Like Young

By Andre Previn and Paul Francis Webster
1959

Last Thursday, February 28, we lost the brilliant Andre Previn, celebrated classical and jazz composer, musician and conductor. A man of many talents, Previn even dabbled in pop music, and today we spotlight what might be his best and most memorable pop song, written with lyrics by Paul Webster, the Oscar-winning lyricist of "Love Is a Many-Splendored Thing", "Secret Love" and "The Shadow of Your Smile". Both the melody and lyrics were emblematic of the beat generation culture of the 1950s, with Webster's words in particular glorifying that lifestyle, complete with hipster slang. Previn himself introduced the song on record with a piano instrumental accompanied by the David Rose Orchestra that was nominated for the Best Record Grammy, losing to Bobby Darin's "Mack the Knife".

Lyrics:

I'm out doin' the usual places
And I'm livin' it, like young
Then I dig me this face of all faces
He's the craziest, like young

He drinks coffee at Cafe Espresso
He reads Kerouac, like young
He goes where all the angry young men go
Recites poetry, like young

We start blowin' the pad around lovin'
And we're homin' it, like now
We spin records on cloud number seven
And he's reachin' me, like wow

I'm all unstrung 'cause, man
He's got me feelin' like young
If he were to brush me and go
I'm starting to wear my hair again
Like a square again

I keep gettin' the kookiest notion
I think maybe it's like love
I've been feelin' a crazy emotion
I think, baby, it's like love

Now we're ridin' a rainbow to Cloudsville
And we're makin' it like young
Love soft as April snow
Love warm as candle glow
Love, love is easy to go

I'm all unstrung 'cause, man
He's got me feelin' like young
Without him I'm no good at all
Without him I'm less than a decimal

I keep gettin' the kookiest notion
I think maybe it's like love
I've been feelin' a crazy emotion
I think, baby, it's like love

Now we're ridin' a rainbow to Cloudsville or Wowsville
We're makin' it, makin' it like, like, like young

Recorded By:

Ella Fitzgerald
Martin Denny
Perry Como
Henry Mancini
Buddy Greco

I Didn't Know About You

By Duke Ellington and Bob Russell
1944

One of several Ellington big band tunes for which long-time collaborator Russell (pictured) wrote accompanying lyrics. Duke first composed the melody as an instrumental in 1943, and recorded it under the title "Sentimental Lady" with his band for radio broadcast, and when lyrics were added, he recorded it again at the end of 1944 with Joya Sherrill on vocals. However, they were beaten to it a few weeks earlier by Paul Weston's Orchestra, which introduced the song with Jo Stafford and the Pied Pipers on vocals. A wistful jazz favorite, it has occasionally still been recorded over the years under the "Sentimental Lady" banner (perhaps as a connection to Ellington's "Sophisticated Lady").

Lyrics:

I ran around, with my own little crowd
The usual laughs, not often, but loud
And in the world that I knew
I didn't know about you

Chasing after the ring, on the merry-go-round
Just taking my fun, where it could be found
And yet what else could I do
I didn't know about you

Darling, now I know
I had the loneliest yesterday, everyday
In your arms
I know for once in my life, I'm living

Had a good time, everytime I went out
Romance was a thing, I kidded about
How could I know about love
I didn't know about you

Recorded By:

Ella Fitzgerald
June Christy
Woody Herman
Count Basie
Lena Horne

Body and Soul

By Johnny Green, Edward Heyman, Robert Sour and Frank Eyton
1930

The jazz standard of all jazz standards, "Body and Soul" actually began its life as a London concert hall number, written for British actress and singer Gertrude Lawrence. It was soon brought to Broadway for Libby Holman to sing in the revue Three's a Crowd. With its rich, complex melody from Green, it was immediately taken up by jazz bands, beginning with Louis Armstrong's, and has remained a top favorite ever since, known for its easy adaptability by improvisational musicians. Perhaps the most highly regarded of all jazz takes on this immortal tune is the recording by tenor saxophonist Coleman Hawkins.

Lyrics:

My heart is sad and lonely 
For you I sigh, for you dear only 
Why haven't you seen it 
I'm all for you body and soul 
I spend my days in longin' 
And wondering why it's me you're (ogling)

I tell you I mean it 
I'm all for you body and soul 
I can't believe it 
It's hard to conceive it 
That you turn away romance 
Are you pretending 
It looks like the ending 
And less I could have one more chance to prove, dear

My life a wreck you're making 
You know I'm yours for just the taking 
I'd gladly surrender myself to you body and soul 
My life a wreck you're making 
You know I'm yours for just the taking 
I would gladly surrender myself to you body and soul

Recorded By:

Billie Holiday
Billy Eckstine
Tony Bennett and Amy Winehouse
Stan Kenton
Benny Goodman

The Frim-Fram Sauce

By Joe Ricardel and Redd Evans
1945

A fun novelty song of the post-World War II era that went on to become a jazz stand-by, this tune was created by Joe Ricardel, writer of "The Brooklyn Dodger Jump", with lyrics by Redd Evans, known for such songs as "Don't Go to Strangers" and "There, I've Said It Again". Evans had written a few songs specifically for the Nat King Cole Trio, and this was one of them. The song's playful lyrics have entertained fans for decades, full of nonsense words and involving a patron ordering a series of imaginary items from a restaurant menu. Although closely identified with Cole over the years, several others have tried their hand at it.

