First recorded by the Irv Carroll & His Orchestra (1941).
Hit version by Louis Jordan & His Tympany Five (R&B #3 1943).
Also recorded by Joe Jackson (1981).
From the wiki: “‘Five Guys Named Moe’ was written by Larry Wynn and Jerry Bresler, and was first recorded in 1941 by the Irv Carroll & His Orchestra. Wynn later explained that the phrase ‘five guys named Moe’ popped into his head one day as he was trying to remember the names of some lesser-known musicians on a recording date with Billie Holiday, Roy Eldridge and Teddy Wilson.
“It was bassist Dallas Bartley who brought the song to the attention of Louis Jordan. Prior to joining Jordan’s band, Bartley had performed ‘Five Guys Named Moe’ while in another band playing at one of Chicago’s transvestite bars, where a deliberately camped-up arrangement of the song proved to be wildly popular. Recorded in July 1942, Jordan’s recording for Decca peaked at #3 on the R&B chart in early 1943, becoming one of his band’s earliest hits and famous signature songs.
Written and first recorded by Hank Williams (B-side C&W #4 1949 |C&W #43 1966).
Other hit versions by B.J. Thomas & the Triumphs (US #8/CAN #2 1966), Charlie McCoy (C&W #23/CAN #21 1972), Terry Bradshaw (C&W #17 1976).
From the wiki: “According to Colin Escott’s 2004 book Hank Williams: A Biography, Williams was inspired to write the song when he saw the title (of a different song) on a schedule of upcoming MGM record releases.
“Music journalist Chet Flippo and Kentucky historian W. Lynn Nickell have each claimed how 19-year-old Kentuckian, Paul Gilley, wrote the lyrics, then sold the song to Williams along with the rights, allowing Williams to take credit for it. They stated that Gilley also wrote the lyrics to ‘Cold, Cold Heart’ and other songs before drowning at the age of 27. However, Williams has stated he wrote the song originally intending that the words be spoken, rather than sung, as he had done on several of his ‘Luke the Drifter’ recordings.
First recorded by The Sons of the Pioneers (US #25 1941).
Other hit versions by Vaughn Monroe & the Sons of the Pioneers (US #9 1948), Frankie Laine & the Mellomen (UK #2 1955).
Also recorded by Bob Dylan & The Band (1967, released 2014), Fleetwood Mac (B-side 1982), The Replacements (B-side 1987).
From the wiki: “‘Cool Water’ was written in 1936 by Bob Nolan, a founding member of the Sons of the Pioneer, and was first recorded by his group in 1941. It briefly charted, peaking at #25 on the Hit Parade. Seven years later, the Sons of the Pioneers would re-record the song with big-band crooner Vaughn Monroe, and it would go on to become the best-selling version charting for 13 weeks on the Billboard chart, peaking at #9.
Written and first recorded by Merle Travis (1946).
Other hit versions by Johnny Desmond (US #17 1955),Tennessee Ernie Ford (US #1/C&W #1/UK #1 1955), Frankie Laine (UK #10 1956).
Also recorded by The Weavers (1955), B.B. “Blues Boy” King and His Orchestra (B-side 1956).
From the wiki: “‘Sixteen Tons’ was written in 1946 by Merle Travis about a coal miner, based on life in the coal mines of Muhlenberg County, Kentucky. First recorded in Hollywood, CA, in 1946, ‘Sixteen Tons’ was released in July 1947 by Capitol on Travis’s album Folk Songs of the Hills, widely regarded as one of Travis’ finest achievements. The album became a gold record.
“According to Travis, the lyric from the chorus, ‘another day older and deeper in debt’, was a phrase often used by his coal miner father. This, and the line ‘I owe my soul to the company store’, are a reference to the truck system and to debt bondage. Under this scrip system, workers were not paid cash; rather they were paid with non-transferable credit vouchers that could be exchanged only for goods sold at the company store. This made it impossible for workers to store up cash savings. Workers also usually lived in company-owned dormitories or houses, the rent for which was automatically deducted from their pay. In the United States the truck system and associated debt bondage persisted until the strikes of the newly formed United Mine Workers and affiliated unions forced an end to such practices in the 1960s.
