“Taking a Chance On Love” – Ethel Waters and Eddie “Rochester” Anderson (1943)

Cabin in the sky

“Taking a Chance on Love” was written by Vernon Duke (music), John La Touche and Ted Fetter, (lyrics), and published in 1940.

It was introduced in 1940 on Broadway in the show Cabin in the Sky, a production notable for its all black cast, and performed by Ethel Waters and Dooley Wilson.

In 1943, a feature film versionwas released, starring Waters and Eddie “Rochester” Anderson, in which the song was featured. 

The IMDb describes the plot:

A compulsive gambler dies during a shooting, but he’ll receive a second chance to reform himself and to make up with his worried wife.

One assessment suggests a difference of opinion regarding the racial politics of the production:

Some remember Cabin in the Sky for its intelligent and witty script, which some claimed treated its characters and their race with a dignity rare in American films of the time. Others, like actress Jean Muir, described Cabin in the Sky’s racial politics as “an abomination,” arguing that moviegoers should write to the studios when they saw “old stereotypes of Negro caricature” like those in the film

A Benny Goodman cover featuring Helen Forrest reached #1 in 1943 and the song has since become a jazz standard.

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“Sir John”- Blue Mitchell (1959)

big 6

Richard Allen “Blue” Mitchell was on the planet from 1930 to 1979. He was an American jazz, rhythm and blues, soul, rock, and funk trumpet player. If I can still count, he had 27 albums as a leader, and a bunch more as a sideman. He recorded for Riverside, Blue Note and Mainstream Records.

Big 6 appears to be his first album as a leader, released April 2, 1959 in the hard bop category. Personnel, in addition to Mitchell, are: Curtis Fuller (trombone); Johnny Griffin (tenor saxophone); Wynton Kelly (piano); Wilbur Ware (bass); and Philly Joe Jones (drums).

The AllMusic biography says this, which may explain why I had never heard of him.

Owner of a direct, lightly swinging, somewhat plain-wrapped tone that fit right in with the Blue Note label’s hard bop ethos of the 1960s, Blue Mitchell tends to be overlooked today perhaps because he never really stood out vividly from the crowd, despite his undeniable talent.

Another reason he may be less well known as a jazz trumpeter is that he played, as noted above, in a number of styles.

Probably aware that opportunities for playing straight-ahead jazz were dwindling, Mitchell became a prolific pop and soul session man in the late ’60s, and he toured with Ray Charles from 1969 to 1971 and blues/rock guitarist John Mayall in 1971-1973. Having settled in Los Angeles, he also played big-band dates with Louie Bellson, Bill Holman, and Bill Berry; made a number of funk and pop/jazz LPs in the late ’70s; served as principal soloist for Tony Bennett and Lena Horne.

This is a tune written by Mitchell on the Big 6 album called “Sir John.” Good player.

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“Cheek to Cheek” – Fred Astaire (1935)

Top Hat

Irving Berlin wrote “Cheek to Cheek” for the 1935 Fred Astaire/Ginger Rogers vehicle Top Hat. As you can see in the video below, Astaire sings the song to Rogers as they dance, of course.

This was a good song for Astaire as his recording of it spent five weeks at #1 in 1935 on Your Hit Parade and was named the #1 song of the year. It was also nominated for the Best Song Academy Award for 1936, but lost to “Lullaby of Broadway.” Can’t have everything.

The Jazz Standards website ranks this one at #187 of standards all-time and writes this about the Astaire/Rogers movies:

The American public went crazy for the duo of Fred Astaire and Ginger Rogers in the mid-1930s. Their RKO musicals were the perfect escapist fare, showing how the “other half lived” during the tough days of the Depression. Astaire (dressed to the nines, suave and debonair) and Rogers (coquettish and elegantly clad in evening attire) along with superb music and choreography made these films sure-fire hits.

For the musicians in the room, they also write this:

“Cheek to Cheek” took some time to become comfortable to jazz musicians. Its unusual 72-bar length and A-A-B-C-A structure proved a bit daunting for some players, but the more advanced ones found the tune the perfect challenge with its engaging melodic and chordal structure.

The Discogs website lists countless covers: Frank Sinatra, Peggy Lee, Ella Fitzgerald, Oscar Peterson, Bing Crosby, Pharoah Sanders, Joshua Redman, Charlie Mingus, and on and on. More recently  Tony Bennett and Lady Gaga took a run at it on an album of jazz classics with this as the title track.  

Not the best voice in the biz but Fred could sure work a song.

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“Back at the Chicken Shack” – Jimmy Smith (1963)

smth organ

Jimmy Smith (1925-2005) helped to popularize the Hammond B-3 electric organ and had significant success with a series of instrumental jazz albums. He was also responsible for forging a connection between ’60s soul and jazz.

Mark Deming at AllMusic:

Jimmy Smith wasn’t the first organ player in jazz, but no one had a greater influence with the instrument than he did; Smith coaxed a rich, grooving tone from the Hammond B-3, and his sound and style made him a top instrumentalist in the 1950s and ’60s, while a number of rock and R&B keyboardists would learn valuable lessons from Smith’s example.

