece, the technical discipline was already there.
I feel like we're almost at the point where you can enjoy the two sides as entertainment here in 2026, not just as a history lesson, if you know what I mean.
It’s the start of a journey from a "novelty" band
to the greatest orchestra in history. I hope you’ll join me every Sunday as we
watch that transformation happen and we build that skyscraper, one "brick" at a time.
Update: For additional information about Choo Choo, click here!
Welcome to the Duke’s Workshop: An Ellington Chronology
Welcome back to the Warehouse!
Starting tomorrow (and every Sunday for the next year), we’re embarking on a massive project: a chronological journey through the recording career of Edward Kennedy "Duke" Ellington.
Duke famously said, "My instrument is not the piano, it's the orchestra," and over the next sixty-ish entries, you’ll hear exactly what he meant. This list isn't just a collection of songs; it’s a map of how American music evolved from the "Jungle Style" of the 1920s Cotton Club to the sophisticated, long-form suites of the 1950s.
What to Expect:
For each entry in this archive, I’ve embedded a recording from my personal physical and digital collections. You’ll find:
The Original Ellington Masters: From the 1924 foundations to the 1959 brilliance of Anatomy of a Murder.
The Sidemen: Deep dives into the "side characters" like Johnny Hodges, Cootie Williams, Rex Stewart, and Cat Anderson.
The Covers & Contemporaries: Fascinating "plus" recordings—versions by the Mills Brothers, Bing Crosby, and even the "Warehouse" favorite, Spike Jones—to show just how far Duke’s influence reached.
Whether you’re a lifelong "Duke-ophile" or a newcomer looking to understand why Ellington is considered America’s greatest composer, I hope this collection serves as a valuable resource.