First performed by Cincinnati Symphony Orchestra, conducted by Aaron Copland (1943).
Hit version by Emerson, Lake & Palmer (UK #2 1970).
From the wiki: “‘Fanfare for the Common Man’ was written on request from Eugene Goossens, music director of the Cincinnati Symphony Orchestra, in response to the US entry into the Second World War. During the First World War, the Cincinnati orchestra had asked British composers for a fanfare to begin each orchestral concert. It had been so successful that Goossens thought to repeat the procedure in World War II but with American composers.
“In 1942, Copland was commissioned by Goossens to write the fanfare. Copland recalled he was inspired by a speech US Vice President Henry A. Wallace had given that spring at the Free World Association in New York City:
“‘Some have spoken of the American Century,’ Wallace proclaimed. ‘I say that the century on which we are entering, the century which will come out of this war, can be and must be the century of the common man.’
Based on “Sunflower” by The Russ Morgan Orchestra (US #5 1949).
Hit versions by Carol Channing (1964), Louis Armstrong (demo recording US #1/MOR #1 1964).
From the wiki: “‘Hello, Dolly!’, the title song from the popular 1964 musical of the same name. was written by Jerry Herman (music and lyrics), who also wrote the scores for many other popular musicals including Mame and La Cage aux Folles.
“In December 1963, a month prior to the show’s opening and cast album release, at the behest of his manager, Louis Armstrong produced a demonstration recording of ‘Hello, Dolly!’ for the song’s publisher to use to promote the show. Hello, Dolly! opened on January 16, 1964 at the St. James Theatre in New York City, and it quickly became a major success (2844 total performances, through December 1970). When the original cast album was released, it topped the Billboard Album chart for seven weeks and was the top Album of the Year on Billboard’s year-end chart.
“As successful as the stage show and title song itself was to become, the song ‘Hello, Dolly!’ became caught up in a lawsuit which could have endangered timely plans for bringing the musical to the silver screen. Mack David, an Academy Award-nominated composer (‘Walk on the Wild Side’, ‘The Ballad of Cat Ballou’) also known for his compositions for television (‘Casper, the Friendly Ghost’), sued for infringement of copyright, because the first four bars of Herman’s show number, ‘Hello, Dolly!’, were the exact same as those in the refrain of David’s song ‘Sunflower’ from 1948. As Herman recounts in his memoirs, he had never heard ‘Sunflower’ before the lawsuit, and wanted a chance to defend himself in court. But, for the sake of those involved in the show and the potential film, he reluctantly agreed to pay a settlement before the case would have gone to trial.
First recorded by The Bunny Berigan Orchestra (1941).
Hit versions Kay Kyser & His Orchestra (US #1 1941), by The Glenn Miller Orchestra (US #6 1942), Vera Lynn (1942), The Checkers (1952), The Righteous Brothers (UK #21 1966).
From the wiki: “So ‘British’ was its diction, imagery and tone, many Americans thought ‘(There’ll Be Bluebirds Over) The White Cliffs of Dover’ was written by an Englishman. Instead, it was composed in 1941 by a couple of Americans, Walter Kent (allegedly based on ‘Over the Rainbow‘) with lyrics by Nat Burton, inspired by an American poem written by Alice Duer Miller and Walter Kent titled ‘The White Cliffs’.
“First introduced on the radio by Kate Smith, the first recorded release of the song was by the Bunny Berigan Orchestra in late 1941. Kay Kyser & His Orchestra topped the Hit Parade with their recording, while Glenn Miller’s recording also charted in the Top-10. There was, for a time in early 1942, fourteen different recordings of ‘White Cliffs of Dover’ vying for public attention. But, the most-famous arrangement was recorded in England by Vera Lynn in 1942, with Mantovani’s orchestra, for Decca Records, becoming one of Lynn’s best-loved recordings and among the most popular World War II tunes, serving to uplift civilian morale at a time when Great Britain ‘stood alone’ against Nazi Germany.
