When Your Lover Has Gone


When Your Lover Has Gone (Einar Aaron Swan)

From Wikipedia:

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 on 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 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)





Te quiero dijiste / Magic is the Moonlight


Te quiero dijiste (María Grever) — aka “Muñequita linda” (cute little doll), from the lyric

María Grever-2aIMDb 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 recordings and live performances:

Alfonso Ortiz Tirado-XEH-1aAlfonso Ortiz Tirado-2a

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.




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


5. Maintaining the site takes too much time. Due to the 5,000 [2016 update: closer to 10,000] 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,


30 June 2012


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


Duke Ellington and his Orchestra, vocal by Ivie Anderson — recorded on 26 June 1931; issued on Victor 27531, b/w “Chocolate Shake” — issued in the UK on HMV B.9252



(below) 1942 Soundie, I Got It Bad and That Ain’t Good


Benny Goodman and his Orchestra, vocal by Peggy Lee


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


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


Keith Jarrett – Tokyo, 1987


I’ve Got My Love to Keep Me Warm

I’ve Got My Love to Keep Me Warm (Irving Berlin)

Dick Powell and Alice Faye, portraying stars in a new musical, introduce the song in the show called On the Avenue within the 1937 musical film of the same name.


Alice Faye and Dick Powell each made solo recordings of the song for separate original cast recording albums c.1937. Powell recorded with Victor Young and his Orchestra, Faye with Cy Feuer and his Orchestra.

Dick Powell with Victor Young and his Orchestra —  c. 1937


Alice Faye with Cy Feuer and his Orchestra  c. 1937


Billie Holiday: Session #14 New York, 12 January 1937, Billie Holiday & Her Orchestra (Vocalion) — Jonah Jones (tp) Edgar Sampson (cl)(as) Ben Webster (ts) Teddy Wilson (p) Allan Reuss (g) John Kirby (b) Cozy Cole (d) Billie Holiday (v)


Red Norvo & his Orchestra, vocal Mildred Bailey1937


Les Brown and his Orchestra – instrumental, 1946


Jo Stafford with Paul Weston and his Orchestra, featuring The Starlighters, from the 1956 album Ski Trails


Dean Martin1959


Dinah Washington — January 1961



Connie StevensFrom Me to You, 1962


Judy Garland with the Count Basie Orchestra – Episode #2 of the Judy Garland Show, taped 7 July 1963


Selected Christmas and Holiday Season Songs: ○White Christmas ○Have Yourself a Merry Little Christmas ○Sleigh Ride ○The Christmas Song
○Let It Snow!, Let It Snow!, Let It Snow! ○Winter Wonderland ○Silver Bells ○Santa Claus Is Coming to Town ○Frosty the Snowman

See also these feature pages on Holiday Season songs and other winter songs, created Dec 2009 – Dec 2011:

Armstrong and Holiday in the film New Orleans (1947)

To help us remember an important segment of our past musically, in 1947 will come, says the ball, a little film directed by Arthur Lubin titled New Orleans. Supporting players Billie Holiday and Louis Armstrong will deftly portray characters who become romantically involved. And they will make some fine music together. The film is to be set in the red light district of New Orleans, called Storyville, during its final days. The district existed from 1897 to 1917; it was created in effort to limit prostitution to one area of the city.

Songbook has been warned that New Orleans historians might become irate at the suggestion that jazz was born in Storyville. That is not our purpose. But we shall sooner or later get the truth out them — the real birthplace. Vee haf vays uf making zem talk.

Where the Blues Was Born in New Orleans (w. m. Cliff Dixon, Bob Carleton) – Performed by Louis Armstrong and His Band, featuring introductions of each band member by Armstrong, in this order: Charlie Beal – piano, Kid Ory – trombone, Zutty Singleton – drums, Barney Bigard – clarinet, Bud Scott – guitar and cigar, Red Callendar – bass, and himself – cornet. He calls it Satchmo’s Happy Dixie Band.


(above) Louis Armstrong, Billie Holiday and Barney Bigard perform the number “Do You Know What It Means to Miss New Orleans” in the 1947 film New Orleans

Each of the following three songs are performed by Louis Armstrong and His Band with vocals by Billie Holiday.

Do You Know What it Means to Miss New Orleans (m. Louis Alter, w. Eddie DeLange) – According to IMDb, the song is performed in the film four times.


The Blues are Brewin’ (m. Louis Alter, w. Eddie DeLange)


Farewell to Storyville (w. m. Spencer Williams)


West End Blues (m. Joe Oliver, w. Clarence Williams) – published and first recorded in 1928

Armstrong and His Band, at the beginning of the film, after the opening credits/New Orleans Stomp — It starts at about 1:23

Louis Armstrong — live in Milan, Italy, 19 December 1955

Trumpet: Louis Armstrong
Trombone: Trummy Young
Piano: Billy Kyle
Drums: Barrett Deems


Basin Street Blues (Spencer Williams) – published in 1926 – IMDb suggests that the soundtrack of New Orleans might have included a recording of this song by Louis Armstrong and His Band. It’s one of several listed as “Possibly played instrumentally or cut from the movie.”