Smith recorded more than 30 albums for Blue Note between 1956 and 1963 working with artists like Kenny Burrell, Stanley Turrentine, and Jackie McLean.  In 1963, Smith signed a new record deal with Verve.

Smith’s first album for Verve, Bashin’: The Unpredictable Jimmy Smith, was a critical and commercial success, and the track “Walk on the Wild Side” became a minor hit. Smith maintained his busy performing and recording schedule throughout the 1960s, and in 1966 he cut a pair of celebrated album with guitarist Wes Montgomery. In 1972, Smith’s contract with Verve expired, and tired of his demanding tour schedule, he and his wife opened a supper club in California’s San Fernando Valley.

In 2004, he was honored as a Jazz Master by the National Endowment for the Arts.

Personell for Back at the Chicken Shack: Jimmy Smith (organ); Kenny Burrell (guitar); Stanley Turrentine (tenor saxophone); Donald Bailey (drums).

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“Brother Can You Spare a Dime?” – Bing Crosby (1932)

Borther

With all the talk of income inequality and diminishing life chances for more and more Americans, this song came to mind.

“Brother, Can You Spare a Dime?” was written in 1930 by lyricist E.Y. “Yip” Harburg and composer Jay Gorney. It was featured in the 1932 musical “New Americana,” a broadway show that failed. Incredibly, the song almost didn’t make it to the stage or radio as Republicans considered it anti-capitalist propaganda and wanted to suppress it. Let me see, 1932. What could have been going on then to cause people to look at capitalism critically?

Fortunately, the censors did not get their way as the song was certainly one of the most prominent of the Depression Era. No doubt it counts as a protest song as it describes a worker who helped build the country and fought in WWI but can’t find work in hard times.

The best know versions of the time belong to Al Jolson, Rudy Vallee, and Bing Crosby. As for timing, both Vallee and Crosby released versions in 1932 just before FDR became president, each scoring a number one hit, not that FDR  needed the help.

In the 1970, the New York Times asked Harburg to update the lyrics for the politics of the moment. This is what he came up with:

Once we had Roosevelt
Praise the Lord
Life had meaning and hope
Now we have Nixon, Agnew, and Ford
Brother, can you spare a rope?

I’m sure others could bring the lyrics even further up to date.

Here’s the Crosby version obviously in the style of the early thirties and less what we came to expect of Bing later. He would have been just under 30 when he recorded this.

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“The Summer Knows” – Art Pepper (1976)

“The Summer Knows” is considered one of the few jazz standards introduced after the 1950s. It is the theme music for the 1971 movie The Summer of ’42 and was composed by Michel Legrand.

The IMDb synopsis of the movie:

During his summer vacation on Nantucket Island in 1942, a youth eagerly awaiting his first sexual encounter finds himself developing an innocent love for a young woman awaiting news on her soldier husband’s fate in WWII.

I found a few covers: Art Farmer, Barbra Streisand, Sarah Vaughan, and Johnn Mathis. I am sure there are many more. I also discovered this one by alto sax great Art Pepper on his 1976 album The Trip.

After citing the intensity of Pepper’s playing and the “tentative cast” of the recording, AllMusic reviewer Chris Kelsey notes that Pepper’s playing on this album is first-rate, especially his interpretation of this cut, which, he writes, is on its own worth the price.

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“This Can’t Be Love” – Rosemary Clooney with the Earl Shelton Orchestra (1951)

The_Boys_From_Syracuse

“This Can’t Be Love” is from a 1938 Broadway show called The Boys from Syracuse, based on Shakespeare’s The Comedy of Errors. The Shakespeare offering is a “farcical comedy” involving “a series of wild mishaps based on mistaken identities leading to wrongful beatings, a near-seduction,  and false accusations of infidelity, theft, madness, and demonic possession.”

The Boys from Syracuse was composed by Richard Rodgers with lyrics by Lorenz Hart, written, produced and directed by George Abbott.  It opened on November 23, 1938 and ran for 235 total performances. 

According to Jazz Standards, “[i]t was Rodgers’ idea to use Shakespeare as a basis for the show, and the success of the production was based on the acting, the witty dialogue, and the humorous songs.”

Marcy Wescott and Eddie Albert sang “This Can’t Be Love” in the original. Of note is that “Falling in Love with Love” is from the same production.

Much to choose from in terms of artists who covered it: Nat King Cole, Ella Fitzgerald, Frank Sinatra, Dave Brubeck, Ben Webster, Dinah Washington, Art Tatum, Shirley Horn, Red Garland. And that’s just a quick look.

This is Rosemary Clooney with the Earl Shelton Orchestra from 1951.