Lyrics:

I don't want French fried potatoes
Red ripe tomatoes
I'm never satisfied
I want the frim fram sauce with the Ausen fay
With chafafa on the side

I don't want pork chops and bacon
That won't awaken
My appetite inside
I want the frim fram sauce with the Ausen fay
With chafafa on the side

A fella really got to eat
And a fella should eat right
Five will get you ten
I'm gonna feed myself right tonight

I don't want fish cakes and rye bread
You heard what I said
Waiter, please serve mine fried
I want the frim fram sauce with the Ausen fay
With chafafa on the side

Recorded By:

Nat King Cole
Diana Krall
John Pizzarelli
Ella Fitzgerald & Louis Armstrong
Les Brown

What Is There to Say?

By Vernon Duke & E.Y. "Yip" Harburg
1933

A classic theater song of the 1930s, this sophisticated treasure was written for the Ziegfeld Follies of 1934--the first Ziegfeld revue produced after the legendary impresario's death two years prior. It was introduced on stage by Jane Froman and Everett Marshall, and soon after recorded by Emil Coleman and His Riviera Orchestra (the hotel band for the Waldorf Astoria). Reportedly, without Ziegfeld at the helm, behind the scenes politics raged, involving Ziegeld's widow Billie Burke (the future Glinda of The Wizard of Oz), show star Fanny Brice and even the Schubert Theatre where the show was being put on. This reportedly led to the demise of the Duke (pictured)/Harburg partnership, which has also produced "April in Paris" the year before.

Lyrics: 

What is there to say
and what is there to do
The dream I've been seeking
has practically speaking come true

What is there to say
and how will I pull through
I knew in a moment
contentment and wholement, just you

You are so lovable
So livable
Your beauty is just unforgivable
You're made to marvel at
and words to that effect

So what is there to say
and what is there to do
My heart's in a deadlock
I'd even face wedlock with you

Recorded By:

Mel Torme
Ella Fitzgerald
Sonny Rollins
Nat King Cole
Gerry Mulligan

Summertime

By George Gershwin, Ira Gershwin & DuBose Heyward
1935

Often considered the finest song in the American musical theater, this is more than a song: It's an aria, composed by Gershwin using the words of original librettist Heyward to mimic the African American folk spirituals of the day. It was introduced on stage in Gershwin's operatic masterpiece Porgy & Bess by Abbie Mitchell, who also performed the first recorded version of it (with Gershwin himself on accompanying piano). Billie Holiday was the first to have a big hit with it, and it has since become a jazz standard of the highest caliber.

Lyrics:

Summertime,
And the livin' is easy
Fish are jumpin'
And the cotton is high

Oh, Your daddy's rich
And your mamma's good lookin'
So hush little baby
Don't you cry

One of these mornings
You're going to rise up singing
Then you'll spread your wings
And you'll take to the sky

But until that morning
There's a'nothing can harm you
With your daddy and mammy standing by

Recorded By:

Janis Joplin
Ella Fitzgerald & Louis Armstrong
Sam Cooke
John Coltrane
Nina Simone

Fine and Mellow

By Billie Holiday
1939

Fifty-four years ago today, Billie Holiday, the greatest jazz singer of her time or perhaps any, died of heart failure in a hospital bed to which she had been handcuffed due to narcotics possession. But 20 years before that tragic day, she composed this sublime song--one of only a handful she wrote herself. Typical of her cynical and mournful nature, the song is a blue whose lyrics describe poor treatment at the hands of an unworthy man, who is loved nevertheless. It truly epitomizes the pain at the heart of this great artist's work. She initially recorded it in 1939, but also performed it during a 1957 TV special, The Sound of Jazz. Today Standard of the Day remembers the song, as we remember the passing of this unparalleled legend of music.

AND, with this month bringing the FIFTH anniversary of Standard of the Day on July 21, I'll be devoting the rest of the month to vocalists' signature songs, like this one. Stay tuned!

