As you saw in the first essays of this series (see the Index under “Singing”), Bee Palmer and Marion Harris recorded vocalese versions of “Singin’ the Blues” well before the early 1950s recordings of Eddie Jefferson, King Pleasure, and Annie Ross. The Delta Rhythm Boys
There also exists a One O'Clock Jump vocalese with Lambert, Hendricks and Ross, where also all the partst of the orchestra were vocaleesed. Don't know their Basie version though
L,H&R are very faithful to the original Basie version heard here. More than the DRB, who use an arrangement that allows a "smoother" harmonized version of the ending.
I will talk briefly about the LH&R version in the next essay. And yes, even in their version of "A Train," the Delta version changes the ending. THANK YOU JAN and STEVE.
Tangentially related to the first few paragraphs. A few years ago, while teaching one of my History of Popular Music classes, I played a Gospel Quartet, I think the Swan Silvertones, followed by the Beach Boys (I don't remember which songs) and then after hearing some surprising similarities created a play list of vocal groups by year from Barbershop/Gospel on up to current Boy Bands and KPop. Any Popular groups with 3-5 singers who are featured and harmonize over about 100+ years. Really wild connections in arrangements, performance, style etc. throughout the years, but also several hours long - so not particularly shareable (Like who really wants to take that ride with me!). Those influences flow strongly through all styles of music.
The Delta Rhythm Boys recording is wonderful. I’ve never heard it before - they were so smooth and hip. The bass solo made me laugh certainly the first bass solo in vocalease . Wouldn’t it be something to do a vocalize on Steve Brown’s bass sort-of-solo in “Dinah” or “My Pretty Girl?
Lambert, Hendricks and Ross did a tribute to bass players in one of their songs, but I don’t recall the title. I do remember they included Mingus. And here is an excerpt from his second Downbeat blindfold Test. You might find it interesting.
Mingus on Lambert, Hendricks and Ross.
“The group? I think they’ll make a lot of money. They’ll always make money—more than I’ll ever make.
(L.F.: Don’t you think the group’s different?)
Different from what? King Pleasure? I heard some little bitty young kids singing like that in Chicago. When Bird first came up, they used to stand up by the jukebox and make up words to the songs. It’s not that original, man. Ten years ago people were doing that. I remember some words the kids wrote for a song of Hamp’s: Bebop’s taking over, oo-wee; better bop while you’re able, see; open your ears, bop’s been here for years"—something like that; and that was 11 or 12 years ago.“
Mingus was always pushing the musical edge and he is correct that he never made much money and, I would say, was never fully appreciated in his lifetime.
Thanks Alan--there are I think two recordings of L,H&R doing that tune. On one, Lambert and Hendricks just scat. On the other, the one you describe, Dave scats freely, then Jon, and then Jon calls out those names. Please know that the rule for LHR was that solos with words were always based on recordings, while open scatting was always just improvised. Jon was doing his "impressions" of these bassists, not copying actual solos. In fact, some of those bassists never recorded "Swingin'," although since it's just a blues, Jon could have found solos to imitate—but only in a general sense. Chambers and Brown did record it, and their solos are nothing like what Jon scats. These are not from recorded bass solos. THANK YOU ALAN!
There also exists a One O'Clock Jump vocalese with Lambert, Hendricks and Ross, where also all the partst of the orchestra were vocaleesed. Don't know their Basie version though
L,H&R are very faithful to the original Basie version heard here. More than the DRB, who use an arrangement that allows a "smoother" harmonized version of the ending.
I will talk briefly about the LH&R version in the next essay. And yes, even in their version of "A Train," the Delta version changes the ending. THANK YOU JAN and STEVE.
Tangentially related to the first few paragraphs. A few years ago, while teaching one of my History of Popular Music classes, I played a Gospel Quartet, I think the Swan Silvertones, followed by the Beach Boys (I don't remember which songs) and then after hearing some surprising similarities created a play list of vocal groups by year from Barbershop/Gospel on up to current Boy Bands and KPop. Any Popular groups with 3-5 singers who are featured and harmonize over about 100+ years. Really wild connections in arrangements, performance, style etc. throughout the years, but also several hours long - so not particularly shareable (Like who really wants to take that ride with me!). Those influences flow strongly through all styles of music.
That is great research! If it is in the form of a Spotify playlist feel free to post the link here. THANK YOU DANIEL!
The Delta Rhythm Boys recording is wonderful. I’ve never heard it before - they were so smooth and hip. The bass solo made me laugh certainly the first bass solo in vocalease . Wouldn’t it be something to do a vocalize on Steve Brown’s bass sort-of-solo in “Dinah” or “My Pretty Girl?
Lambert, Hendricks and Ross did a tribute to bass players in one of their songs, but I don’t recall the title. I do remember they included Mingus. And here is an excerpt from his second Downbeat blindfold Test. You might find it interesting.
Mingus on Lambert, Hendricks and Ross.
“The group? I think they’ll make a lot of money. They’ll always make money—more than I’ll ever make.
(L.F.: Don’t you think the group’s different?)
Different from what? King Pleasure? I heard some little bitty young kids singing like that in Chicago. When Bird first came up, they used to stand up by the jukebox and make up words to the songs. It’s not that original, man. Ten years ago people were doing that. I remember some words the kids wrote for a song of Hamp’s: Bebop’s taking over, oo-wee; better bop while you’re able, see; open your ears, bop’s been here for years"—something like that; and that was 11 or 12 years ago.“
LYM,
Andrew
Very cool--I wish we had a tape of Mingus saying that. Yes, the bass solo is very cool and the singer has a wonderful bass voice too. THANK YOU ANDREW
Mingus was always pushing the musical edge and he is correct that he never made much money and, I would say, was never fully appreciated in his lifetime.
The tune was the Oscar Pettiford's Swingin' 'Til the Girls Come Home.
I first got the Lambert, Hendricks and Bavan LP version.
Later an LHR version was issued on CD.
I've never heard an instrumental version.
After what I would guess was the Oscar Pettiford bass solo, he introduces the solos for Percy Heath, Paul Chambers, Ray Brown and Mingus (his words).
I don't know if there's a source for them.
-Alan
Thanks, Alan, this is very helpful -
Thanks Alan--there are I think two recordings of L,H&R doing that tune. On one, Lambert and Hendricks just scat. On the other, the one you describe, Dave scats freely, then Jon, and then Jon calls out those names. Please know that the rule for LHR was that solos with words were always based on recordings, while open scatting was always just improvised. Jon was doing his "impressions" of these bassists, not copying actual solos. In fact, some of those bassists never recorded "Swingin'," although since it's just a blues, Jon could have found solos to imitate—but only in a general sense. Chambers and Brown did record it, and their solos are nothing like what Jon scats. These are not from recorded bass solos. THANK YOU ALAN!
Props to the DRBs- pioneers of doo-wop AND vocalese!
Absolutely! Thank you David!
Thanks, Alan, this is very helpful -