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Billie Holiday, capebillie-holiday-pearls-1a

Page index (drop-down) browse demo (1a)

(above) header tab 5 generation browse demonstration: Page Index > Songbook site index > Songwriter > Songwriters to 1954 > Berlin, Irving > Berlin pages (11) — correction: The page Irving Berlin: selected songs of 1909 and 1910 is now included in the Berlin drop down index.


When Your Lover Has Gone


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.


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


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)


louis armstrong 02

Louis Armstrong and his Orchestra — recorded in Chicago on 29 April 1931 (source: The Louis Armstrong Discography at; 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)




Te quiero dijiste / Magic is the Moonlight


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.


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

Alfonso Ortiz Tirado — 1930


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]


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


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


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.




Softly, As in a Morning Sunrise


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.


Artie Shaw_white jacket_1

Artie Shaw 1938 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.”


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


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)


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



Parisian Pierrot – 1923

Parisian Pierrot (Noël Coward) 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)


Noël Coward – 1936


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


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


The Beach Boys gallery, 1962-1965


Transfer images to Beach Boys feature page or gallery page (before deleting post)


See also:

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