When Your Lover Has Gone

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When Your Lover Has Gone (Einar Aaron Swan)

From the Wikipedia profile of the songwriter:

Einar Swan-1926-with-members-of-Vincent-Lopez-Sax-Section-c1-d40Einar Aaron Swan (born Einar (Eino) William Swan) (March 20, 1903 – August 8, 1940) was an American musician, arranger and composer. Born of Finnish parents who had emigrated to the United States at the turn of the century, he was the second of nine children.

Born in Massachusetts, his father was a keen amateur musician and before Einar Swan had entered his teens, he played violin, clarinet, saxophone and piano. At the age of 16 he was already playing in his own dance band, Swanie’s Serenaders, and travelling around Massachusetts for three years. Swan’s main instrument had been the violin but during this period he switched to alto saxophone.

Around 1924, the bandleader Sam Lanin invited Swan to join his orchestra at New York’s famed Roseland Ballroom, and Swan played with leading musicians such as cornettist Red Nichols, and members of The Charleston Chasers Vic Berton (drums) and Joe Tarto (tuba), with whom he soon started composing and arranging material for the orchestra. He also started arranging for the other resident band at the Roseland Ballroom, Fletcher Henderson’s orchestra.

After five months with Lanin, Swan joined Vincent Lopez’s band in 1925 and went on tour to England. The band at that time also featured Mike Mosiello, Xavier Cugat and his old bandmate Joe Tarto.1931-When-Your-Lover-Has-Gone-(Swan)-1 Shortly thereafter, the Bar Harbor Society Orchestra released “Trail of Dreams” credited to Swan and Klage.

Around 1930 Swan stopped working as a musician and concentrated on arrangements, starting to work for radio programmes and bandleaders such as Eddie Cantor collaborator Dave Rubinoff and Raymond Paige.

In 1931 he wrote “When Your Lover Has Gone” which was featured in the James Cagney film Blonde Crazy (1931). The song became a hit and has since been covered by many other performers such as Lee Wiley, Louis Armstrong, Ethel Waters, Billie Holiday, Sarah Vaughan and Frank Sinatra.

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Gene Austin – 78 rpm single Victor 22635, c/w Please Don’t Talk About Me When I’m Gone, recorded 5 February 1931

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The Charleston Chasers  —  recorded in New York on  9 February 1931; issued as Columbia 2404-D, b/w Walkin’ My Baby Back Home (m. Fred Ahlert, w. Roy Turk)

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louis armstrong 02

Louis Armstrong and his Orchestra — recorded in Chicago on 29 April 1931 (source: The Louis Armstrong Discography at michaelminn.net); released as Okeh 41498, c/w Blue Again (m. Jimmy McHugh, w. Dorothy Fields)

Armstrong, Louis (Trumpet, Vocal)
Randolph, Zilner (Trumpet)
Jackson, Preston (Trombone)
Boone, Lester (Clarinet, Alto Saxophone)
James, George (Reeds)
Washington, Albert (Clarinet, Tenor Saxophone)
Alexander, Charlie (Piano)
McKendrick, Mike (Banjo, Guitar)
Lindsay, John (Bass)
Hall, Tubby (Drums)

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Te quiero dijiste / Magic is the Moonlight

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Te quiero dijiste (María Grever) — aka Muñequita linda (cute little doll)

IMDb dates the composition 1929. In 1944, the song was used with the original Spanish lyric in the Esther Williams film Bathing Beauty, performed by Carlos Ramírez with The Xavier Cugat Orchestra. With an English lyric written by Charles Pasquale, the song acquired the second title, Magic is the Moonlight. According to IMDb, in addition to the Cugat and Ramírez performance, the song was played during the opening credits, whistled by Red Skelton, and appeared often in the score. It’s not clear to me whether the English lyric was used in the film at all, though the sheet music cover below suggests that the English lyric was published or republished around the time the film was released.

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Selected Te quiero dijiste / Magic is the Moonlight recordings and live performances:

Alfonso Ortiz Tirado — 1930

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Rosita Serrano — The “Chilean Nightingale” — 1938

Excepts from the Wikipedia profile,

Rosita Serrano…was a Chilean singer who had her biggest success in Nazi Germany between the 1930s and the early 1940s. Because of her bell-like voice and pitch-perfect whistling she received the nickname Chilenische Nachtigall (Chilean Nightingale).[1]

Her voice style was mainly operatic coloratura soprano with a deep, fast vibrato. She added frequent embellishments such as soaring arpeggiation and melisma. Some songs were recorded with a few words whispered or spoken, and she occasionally emphasized words with a gritty, growling jazz style reminiscent of African-American blues singer Ethel Waters. She was a pitch-perfect whistler in the manner of Bing Crosby.[1] The songs she recorded in German and Spanish varied from folk to pop, including flamenco, rumba, tango and mambo.[1]  [read more]

