Everyone Is Saying Hello Again the Ink Spots 45worlds

Knuckles Ellington: selected songs, 1927-1953

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• Knuckles Ellington index (for this site)
• slide show and gallery
• selected songs, 1927-1953 (this page)
• biography
• short films and film clips, 1929-35

A list of songs included in this cursory survey of standards introduced past Duke Ellington follows. All were hits.Full credits are provided further down, with the recordings, or on separate characteristic pages. See the footnote regarding omissions.*

1927 – East St. Louis Toodle-Oo
1927 – Black and Tan Fantasy
1927 – Creole Honey Call
1929 – The Mooche
1930 – Mood Indigo
1930 – Rockin' in Rhythm
1932 – It Don't Mean a Thing (If It Ain't Got That Swing)
1933 – Sophisticated Lady
1935 – In a Sentimental Mood
1936 – Caravan
1938 – Prelude to a Osculation
1938 – I Let a Song Get out of My Heart
1940 – Cottontail
1941 – Take the A Railroad train (w. and m. Billy Strayhorn)
1941 – Perdido (chiliad. Juan Tizol)
1941 – I Got It Bad (and That Ain't Good)
1942 – Don't Become Around Much Anymore
1943 – Come up Dominicus
1943 – Practise Nothin' till You Hear from Me
1953 – Satin Doll

• selected songs (divide pages):
  • 1930 – Mood Indigo
  • 1930 – Rockin' in Rhythm
  • 1932 – It Don't Mean a Thing (If It Own't Got That Swing)
  • 1933 – Sophisticated Lady
  • 1935 – In a Sentimental Mood
  • 1936 – Caravan
  • 1938 – Prelude to a Osculation
  • 1938 – I Let a Song Go Out of My Middle
  • 1941 – Have the "A" Train
  • 1943 – Come Dominicus
  • 1943 – Do Nothin' Till You Hear From Me

1927

Eastward St. Louis Toodle-Oo (m. Duke Ellington, Bubber Miley)

Knuckles Ellington & His Kentucky Club Orchestra — recorded in New York on 14 March 1927 (Brunswick 3480), b/west Birmingham Breakdown (Ellington) — See also: The 1927 Dooji  Collection: Ellington 78 rpm labels

musicians: Louis Metcalf, Bubber Miley, t; Joe Nanton, tb; mayhap Prince Robinson, cl, ts; possibly Edgar Sampson, every bit, cl; Otto Hardwick, as, cl, ss, bs, bsx; Duke Ellington, p; Fred Guy, bj; Mack Shaw, bb; Sonny Greer, d.

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According to Cherry-red Hot Jazz Archive (redhotjazz.com, defunct every bit of April 2020), in 1924 Duke Ellington's early on band The Washingtonians had their first recording session, which produced the two sides Choo Choo (Gotta Hurry Home) and Rainy Nights (Rainy Days). Soon after Irving Mills became the band'southward manager and publisher in 1926 the ring broke through to the large time. A major cistron in the band's leap into the limelight in 1927 was becoming the house band at the Cotton Club, a task that King Oliver had turned down. Also in 1927, they re-recorded versions of East St. Louis Toodle-Oo and recorded the debuts of two other songs associated with Ellington throughout his long career, Blackness and Tan Fantasy and Creole Dearest Call.

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(higher up) Arthur Whetsol, Fredi Washington, and Duke Ellington in the opening scene of the curt film Blackness and Tan (1929)

(higher up) Duke Ellington and his Orchestra at the Cotton Society, with dancers, from Blackness and Tan (1929)

(beneath) featured dancers in Black and Tan (1929) — left: Fredi Washington; correct: The V Hot Shots

Black and Tan Fantasy (one thousand. Duke Ellington, Bubber Miley)

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Creole Honey Telephone call (Duke Ellington) – 26/x/27, Camden, NJ – Duke Ellington, p, a, dir. Bubber Miley, Louis Metcalf t / Joe Nanton, tb / Otto Hardwick, ss, every bit, bar / Harry Carney, cl, as, bar / Rudy Jackson, cl, ts / Fred Guy, bj / Wellman Braud, sb / Sonny Greer, d. Adelaide Hall, 5.

Regarding composition credit, Wikipedia says:

Ellington starting time recorded it in 1927 and was issued a copyright for information technology as composer the following year. However the master melody appears before in the Joe "Rex" Oliver composition "Camp Coming together Blues" which Oliver recorded with his Creole Jazz Band in 1923. Plainly Ellington reedman Rudy Jackson had presented the melody to Ellington claiming it was his own limerick.