There are several other songs performed in the film but not yet included or mentioned here. I’m not holding out on you. I just haven’t found them. Later versions, perhaps, but not the film clips or soundtrack recordings. I’ll lay them out here just as soon as I catch ’em. The following are presently missing. (credits adapted from IMDb):

Hot Time in the Old Town (m. Theo. A. Metz, w. Joe Hayden)
Played as background music when the Dixie Bell riverboat is shown

Maryland, My Maryland – 1861
Music based on the German Christmas carol “O Tannenbaum
Lyrics by James Ryder Randall
Played by Louis Armstrong and His Band at the dock

Buddy Bolden’s Blues*
Played by Louis Armstrong and His Band and sung by Louis Armstrong

Fantasie-Impromptu in C Sharp Minor, Op.66 (Frédéric Chopin)
Played on piano by Richard Hageman (dubbed by Arthur Schutt)

Honky Tonk Train Blues
Written and played on piano by Meade ‘Lux’ Lewis

Endie (m. Louis Alter, w. Eddie DeLange) – 1947
Played by Louis Armstrong and His Band, vocal: Billie Holiday, in Paris


Other songs which IMDb lists as “Possibly played instrumentally or cut from the movie.” include:

  • Milenberg Joys (m. Leon Rappolo, Paul Mares, Jelly Roll Morton) 1923
  • Dippermouth Blues (King Oliver, Louis Armstrong) 1923
  • Beale Street Blues (W. C. Handy) 1916
  • Shim-Me-Sha-Wabble (Spencer Williams) 1917
  • Mahogany Hall Stomp (Spencer Williams) 1928(?)
  • King Porter Stomp (Jelly Roll Morton) 1923


Buddy Bolden’s Blues (see footnote below re: contested authorship)*

Jelly Roll Morton, two versions, dates unknown. The opening eight lines in the first recording go like this. These lines are varied somewhat in the second version.

I thought I heard Buddy Bolden say
You’re nasty, you’re dirty –Take it away
You’re terrible, you’re awful — Take it away
I thought I heard him say

I thought I heard Buddy Bolden shout
Open up that window, and let that bad air out
Open up that window, and let the foul air out
I thought I heard Buddy Bolden say



St. Louis Tickle (Theron Catlan Bennett)*

Dave Van Ronk arrangement performed by Michael Neverisky and posted on his Youtube channel, .


* ASCAP credits Jelly Roll Morton (MORTON, Ferdinand Joseph) as the sole author of Buddy Bolden’s Blues. However, there remains disagreement among other authorities as to who actually wrote the song. While numerous sites credit the composition to Morton, Redhotjazz.com identifies a 1939 recording by Jelly Roll Morton as a traditional with an arrangement by himself. An article by Barbara White at allaboutjazz.com names Bolden as the composer. Wikipedia notes that Bolden’s trombonist Willy Cornish claimed authorship, but they also point to an “early” ragtime song which incorporated the “strain” of  Buddy Bolden’s Blues or Funky Butt,** namely St. Louis Tickle.

According to folk and recorder music historian, discographer, and audio file compiler Geoff Grainger,

St. Louis Tickle, written under the pseudonym of Barney & Seymour, was [Theron Catlan] Bennett‘s contribution to a plethora of musical items celebrating the 1904 St Louis Exposition. Here he was in the notable company of ragtimers such as Scott Joplin (The Cascades (1904)), Thomas Million Turpin (St. Louis Rag (1903)), Kerry Mills (Meet Me in St Louis, Louis (1904)) and others.

** Wikipedia’s profile of Buddy Bolden seems to indicate that Funky Butt is the original title of the number later to be called Buddy Bolden’s Blues. Other alternate titles include The Funky Butt Blues, I Thought I Heard Buddy Bolden Say, and I Thought I Heard Buddy Bolden Shout. All are derived from the lyrics.