“Symbolically, the White Cliffs of Dover are a guardian and protector of the English, a symbol of England’s strength against potential enemies and a reassuring sight to returning travelers. The lyrics refer to the RAF and RCAF fighter pilots (in their blue uniforms) as ‘bluebirds’ (although bluebirds are not native to Europe, and are not migratory) and expresses confidence that they would prevail. Notable phrases include ‘Thumbs Up!’, which was an RAF and RCAF term for permission to go, and ‘flying in those angry skies’ where the air war between Great Britain and Germany was taking place. The lyrics also looked towards a time when the war would be over and peace would rule over the iconic white cliffs of Dover, Britain’s symbolic border with the European mainland.
“Post-war, The Checkers’ 1953 R&B treatment of ‘White Cliffs of Dover’ was a Top-5 hit in Los Angeles but did not chart nationally. In 1966 the Righteous Brothers reached #21 in the UK with their cover version of ‘White Cliffs of Dover’.”
First recorded by Alvino Rey & His Orchestra (US #1 Feb 1942).
Also performed by Gene Autry (1942).
Other hit versions by Ted Weems & His Orchestra with Perry Como (US #23 Feb 1942), Bing Crosby with Woody Herman & His Woodchoppers (US #3 March 1942), Horace Heidt & His Musical Knights (US #7 March 1942), The Merry Macs (US #11 March 1942), Duane Eddy (US #78/UK #19 1962).
Also recorded by Gene Autry (1944), Bob Wills (1955), Ray Charles (1960).
From the wiki: “‘Deep in the Heart of Texas’ was written by June Hershey with music by Don Swander, with a title taken from a movie Western of the same name starring Tex Ritter. (The song was not performed in that particular movie, but would make an appearance in the Western movie Heart of the Rio Grande, released in 1942, sung by movie cowboy Gene Autry.)
“The first recording was by Alvino Rey and his orchestra, on November 21, 1941. It first charted in early 1942, eventually spending five weeks at #1 on the Hit Parade. The song was covered by Ted Weems & His Orchestra (with Perry Como on vocals) on December 9, 1941 for Decca Records, also released in early 1942 as the flip-side to ‘Ollie Ollie Out’s in Free’.
First performed by Cliff Edwards (1940).
Hit versions by Cliff Edwards (US #1 1940), Glenn Miller & His Orchestra (US #1 1940), Guy Lombardo & His Royal Canadians (US #4 1940), Dion & the Belmonts (US #30 1960), Linda Ronstadt (MOR #32 1986).
Also recorded by Mary J. Blige, Barbra Streisand & Chris Botti (2013).
From the wiki: “‘When You Wish Upon a Star’ was written by Leigh Harline and Ned Washington for Walt Disney’s 1940 animated adaptation of Pinocchio. The song won the 1940 Academy Award for Best Original Song, and was also the first Disney song to win an Oscar. It has since become the representative song of The Walt Disney Company (e.g., the ships of the Disney Cruise Line use the first seven notes of the song’s melody as their horn signals).
“The original version was sung by Cliff Edwards (‘Singin’ in the Rain‘) in the character of Jiminy Cricket, and is heard over the opening credits and in the final scene of Pinocchio. Edwards’ original recording for ‘Pinocchio’ won the 1940 Academy Award for Best Song. The American Film Institute ranked ‘When You Wish Upon A Star’ seventh in their 100 Greatest Songs in Film History, the highest-ranked Disney animated film song.
First performed and recorded by David Brooks & Marion Bell (1947).
Hit versions by Mildred Bailey (US #21 1947), Mary Martin (US #21 1947), Frank Sinatra (US #20 1947), Gene Kelly, (1954), Michael Johnson (US #32/MOR #4 1978).
Also recorded by Lester Young (1952), Nat “King” Cole (1953), Frank Sinatra (1961), Shirley Bassey (1979).
