“DINAH LOU,” music by Rube Bloom and lyrics by Ted Koehler, from the 29th COTTON CLUB PARADE, perhaps would have gotten less attention and affection if it had not been the subject of several memorable recordings.
A footnote: the song was composed several years earlier, and recorded by Red Nichols (leading an expert but little-known post-Pennies Chicago band) at the end of 1932: I hope to share that disc in a future posting.
The first version I encountered was Red Allen’s, from July 19, 1935, with Henry “Red” Allen, J.C. Higginbotham, Albert Nicholas, Cecil Scott, Horace Henderson, Lawrence Lucie, Elmer James, Kaiser Marshall. Notably, it was the first of four songs recorded at that session — a warm-up, perhaps, for the delightful Frolick that is ROLL ALONG, PRAIRIE MOON. I think you can hear what captivated me years ago: a good song and lots of very satisfying, individualistic melodic improvisation: much art packed into a small package:
On August 1, Chuck Richards sang it with the Mills Blue Rhythm Band — Red was in the band, but sang on the Bloom-Koehler TRUCKIN’. However, he takes a soaring solo — more in a Louis mode than his usual way — with marvelous interludes from Billy Kyle, J. C. Higginbotham, and Buster Bailey. Richards was a competent balladeer, but to me the real star here is the band, with a very lovely reed section:
On January 20, 1936, Ivie Anderson sang it with the Duke Ellington Orchestra (three takes, of which two survive). I don’t know which of these two was recorded first, but I’ve distinguished them by sound and length. Talk about wonderful instrumental voices — in addition to Ivie, whom no one’s equalled.
And the most delightful surprise (August 25, 1955): a live performance by Humphrey Lyttelton, trumpet; Bruce Turner, clarinet, alto saxophone; Johnny Parker, piano; Freddy Legon, guitar; Jim Bray, string bass; Stan Greig, drums:
The motive behind this leisurely long satisfying performance may have been nothing more complex than “Let’s stretch out and keep taking solos,” but it works so splendidly: hearing this is like watching two marvelous tennis players volley for hours with the ball always in the air. It feels very much like a magical return to a late-Thirties Basie aesthetic, with none of the usual patterns of an opening ensemble giving way, after the horn solos, to rhythm section solos.
Will anyone adopt DINAH LOU as a good tune to improvise on in this century?
May your happiness increase!