Subsequently Ellington'due south recording came out, Joe Oliver attempted to sue for payment of royalties and composer credit. The lawsuit failed due to problems with Oliver'south original paperwork resulting in Oliver not holding a valid copyright. Ellington fired Jackson over the incident, bringing in Barney Bigard as his replacement.

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1929

The Mooche (Ellington, Irving Mills)

.RA sound files from redhotjazz.com (correct-click on a title link to download a file):

• 1. Duke Ellington and his Orchestra — 1 October 1928 The Mooche (Okeh) — Jazz.com credits the vocals on a recording of this appointment to Babe Cox, though it sounds similar Adelaide Hall to me.
• ii. Knuckles Ellington and his Cotton Club Orchestra – 17 October 1928 The Mooche (Brunswick 4122). No vocal.
• three. Duke Ellington and his Cotton fiber Club Orchestra – 30 October 1928 The Mooche (Victor Five-38034-A). No vocal. Prominent use of bongos.

I will try to find embeddable sound files of the above recordings. Annal.org might have them.

Duke Ellington and his Orchestra, vocal: Infant Cox(?)- ane October 1928

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(beneath) Duke Ellington and his Orchestra — from the 1952 Snader telescription The Mooche, with introduction past Willie Bryant added later on for Rock 'due north' Scroll Revue (1955)

In its review of Knuckles Ellington Soundies and Snader telescriptions, Weird Wild Realm Picture show Reviews says,

Two more Ellington telescriptions were spliced into the feature film release Rock & Ringlet Revue (1955) & reviewed on that page; namely they're The Mooche (1952) mispelled [sic] "Mooch" on the title card, & Louie Bellton'due south The Hawk Talks (1952). They were also part of Start at the Apollo: Revue in Rhythm (1955).

On the page roofing Rock 'n' Curl Revue, misspelled Stone & Roll Review, Weird Wild Realm says,

The first human activity Willie [Bryant] introduces is Duke Ellington, a Snader telescription of The Mooche (1952; on the original Snader release, the title card mispells [sic] this The Mooch). This is a unique arrangement of what was for Duke an often-redone classic instrumental in honor of New Orleans.

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1930

Mood Indigo (Barney Bigard, Duke Ellington, Irving Mills)

Visit our divide characteristic page:

• Mood Indigo

Rockin' in Rhythm (Harry Carney, Irving Mills, Edward Ellington)

Separate feature folio:

• Rockin' in Rhythm

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1932

Information technology Don't Mean a Affair (If Information technology Ain't Got That Swing) – (thou. Duke Ellington, due west. Irving Mills)

Wikipedia excerpt:

The music was written and arranged by Ellington in August 1931 during intermissions at Chicago's Lincoln Tavern and was first recorded by Ellington and his orchestra for Brunswick Records (Br 6265) on February ii, 1932. Ivie Anderson (photos to a higher place and below) sang the vocal and trombonist Joe Nanton and alto saxophonist Johnny Hodges played the instrumental solos. The title was based on the oftentimes stated credo of Ellington'south former trumpeter Bubber Miley, who was dying of tuberculosis. The vocal became famous, Ellington wrote, "as the expression of a sentiment which prevailed among jazz musicians at the time." Probably the first song to use the phrase "swing" in the championship, it introduced the term into everyday language and presaged the swing era by iii years. The Ellington ring played the song continuously over the years and recorded information technology numerous times, most often with trumpeter Ray Nance as vocalist.

Split feature folio:

• It Don't Mean a Thing (If It Ain't Got That Swing)

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Knuckles Ellington and his Orchestra, Ivie Anderson vocals – 1932

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1933

Sophisticated Lady (m. D.Ellington, westward. I.Mills and Mitchell Parish)

Separate feature page:

• Sophisticated Lady

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1935

In a Sentimental Mood (m. Knuckles Ellington, w. Irving Mills and Manny Kurtz)

Separate feature page:

• In a Sentimental Mood

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1936

Caravan (one thousand. D.Ellington and Juan Tizol, w. Irving Mills)

Separate characteristic page:

• Caravan

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1938

Prelude to a Osculation (thou. Duke Ellington, due west. Irving Gordon, Irving Mills)

Dissever feature page:

• Prelude to a Kiss

Jazzstandards.com notes that Ellington recorded the song twice in Baronial 1938, first with his orchestra on the 9th and so on the 24th with Johnny Hodges and his Orchestra. The Hodges orchestra was composed of members of the Ellington band including Duke himself. Strangely, I haven't found a unmarried version by Ellington in video searches. But I will try to postal service at to the lowest degree an audio track every bit before long as possible.

