First recorded by Joe Venuti & His Orchestra (1933).
Hit versions by Glen Gray & the Casa Loma Orchestra (US #8 1934), Cab Calloway & His Cotton Club Orchestra (US #7 1934), Duke Ellington & His Orchestra (US #2 1934), Benny Goodman & His Orchestra (US #1 1934), The Benny Goodman Quartet (US #8 1936).
Also recorded by Ethel Waters (1934), Bing Crosby (1956), Sarah Vaughn (1962).
Also recorded (as “Moonglow & Theme from Picnic“) by George Cates (US #4 1956), Morris Stoloff (US #1 1956).
From the wiki: “‘Moonglow’ (also known as ‘Moonglow and Love’) was written in 1933 by Will Hudson and Irving Mills with lyrics by Eddie DeLange. It was first recorded by Joe Venuti & His Orchestra in 1933, with subsequent recordings in the following year by the Duke Ellington Orchestra, Cab Calloway, Glen Gray & the Casa Loma Orchestra, Benny Goodman and his orchestra, Ethel Waters, and Art Tatum. The song has since become a jazz standard, performed and recorded numerous times by a wide array of musical talents.
“In the 1950s a medley of the song and George Duning’s ‘Theme from Picnic‘, orchestrated by Johnny Warrington, became quite popular, especially in instrumental recordings by Morris Stoloff, conductor of the Picnic motion picture soundtrack by the Columbia Pictures Orchestra. Duning wrote the film’s theme to counterpoint ‘Moonglow’. Stoloff’s ‘Moonglow & Theme from Picnic‘ spent three weeks at #1 on the U.S. Billboard Hot 100.
First performed by Ella Logan & Donald Richards (1947).
First recorded by Charley Spivak & His Orchestra (1947).
Hit versions by Margaret Whiting (US #11 1947), Gene Krupa & His Orchestra (US #21 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 spent six weeks on the Billboard music chart in 1947 with her cover recording, from the Margaret Whiting Sings album, peaking at #11.
“Gene Krupa & His Orchestra, with a vocal by Carolyn Grey, also charted in 1947 with an arrangement of ‘Old Devil Moon’.
“Miles Davis recorded a popular instrumental version in 1954 for his Miles Davis Quartet 10″ album that would be reissued two years later, with additional tracks, on the compilation album, Blue Haze, in the new 12″ vinyl LP format.
“Another popular rendition of this song was recorded by Frank Sinatra, who included ‘Old Devil Moon’ on his 1956 Capitol Records LP Songs for Swingin’ Lovers!, an album that peaked at #1 in the UK. Sarah Vaughn and Chet Baker also recorded vocal arrangements for popular albums, released in 1954 and 1958 respectively.”
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’.
First recorded (as “Day Dah Light”) by Edric Conner & The Caribbeans (1952).
Hit versions by The Tarriers (US #4/R&B #14/UK #15 1956), Sarah Vaughn (US #19 1956), Harry Belafonte (US #5/R&B #7/UK #2 1956), The Fontane Sisters (US #13 1957).
From the wiki: “‘Day-O (The Banana Boat Song)’ was originally a Jamaican folk song of unknown title. It was thought to be sung by Jamaican banana workers, with a repeated melody and refrain (call and response); with each set lyric there would be a response from the workers but using many different sets of lyrics, some possibly improvised on the spot.
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