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Carlos Ramírez with The Xavier Cugat Orchestra — in the film Bathing Beauty (1944)

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Jane Powell —  “Magic is the Moonlight” (m. María Grever, w. Charles Pasquale) — from the musical comedy film Nancy Goes to Rio (1950)

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Los Panchos with Raúl Shaw Moreno — c. 1951

Adapted from the Wikipedia article on Los Panchos (aka Trío Los Panchos):

Los Panchos first met in 1944 in New York City. The three original members were Alfredo Gil and Chucho Navarro, both from Mexico, and Hernándo Avilés from Puerto Rico. All three played guitar and contributed vocally. Los Panchos reached fame with their romantic songs, especially in Latin America where they are still regarded as one of the top trios of all time. They also appeared in around fifty movies mostly during the Golden Age of Mexican Cinema.

Julito Rodríguez  joined the group in 1952. [read more]

From the Wikipedia (Spanish) profile of Raúl Shaw Moreno, poorly translated:

In 1951, in Santiago de Chile, Hernando Aviles, first voice of Trio Los Panchos left the band in full continental tour due to his frequent disputes with Alfredo Gil.In these circumstances, Alfredo Gil and Chucho Navarro travel to Bolivia, with the urgency of finding a replacement for Avilés, in order to continue the tour. It is in these circumstances that, in the month of November 1952, Raúl Shaw Moreno auditioned for the two remaining members of Los Panchos , Chucho Navarro and Alfredo Gil . In a room of Sucre Palace Hotel, Magaly singing for them, being accepted to [immediately] replace Hernando Aviles . His debut as lead vocalist of Los Panchos comes at a recital A broadcast, as used in those years, in the Auditorium of Radio Minería in Santiago de Chile.

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Softly, As in a Morning Sunrise

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Softly, As in a Morning Sunrise (m. Sigmund Romberg, w. Oscar Hammerstein II) was written for and introduced in the 1928 operetta The New Moon.

Wikipedia says,

One of the best-known numbers from the show, it is a song of bitterness and yearning for a lost love, sung in the show by Philippe (tenor), the best friend of the hero, Robert Mission (baritone).

The original song was composed as a tango, and features a dance as accompaniment to the choral reprise, but many versions of the song have changed the tempo completely….What some may consider the most ludicrous version is the one featured in the 1940 film version of the operetta, in which it is actually sung as a cheerful ditty by Nelson Eddy while he shines his shoes, despite the melancholy nature of the song’s lyric.

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Artie Shaw 1938

Jazzstandards.com says, “Ten years after this tune was written, Shaw had Jerry Gray arrange the tune. (Within a few years Gray would be arranger for Glenn Miller). Shaw’s version was one of his best selling records.”

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Milt Jackson Quartet — recorded in NYC, April 1952 — Milt Jackson (vib) John Lewis (p) Percy Heath (b) Kenny Clarke (d) — released on The Quartette (Savoy MG 12046)

Presently unavailable

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Modern Jazz Quartet — recorded at Rudy Van Gelder Studio, Hackensack, NJ, 2 July 1955 — Milt Jackson (vib) John Lewis (p) Percy Heath (b) Connie Kay (d); released on the 1955 album Concorde (Prestige PRLP 7005)

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Bing Crosby with Buddy Cole and his Trio — recorded 14 March 1957; released on the LP New Tricks

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Parisian Pierrot – 1923

Parisian Pierrot (Noël Coward)

Answers.com says:

According to Richard Briers in Coward & Company, the playwright wrote “Parisian Pierrot” for his close friend Gertrude Lawrence in his review London Calling! but apparently she didn’t think much of it. The song was to be performed wearing a Pierrot costume, and Lawrence gave both to her understudy in André Charlot’s Revue of 1924, Jessie Matthews. In New York, she changed her mind and performed it herself, although she didn’t record it until November 3, 1931 – a pressing that was originally rejected. Coward recorded it in 1936.

According to the Noël Coward Society, Coward wrote the song in Berlin between December 9th and 18th, 1922. It was published in 1923 by Keith Prowse of London.

Coward himself said “The idea of it came to me in a night-club…a frowsy blonde, wearing a sequin chest-protector and a divided skirt, appeared in the course of the cabaret with a rag Pierrot doll dressed in black velvet. She placed it on a cushion where it sprawled in pathetic abandon while she pranced around it emitting gutteral [sic] noises. Her performance was unimpressive but the doll fascinated me”. The title came into his head in the taxi on his way back to the hotel.