From the wiki: “‘Almost Like Being in Love’ was written by the songwriting team of Frederick Loewe and Alan Jay Lerner in 1947, for the musical Brigadoon. The song was first performed on Broadway and recorded by David Brooks and Marion Bell from the original cast. It would later be performed by Gene Kelly in the 1954 film version of Brigadoon.
“Mildred Bailey first charted ‘Almost Like Being in Love’ in 1947, along with an equally-popular cover by Mary Martin. Frank Sinatra recorded two popular versions: first in 1947 and, again, in 1961 for the album Come Swing With Me, the version generally heard today. Lester Young’s instrumental cover was released in 1952; Nat ‘King’ Cole recorded his version in 1953, a recording used years later, in 1993, for the soundtrack of Groundhog Day.
“‘Almost Like Being in Love’ was revived, as a downbeat ballad, in 1978 by singer Michael Johnson. British singing sensation Shirley Bassey covered Johnson’s arrangement in 1979.”
First performed and recorded by Bing Crosby (US #1 1944).
Other hit versions by Big Dee Irwin & Little Eva (US #38/UK #7 1963), Spooky & Sue (NL #2 1974).
From the wiki: “The Pop standard ‘Swinging on a Star’ was composed by Jimmy Van Heusen with lyrics by Johnny Burke, and was first introduced by Bing Crosby in the 1944 film Going My Way, winning an Academy Award for Best Original Song that year.
“Composer Van Heusen was at Crosby’s house one evening for dinner, to discuss a song for the movie. During a meal with the family, one of the children began complained about how he didn’t want to go to school the next day. Crosbyr turned to his son and said to him, ‘If you don’t go to school, you might grow up to be a mule. Do you wanna do that?’
First performed by Ella Logan & Donald Richards (1947).
First recorded by Charley Spivak & His Orchestra (1947).
Hit version by Margaret Whiting (US #11 1947).
Also recorded by Miles Davis (1954), Sarah Vaughn (1954), Frank Sinatra (1956), Chet Baker (1958)
From the wiki: “‘Old Devil Moon’ was composed by Burton Lane, with lyrics by E.Y. Harburg, for the 1947 musical Finian’s Rainbow. It was introduced on stage by Ella Logan and Donald Richards. It was first recorded for commercial release by Charley Spivak & His Orchestra; singer Margaret Whiting topped the US Hit Parade in 1947 with her cover recording, from the Margaret Whiting Sings album.
“Another popular rendition of this song was recorded by Frank Sinatra, who included ‘Old Devil Moon’ on his 1956 Capitol Records album Songs for Swingin’ Lovers! which peaked at #1 in the UK. Sarah Vaughn, and Chet Baker also recorded popular vocal arrangements. Miles Davis recorded a popular instrumental version in 1954 for the Blue Haze album.”
First recorded by Lead Belly (1940).
Also recorded by Woody Guthrie (1944), Lonnie Donegan (1956), The Weavers (1960), John Herald & The Greenbriar Boys (1961).
Hit version by Peter, Paul & Mary (US #35/MOR #17 1963).
From the wiki: “There are two major but different arrangements of the sporting ballad, generally titled either ‘Skewball’ or ‘Stewball’; the latter spelling is more popular in America. Versions date at least as far back as the 18th century. In most versions of ‘Stewball’ the winning horse triumphs due to the stumbling of the lead horse; ‘Skewball’ wins simply by being the faster horse in the end. The oldest broadside identified with the ballad is dated 1784 and is held by the Harding Collection of the Bodleian Library of the University of Oxford. The song spread to America by 1829 when it was published in a songbook in Hartford. American versions were sung and adapted by slaves in the Southern United States, and have ‘Stewball’ racing in California, Texas, or Kentucky.
First recorded by Dinah Shore (1949).
Hit versions by Jo Stafford (US #14 1950), Harry Belafonte & Millard Thomas (UK #18 1957), The Browns (US #13 1959).