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“In the Sweet Long Ago” – The King’s Orchestra & The Sterling Trio (1916)

A while ago for no particular reason I posted the song that was No. 1 on the Billboard chart on Dec. 7, 1941, the day the Japanese attacked Pearl Harbor (Chattanooga Choo Choo). This made me wonder what the most popular song was in America on the day the U.S. entered WWI, April 2, 1917.

The ability to provide such rankings was rudimentary at the time and had much to do with things like sheet music sales, but one can find some relevant information.

Not surprisingly as the war effort picked up steam songs like “Over There” and “Pack Up Your Troubles in Your Old Kit Bag” would soon make their mark. One with which I was not familiar, “In the Sweet Long Ago,”  hit the charts in April of 1917 and stayed there for five weeks.

Someone has gone to a great deal of trouble to devise a methodology to rank songs of the period. You may want to check that out. Unfortunately, it may not be possible to state definitively that any one song was at No. 1 on a given day prior to 1920. My only claim is that it seems “In the Sweet Long Ago” was becoming popular as American boys started getting used to the idea they would be fighting and perhaps dying on the fields of France.

By the way, The Library of Congress National Jukebox is an amazing resource for historical sound recordings. They provide the following information on this song:

It was recorded below by the King’s Orchestra with vocals by the Sterling Trio (John H. Meyer, Albert Campbell, and Henry Burr) pictured above. The song was written by Arthur Lange and Alfred Solman, words by Bobby Heath. If you really want to dig deep, instrumentation is 2 violins, viola, flute, bass, 2 clarinets, trombone, oboe, bassoon, and 2 cornets. It is categorized as traditional/country and was recorded in New York City on December 11, 1916.

It is rather touching that this song, harkening back to simpler times, would be popular as America entered a war that would change everything.

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“Hip Strut” – Jackie McLean (1959)

“Hip Strut” is the first cut on Jackie McLean’s 1959 album New Soil, on the Blue Note label. Personnel are Jackie McLean (alto sax), Donald Byrd (Trumpet), Walter Davis Jr. (piano), Paul Chambers (bass), Pete LaRoca (drums).

As Steve Huey writes at AllMusic, “New Soil wasn’t the first session Jackie McLean recorded for Blue Note, but it was the first one released, and as the title suggests, the first glimmerings of McLean’s desire to push beyond the limits of bop are already apparent.” The implication here is that McLean’s early recordings as leader were in hard bop, though he later moved in the direction of modal jazz “without abandoning his foundation in hard bop.”

McLean created a lot of high quality music with the biggest names in jazz of his era. But what I find perhaps most interesting about the arc of his career is that, like so many of his contemporaries, he struggled with drug addiction early on but by the mid-1960s was touring internationally and then became a music teacher and drug counselor, and

In 1970 McLean joined the Hartt School of Music (now Hartt School) at the University of Hartford. He helped found the school’s department of African American music in 1980 and served as its first director; the department was renamed the Jackie McLean Institute of Jazz in 2000.

Britannica

In addition, in 1970, he and his wife, Dollie McLean, along with jazz bassist Paul Brown, founded the Artists Collective, Inc. of Hartford, with the mandate of preserving the art and culture of the African Diaspora.

McLean received an American Jazz Masters fellowship from the National Endowment for the Arts in 2001 and numerous other national and international awards. In 2006, he was elected to the Down Beat Hall of Fame via the International Critics Poll. Most impressive, though, may be that McLean was the only American jazz musician to found a department of studies at a university and a community-based organization almost simultaneously, each still in existence. Impressive.

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“Chattanooga Choo Choo” – Glenn Miller & His Orchestra (1941)

220px-Chattanooga3

What, you may ask, was the No. 1 record on December 7, 1941, the day the Japanese attacked Pearl Harbour, precipitating WWII? Why it was “Chattanooga Choo Choo” by Glenn Miller and His Orchestra.

The song was written by Harry Warren (music) and Mack Gordon (words) and was originally featured in the 1941 movie Sun Valley Serenade.

Sun Valley Serenade is the first of the only two movies featuring The Glenn Miller Orchestra (the other is 1942’s Orchestra Wives). Besides “Chattanooga Choo Choo”, other Glenn Miller tunes in the film are “Moonlight Serenade”, “It Happened in Sun Valley”, “I Know Why (And So Do You)”, and “In the Mood”.

Sun

The musical film starred Sonja Henie, John Payne, Glenn Miller, Milton Berle, Lynn Bari, and the Glenn Miller Orchestra as well as dancing by the Nicholas Brothers and Dorothy Dandridge. “Chattanooga Choo Choo” was nominated for an Academy Award for Best Song.

The No. 1 ranking of the song is according to Billboard Magazine and was based on the 10 best selling records of the past week at a selection of national retailers from New York to Los Angeles.

Chattanooga Choo Choo” became the #1 song across the United States on December 7, 1941, and remained there for nine weeks. The flip side of the single was “I Know Why (And So Do You)”, which was actually the A side. Funny how that works.

It was released on the RCA Bluebird label. This is the clip form Sun Valley Serenade.

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