Swing ballrooms: The Savoy, The Palomar & The Harvest Moon Ball

An extract from the Wikipedia article on The Savoy Ballroom (New York):

The Savoy Ballroom located in Harlem, New York City, was a medium sized ballroom for music and public dancing that was in operation from March 12, 1926 to 1958. It was located between 140th and 141st Streets on Lenox Avenue.[1] The Savoy was a popular dance venue from the late 1920s to the 1950s and many dances such as Lindy Hop became famous here. It was known downtown as the “Home of Happy Feet” but uptown, in Harlem, as “the Track”. Unlike the ‘whites only’ policy of the Cotton Club, the Savoy Ballroom was integrated where white and black Americans danced together. Virtuosic dancers, however, excluded others from the northeast corner of the dance floor, now referred to as the “Cat’s Corner,” a term not used at the time.[2]

The ballroom was on the second floor and a block long. It had a double bandstand that held one large and one medium sized band running against its east wall. Music was continuous as the alternative band was always in position and ready to pick up the beat when the previous one had completed its set. The Savoy was unique in having the constant presence of a skilled elite of the best Lindy Hoppers. Usually known as “Savoy Lindy Hoppers” occasionally they turned professional, such as Whitey’s Lindy Hoppers and performed in Broadway and Hollywood productions.[4]

“Stompin’ at the Savoy”, a 1934 Big Band classic song and jazz standard, was named after the ballroom.

(above) Famous dancer, dance instructor and choreographer Frankie Manning with a partner

(above) Dancers engaged in a “Big Apple” Lindy Hop routine, with Manning at center. Photo from a memorial tribute to Frankie Manning at Lindyhopping.com (The Southern California Lindy Society website).

(below) Whitey’s Hopping Maniacs (“Hopper” in the inscription), a group of Frankie Manning’s top dancers from Whitey’s Lindy Hoppers, led by Manning at far left. The dancers are identified at one site as (left to right) Frankie Manning, Naomi Waller, Jerome Williams, Lucille Middleton, Al Minns, and Norma Miller. The site Swing Patrol says, “In late 1936 Whitey’s top dancers worked a 6 month gig at the Cotton Club under the name of “Whitey’s Hopping Maniacs” officially making the big time.”

(above) Frankie Manning with partners Naomi Waller (left) and Freida Washington (right)

(above) One of Manning’s elite groups of dancers from Whitey’s Lindy Hoppers in a signed, undated photo

(below) Film footage from The Harvest Moon Ball finals at Madison Square Gardens. Read more on this annual event (1935-1974) here: Harvest Moon Ball, in an article by “dancer and instructor in dance styles from the jazz era” Sharon Davis, of Australia.


From the Wikipedia article on The Palomar Ballroom, adapted:

The Palomar Ballroom, built in 1925, was a famous ballroom in Los Angeles, California. Originally named the El Patio Ballroom, it was located on Vermont Avenue between 2nd and 3rd Street. The Palomar was advertised as “the largest and most famous dance hall on the West Coast.”

The building featured a large mezzanine, a balcony and a seventy-five hundred square foot patio. The dance floor could accommodate four thousand couples. Admission was 40 cents for gentlemen and 25 cents for ladies. Opening night was attended by 20,000, including many of Hollywood’s silent screen stars. Klieg lights illuminated minaret structures on the roof.[2]

The dance hall was renamed Rainbow Gardens by real estate developer Raymond Lewis, who purchased the property, added an indoor miniature golf course and changed the name to the Palomar Ballroom. It soon became a prime venue for the well-known bands that were rapidly gaining popularity.

The Palomar was destroyed by a fire in late 1939.[1]

Benny Goodman’s first engagement at the Palomar on August 21, 1935 is often cited as the beginning of the swing era.

Palomar Ballroom-2

Here’s one for those who pine for the good old days of factual, unbiased, and insightful reporting.

A March of Time “newsreel” from 19 February 1937 on the phenomenon of swing. The report takes as a premise a quite skeptical view of swing music and of jazz, especially noting the cheapening of the terms “jazz” and “swing” by overuse and improper application. In it’s conclusion it finds that swing is nothing but the old jazz originating in New Orleans 20 years earlier. But they haven’t put forth anything in the previous 6 and a half minutes to support such a statement. Some of the major early swing bands and venues are mentioned and pictured in the short, but a reunion of the Original Dixieland Jazz Band — who return to reclaim their crown from the swing upstarts — is the feature story. A short news film, or a topical short such as this, would be shown prior to a feature at cinemas.

According to this report, jazz, which had thrived for awhile after The Original Dixieland Band were “discovered” in 1916 playing at a café in New Orleans and brought to New York, had eventually been sunk by the shoddy practices of bands adding “swing” to the title of every other “ordinary song,” and “jazz” to a band’s name whether or not it was merited. This had resulted in jazz being “synonymous with cheap music.”

But the “scholarly thesis” of a famous French music critic, Hugues Panassié, with some help from a group of jazz enthusiast Oxford scholars out to determine whether the music was originally Indian (?) or African, rescued jazz, anointing it, and leaving it with the cachet of true art!

When in doubt, blame the French
But since it is swing that Paris approves of and xwing is nothing but a sham recycling of the ODJB stuff of 20 years earlier, then Paris must be to blame for the present swing epidemic. Do I misinterpret the message of this piece? Possibly. But notice the ominous music just prior to the mentioning of Panassie’s thesis and the Parisian push.



Frankie Manning close-up

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