From the wiki: “‘Scarlet Ribbons (For Her Hair)’ is a popular song. The music was written by Evelyn Danzig, with lyrics by Jack Segal, in only 15 minutes in 1949 at Danzig’s home in Port Washington, New York after she invited lyricist Segal to hear the music. The first Recordings of the song by Dinah Shore and Juanita Hall in 1949 made no great impression but, in 1950, Jo Stafford’s recording breached the US Top 20. In 1952, Harry Belafonte, at his third session for RCA Records, covered the song with an arrangement using only his guitarist Millard Thomas and male vocal group. After receiving continually good responses in concert, Belafonte’s four-year-old recording finally became a success in 1956 after it appeared on his second album which reached #1 on Billboard’s album chart for six weeks. Belafonte’s recording also reached the UK Top 20 in late 1957.
“The most successful recording of ‘Scarlet Ribbons (For Her Hair)’ in the USA was recorded b The Browns, who reached #13 on the Billboard Hot 100 in December 1959. ‘Scarlet Ribbons’ has since become a standard with many recorded versions and has appeared on several Christmas albums.”
First recorded by Louis Jordan & His Tympany Five (R&B #1 1945).
Other hit versions by Erskine Hawkins (US #12/R&B #2 1945), Woody Herman & His Orchestra (US #2 1945), James Brown (US #95 1964).
Also recorded by Champion Jack Dupree (1967), B.B. King (1971).
From the wiki: “‘Caldonia’ is a jump-blues song, written by Louis Jordan (but crediting his then-wife, Fleecie Moore, for tax-evading purposes) and first recorded in 1945 by Louis Jordan & His Tympany Five. The lyrics may have been inspired by a real character: a tall Crescent City drag queen wearing oversized shoes.
“A cover version by Erskine Hawkins (‘Tuxedo Junction‘), also released in 1945, was described by Billboard magazine as ‘rock and roll’, the first time that phrase was used in print to describe any style of music. Woody Herman and his orchestra also covered ‘Caldonia’ in 1945, arranged by the young Neal Hefti, with Herman singing the lead vocal.
Written and first recorded (as “Hey Lolly Lolly”) by Woody Guthrie (1944, released 1952).
Also recorded by Pete Seeger (as “Hey Li-Lee”, 1954), The Vipers Skiffle Group (sa “Hey Liley Liley Lo”, 1957), The Limeliters (as “Hey Li Lee Li Lee”, 1961).
Hit version by Chubby Checker (US #12/R&B #4 1963).
From the wiki: “Woody Guthrie recorded a version of “Hey Lolly Lolly” in 1944 which was not released until 1952. Pete Seeger recorded ‘Hey Li-Lee’ in 1954 but the song did not first gain wide familiarity until The Limeliters recorded their variation, ‘Hey Li Lee Li Lee’, during the early ’60s Folk music revival. Chubby Checker further adapted the song, recording ‘Hey Lolly Lolly’ in 1963 and going Top 20 with it on the Billboard Hot 100 and Top 5 US R&B charts.”
First recorded by Bing Crosby (US #12 1946).
Other popular versions by Ethel Merman & Ray Middleton (1946), Frank Sinatra (US# 2 1946), Perry Como (US #4 1946)
From the wiki: “‘They Say It’s Wonderful’ was written by Irving Berlin for the musical Annie Get Your Gun (1946), where it was introduced on Broadway by Ethel Merman and Ray Middleton. The song was first recorded and released on a 78 rpm by Bing Crosby in 1946, a version that say modest chart success. Merman and Middleton released a recorded ‘cast’ version later in 1946. Frank Sinatra and Perry Como both charted in 1946 with covers of ‘They Say It’s Wonderful’.
“In 1979, Merman recorded a ‘camp’ version for The Ethel Merman Disco Album but it was not released until issued as a bonus track on the CD reissue in 2002.”
First recorded by Jimmy Preston & His Prestonians (R&B #6 1949).
Also recorded by Bill Haley & His Saddlemen (1952).