Gertrude Lawrence died in 1952, and in 1968 Julie Andrews performed the song in her biopic Star!. (thanks, Alexander Baron – London, England, for all above)

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Noël Coward – 1936

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Julie Andrews in Star!, a Gertrude Lawrence biopic – 1968

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Texas – Twentieth-Century Blues – The Songs Of Noël Coward (1998)

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Aretha Franklin gallery, 1960-1966

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Top five reasons why Songbook might close (go private) soon

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5. Maintaining the site takes too much time. Due to the 5,000 odd embedded videos on the site, none of which are downloaded (They’re just borrowed from various libraries) the site takes a ridiculous amount of time for daily maintenance. Youtube, in particular, removes and destroys videos at an alarming rate, usually citing copyright claims by one of the major music groups (Sony, WMG, EMI, etc.).

I’ve got a number of other sites which have been either completely neglected or nearly so during the past two years because of the huge amount of time spent developing and maintaining Songbook. I’d like to revise and reopen some of those sites, and may open a new popular music site soon, beginning at 1960.

4. Because of the unstable nature of most of my posts and pages (disappearing videos), I have not the luxury of letting the site run on autopilot for any length of time without it sustaining heavy damage. I don’t want a visitor to enter a page only to find that six out of ten videos either don’t play or don’t exist anymore.

3. Waning visitor interest: The site has experienced a drop-off of visitors in late spring or early summer each year since it opened in 2009. Last year, the traffic declined 40% from May to June. The June drop was steeper in 2010. So I was a bit surprised that the traffic held fairly steady for a couple of weeks after the college spring semester ended this year, and even increased in volume briefly in early June. However, a steady fall in daily visitors began about two weeks ago, and a sharp decline is evident in the past few days (since June 27).

As it has in previous years, the present downward trend may turn and slowly recover as summer drifts toward autumn, but there are other signs that interest in the site is waning. Songbook has never received a large amount of comments, but lately my visitors have grown positively mum. A total of four comments, excluding spam (which is growing), in the past 32 days.

2. My favorite period is the mid-1960s to early 1970s. I’ve been itching to shift my focus to this era. At the same time, my interest in music of earlier decades has grown rather cold. However, I don’t get the impression that many of my visitors are eager to follow in the direction I’m going. There’s been relatively little interest in my Burt Bacharach index (presently 15 feature pages, with more to come) which constitutes one the largest tributes to an artist on the site. Also, excluding the song Corcovado, my Antonio Carlos Jobim pages (11 individually featured songs) have attracted little interest until the past week during which The Girl from Ipanema has also charted in the top twelve most visited. A Goffin and King page, brief as it is, drew more attention than I expected for a while.

I don’t know if I’ve had a single visitor as yet to my page Songwriters, from 1955 (in construction), published about 7 weeks ago, in which I lay out some of my projected plans at that time for the future of the site, the songwriters of the 1960s, ’70s, and beyond which I’d be likely to focus upon in this project. But unmentioned there is my intention to also do annual hits pages. These may become central features of the project, along with special features on such topics as selected songwriters, bands and solo artists, and albums. It won’t be the Billboard top ten or twenty, but my selection of hits gleaned from the year-end Hot 100 charts.

The maintenance duties on previous posts and pages continue to delay and hamper my efforts to focus on the 1960s. I’ve also been preoccupied with some external matters during the past couple of months. What I envision for the 1960s and early 1970s is potentially a large project which will require focused and intense work over a series of months.

I’m not sure I have the energy to carry through with the project at this time. Maybe the project needs to be freed from the constraints of, and the oft-perceived conflicts with, music of the classic American popular song era (which still constitutes a major portion of this site). Why not begin a new site with 1960? Something will probably happen by September.

1. The yips.

Yours truly,

doc

30 June 2012

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I Got It Bad (and That Ain’t Good)

I Got It Bad (and That Ain’t Good) – m. Duke Ellington, w. Paul Francis Webster

From the Jazzstandards.com song profile:

Considered by some as her best performance, “I Got It Bad” was introduced by Ivie Anderson in Jump for Joy. The West Coast musical revue opened on July 10, 1941, at the Mayan Theater in Los Angeles and ran for 101 performances. Although the show’s run was short, in October a Duke Ellington recording, also featuring Anderson and with solos by Ellington and Johnny Hodges, became a hit, rising on the pop charts to number thirteen. A month later, Benny Goodman and His Orchestra would also score with their recording which had the further distinction of being Peggy Lee’s first hit vocal.

Duke Ellington and his Orchestra, vocal by Ivie Anderson – 1941

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Benny Goodman and his Orchestra, vocal by Peggy Lee

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Nina Simone – from Nina Simone Sings Ellington, 1962

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George Wein & the Newport All-Stars – Copenhagen, Denmark, 1969, featuring Ruby Braff — Ruby Braff cornet, Joe Venuti violin, Barney Kessel guitar, Red Norvo vibraphone, Larry Ridley bass, Don Lamond drums, George Wein piano

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Duke Ellington and Ben Webster — Newport Jazz Festival 1971 in Tivoli, Copenhagen

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Keith Jarrett - Tokyo, 1987

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