Billie Holiday – Session #73 Los Angeles 23 August 1955 — Billie Holiday & Her Orchestra (Verve) — Harry 'Sweets' Edison (tp) Benny Carter (as) Jimmy Rowles (p) Barney Kessel (g) John Simmons (b) Larry Bunker (d) Billie Vacation (v) . As usual the credits come up from the site billieholidaysongs.com.

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I Let a Song Go Out of My Eye (m. D. Ellington, due west. I. Mills, Henry Nemo, John Redmond)

Separate feature folio:

• I Let a Vocal Get out of My Heart

1940

Cottontail (w.m. D. Ellington and Jon Hendricks)

1941 Soundie made by R.C.M. Productions, titled Hot Chocolate:

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1941

Take the A Train (w.m. Billy Strayhorn)

Split feature page:

• Take the "A" Train

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Perdido (Juan Tizol)  – Lyrics, by Ervin Drake and Hans January Lengsfelder, added in 1944 were seldom included in Ellington arrangements.

Knuckles Ellington and his Orchestra — 1964 Goggle box special, London

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I Got It Bad (and That Own't Good) – thousand. Duke Ellington, west. Paul Francis Webster

links:

• Wikipedia
• JazzStandards.com
• SecondHandSongs.com
• Songfacts.com

Knuckles Ellington and his Orchestra, vocal by Ivie Anderson— recorded on 26 June 1931; issued on Victor 27531, b/w "Chocolate Shake" — issued in the United kingdom of great britain and northern ireland on HMV B.9252, c/due west "Chocolate Shake" (gramophone.co, rainerjazz.com, 45worlds.com)

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1942 Soundie, I Got It Bad and That Ain't Good

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1942

Don't Go Around Much Anymore (1000. D.Ellington, w. Bob Russell)

According to Wikipedia, the composition was originally titled Never No Lament and was first recorded by Ellington in 1940 as a big ring instrumental, and the championship was replaced when Russell'southward lyrics were added in 1942. Some reissues of the 1940 instrumental recording (see the label on the right, beneath) bear the championship Don't Get Around Much Anymore (Never No Complaining) and include the co-songwriting credit to lyricist Bob Russell.

The Ink Spots, Glen Gray, and Knuckles Ellington each had hits with 1943 recordings. Notwithstanding, Ellington's striking was a re-release of the 1940 instrumental. According to JazzStandards.com he didn't cut a vocal version until a 1947 recording with vocalist Al Hibbler; but the single failed to nautical chart.

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Duke Ellington and his Orchestra — recorded on 4 May 1940; issued in June 1940 under the original championship "Never No Lament" on the 78 rpm single Victor 26610, b/w "Cotton Tail" — Co-ordinate to 45Worlds.com, in April 1943, Victor 26610 was reissued with the A-side retitled "Don't Get Around Much Anymore (Never No Lament)."

Never No Lament — issued in June 1940

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Don't Become Around Much Anymore (Never No Lament) — issued in April 1943

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The Ink Spots —  recorded on 28 July 1942; issued on the single Decca 18503, as the B-side of "Street of Dreams"

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Nat King Cole – recorded x July 1957, at Capitol Recording Studio, Hollywood; released on the 1957 LP But One of Those Things, with Billy May: arranger and usher

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1943

Come Sunday (Duke Ellington) — from the 1958 Ellington LP, Blackness, Brown and Beige

Split up feature page:

• Come Sunday

Do Nothin' till You Hear From Me (thou. D.Ellington, w. Bob Russell)

Separate feature page:

• Exercise Nothin' Till Yous Hear From Me

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1953

Satin Doll (yard. Duke Ellington and Baton Strayhorn, due west. Johnny Mercer)

Knuckles Ellington and his Orchestra — date unknown

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* On omissions: Some popular standards have been omitted (e.thou. "In a Mellow Tone," 1940). Also, a few of the songs listed to a higher place and other standards have been and may remain omitted from feature pages ("Cottontail," 1940; "Perdido," 1941). This is done primarily with the intent to keep the focus on what I call Songbook standards.

loftonwerom1972.blogspot.com

Source: https://songbook1.wordpress.com/fx/si/sw/composers-and-lyricists/duke-ellington-2/duke-ellington-a-selection/

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