Other hit version by Bill Haley & His Comets (UK #20 1957).
From the wiki: “‘Rock the Joint’, also known as ‘We’re Gonna Rock This Joint Tonight’, is a boogie song first recorded by various proto-Rock and roll singers, most notably by Jimmy Preston and Bill Haley. Preston’s original 1949 version has been cited as a contender for being ‘the first Rock and roll record’; Haley’s 1952 recording is widely considered to be one of the first Rockabilly records (along with Haley’s cover of ‘Rocket 88‘).
“The song’s authorship is credited to Harry Crafton, Wendell ‘Don’ Keane, and Harry ‘Doc’ Bagby (who were musicians contracted to the Gotham label in New York, owned by Ivin Ballen). The song was influenced by earlier R&B recordings such as Wynonie Harris’ 1948 R&B hit ‘Good Rockin’ Tonight‘. Label owner Ballen passed the song on to Jimmy Preston, fresh off a hit with ‘Hucklebuck Daddy’ in 1949, who, with his Prestonians, recorded ‘Rock the Joint’ in Philadelphia in May 1949. Preston’s recording charted R&B Top 10 in 1949.
First recorded by Hank Snow (1949).
Hit versions by Lonnie Donegan (1956), Tony Sheridan & the Beat Brothers (1961 |B-side US #19/UK #29 1964), Karen Young (UK #6 1969), Hank Williams Jr. (C&W #46 1969), The Traveling Wilburys (UK #44 1990).
From the wiki: “‘Nobody’s Child’ was written by Cy Coben and Mel Foree and was first recorded by Hank Snow in 1949, becoming one of his standards although it did not chart for him. The song lyrics are about an orphan whom no one wants to adopt because he is blind, and has been covered a number of times in the UK. It was on Lonnie Donegan’s first album in 1956 (which went to #2 as an album in the UK). It was covered by Tony Sheridan & the Beat Brothers (The Beatles) in 1961 in Hamburg and was used as the B-side to both the ‘Ain’t She Sweet’ and ‘Sweet Georgia Brown‘ singles when released in 1964 as part of Beatlemania. (Beatle George Harrison was also one of the Wilburys twenty-five years later.) In 1969, Karen Young again charted the song in the UK.
“In the US, Hank Williams Jr. recorded a version of ‘Nobody’s Child’ that made it to #46 on the US Country charts in 1969. The Traveling Wilburys’ cover recording made it to #44 on the UK charts as the lead promotional single from the benefit album Nobody’s Child: Romanian Angel Appeal released in July 1990.”
First recorded by Bob Crosby with Marion Mann (1940).
Hit versions by Tommy Dorsey & His Orchestra (US #17 1940), Tony Martin (US #16 1940), The Glenn Miller Orchestra (US #1 1940), Billy Eckstine (R&B #6 1949), Brook Benton (US #24/R&B #5 1960), Etta James (US #87 1962), Ricky Nelson (US #12/R&B #24/UK #12 1963).
From the wiki: “‘Fools Rush In’ was written in 1940 by lyricist Johnny Mercer with music by Rube Bloom. First recorded by the Bob Crosby orchestra with Marion Mann, major hits at the time of introduction were recorded by Tony Martin, Glenn Miller with Ray Eberle, and Tommy Dorsey with Frank Sinatra. It was also recorded by Billy Eckstine. In the 1960s, ‘Fools Rush In’ saw a resurgence of popularity, resulting in charted remakes in 1960-61 (Brook Benton), 1962 (Etta James), and 1963 (Ricky Nelson).”
First recorded by Freddy Martin & His Orchestra (US #7 1946).
Other hit version by B. Bumble & the Stingers (US #21 1961).
From the wiki: “Earl Palmer, René Hall and Plas Johnson were the house band at Rendezvous Records. According to Palmer, the three friends ‘always talked about how we could make some money and not leave the studio. One day I said, ‘Let’s do a rock version of ‘In the Mood”.’ The single, credited to the Ernie Fields Orchestra, became a hit, peaking in the US Top 5 in early 1960. Hall then came up with the idea for B. Bumble and the Stingers, taking the same approach to a piece of classical music. Pianist Jack Fina was approached. His 1946 swing arrangement of Rimsky-Korsakov’s ‘Flight of the Bumble Bee’ for Freddy Martin and his Orchestra, titled ‘Bumble Boogie’, had reached #7 on the Pop charts and was later used in the 1948 Walt Disney animated film Melody Time.
“Using Fina’s arrangement, producer Kim Fowley recorded pianist Ernie Freeman on two tracks, one using a grand piano for the rhythm part, while the other track featured a ‘tack piano’ – a modified upright piano with tacks attached to the hammers that created a tinny ‘honky tonk’ sound. The other musicians on the session, at Gold Star Studios, included Wrecking Crew regulars: Palmer on drums, Red Callender on bass, and Tommy Tedesco on guitar.”
First recorded (as “Mary Anne”) by Roaring Lion (1946).
Hit versions by Terry Gilkyson & The Easy Riders (US #4 1957), The Hilltoppers (US #3 1957).
From the wiki: “‘Mary Ann’ was composed by Calypso artist Roaring Lion (Raphael De Leon) and was popular with steelbands and revelers during a spontaneous Carnival celebration on V-J Day in Trinidad in 1945, at the end of World War II. From a young age, Lion had became known for his skill in creating calypsos, particularly in his ability to extemporize lyrics on any subject. His career officially began in 1924; he cut his first sides in his late teens.
“Lion recorded extensively between the 1930s and 1950s (‘If You Wanna Be Happy‘), and was one of the calypsonians who deserves the most credit for the increasing international popularity of the genre during this period. In March 1934 the Trinidadian phonograph merchant Eduardo Sa Gomes sent Lion and fellow calypsonian Attila The Hun (Raymond Quevedo) to New York to record; they became the first calypsonians to record abroad. On that trip Lion also entertained the President of the United States – President Franklin D. Roosevelt – at the Waldorf Astoria in New York. (FDR would also visit Trinidad in 1936, where he would again be entertained by Lion and Atilla.)
Written and first recorded (as the instrumental “Never No Lament”) by Duke Ellington (1940).
Hit versions by Glen Gray & His Casa Loma Orchestra (US #7 1943), Duke Ellington (US #8/R&B #1 1943), The Ink Spots (US #2/R&B #1 1943).
From the wiki: “‘Don’t Get Around Much Anymore’ is a Jazz standard by Duke Ellington. The tune was originally called ‘Never No Lament’ and was first recorded by Ellington in 1940 as a Big-band instrumental. Bob Russell’s lyrics and the new title were added in 1942. Two different recordings of ‘Don’t Get Around Much Anymore’, one by The Ink Spots and the other, an instrumental, by Ellington’s own band, reached #1 on the R&B chart in the US in 1943. Both were Top-10 Pop records, too, along with a #7 hit by Glen Gray & His Casa Loma Orchestra, with the Ink Spots’ recording charting highest on the Pop chart.”
First recorded (as “Interlude”) by Sarah Vaughn w/ The Dizzy Gillespie Septet (1944).
Also recorded by The Boyd Raeburn Orchestra (1944).
“Night in Tunisia” first recorded by Dizzy Gillespie (1945).
Also recorded by The Charlie Parker Septet (1946), Dizzy Gillespie & Charlie Parker (1949), and Miles Davis (1955).
From the wiki: “Dizzy Gillespie began writing the then-unnamed tune while he was performing with Benny Carter in New York in 1942. During a break in a show, Gillespie composed the basics of the song on piano. According to To Be or Not to Bop: Memoirs of Dizzy Gillespie, Dizzy was sitting at the piano playing chord progressions when he noticed the notes of the chords formed a melody with a Latin/Oriental feel. Adding a Bebop-style rhythm to the melody, Gillespie came up with what would become ‘Night in Tunisia’.
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