Lyrics:

My man don't love me

Treats me oh so mean
My man he don't love me
Treats me awfully
Hes the, lowest man
That Ive ever seen

He wears high trimmed pants
Stripes are really yellow
He wears high trimmed pants
Stripes are really yellow
But when he starts in to love me
Hes so fine and mellow

Love will make you drink and gamble
Make you stay out all night long repeat
Love will make you drink and gamble
Make you stay out all night long repeat
Love will make you do things
That you know is wrong

But if you treat me right baby
Ill stay home everyday
But if you treat me right baby
Ill stay home everyday
But you're so mean to me baby
I know you're gonna drive me away

Love is just like the faucet
It turns off and on
Love is just like the faucet
It turns off and on
Sometimes when you think it's on baby
It has turned off and gone.

Recorded By:

Nina Simone
Eva Cassidy
Ella Fitzgerald
Lou Rawls
Dee Dee Bridgewater

Honeysuckle Rose

By Fats Waller & Andy Razaf
1929

One of the most mainstream of all the compositions of Waller and Razaf (pictured), this song made its way into the lexicon of pop and jazz not long after its introduction by Fats' own ensemble. The infectious, syncopated melody is amongst Waller's best, and Razaf's lyric is playfully flirtatious, setting up the object of his love as a viable sugar substitute (who needs Splenda?) A joyful standard that has brought joy to music fans for generations.

Lyrics: 

Ev'ry honeybee.... fills with jealousy
When they see you out with me
I don't blame them....goodness knows
Honeysuckle rose

When you're passin' by....flowers drop and sigh
And I know the reason why
You're much sweeter....goodness knows
Honeysuckle rose

Don't buy sugar....you just have to touch my cup
You're my sugar....it's so sweet when you stir it up

When I'm taking sips...from your tasty lips
Seems the honey fairly drips
You're confection.....goodness knows
Honeysuckle rose.

Recorded By:

Louis Armstrong
Eva Cassidy
Jane Monheit
Anita O'Day
Lena Horne

This Love of Mine

By Sol Parker, Henry Sanicola & Frank Sinatra
1941

As a way of commemorating the birthday of Frank Sinatra, perhaps the greatest ambassador of the Great American Songbook, we're spotlighting one of the handful of songs he actually had a hand in writing. Possibly his most famous composition (he served as lyricist), "This Love of Mine" was written during Frank's time with the Tommy Dorsey orchestra, and it was Dorsey's band that introduced it, with a record that rose to #3 on the charts. It would forever be associated with the crooner, who re-recorded the tune on his seminal 1955 album In the Wee Small Hours.

Lyrics:

This love of mine goes on and on,
Tho' life is empty since you have gone.
You're always on my mind, tho' out of sight
It's lonesome thru the day,
But oh! the night.

I cry my heart out it's bound to break,
Since nothing matters, let it break.
I ask the sun and the moon,
The stars that shine,
What's to become of it, this love of mine.

Recorded By:

Ella Fitzgerald
Stan Kenton w/Cyd Charisse
Sonny Rollins Quartet
Jack Jones
Ray Charles

HAPPY BIRTHDAY FRANK!

Azure Te

By Bill Davis & Don Wolf
1952

A jazz gem that came along just as the new forms were emerging post World War II, including be bop and the nascent rhythm and blues that would lead to rock 'n roll. Wild Billy Davis was an innovative jazz pianist and organist who had done stints with the ensembles of Louis Jordan (pictured) and Duke Ellington among others, when he put this easy, supercool number together along with Don Wolf (who'd later contribute to the timeless early rock instrumental "Sleepwalk"). Jordan's band introduced the song.

Lyrics:

Gone and got the blues in Paris  
Paris blues called Azure-Te  
How can I be blue in Paris?  
It's easy 'cause you're far away  
Can't lose these blues, this Azure-Te
 
Side-walk tables filled with people  
Always happy, always gay  
Still I'm all alone in Paris  
Praying you'll return someday  
Can't lose this blues, this Azure-Te
 
Montmartre, springtime, Eiffel Tower  
Funny taxis, the kids at play  
Paris without you is lonesome  
Yearning more and more each day  
Can't lose these blues, this Azure-Te
 
If you knew how much I need you  
You'd come back to me to stay  
Having you with me in Paris Really is the only way  
You lose these blues, this Azure-Te  
These Paris blues, this Azure-Te

 

Recorded By:

 

Nat King Cole

Ella Fitzgerald

Frank Sinatra

George Shearing

Duke Ellington

Hit That Jive, Jack

By John Alston & Skeets Tolbert

1940

A red-hot little jazz number of the 1940s that continues to live on with hepcats everywhere to this day. Tolbert introduced it with his relatively obscure jazz ensemble, but it was with the Nat Cole Trio the following year that it got sent into the stratosphere. In recent years, it has become a very popular number with throwback hot jazz acts.

Happy 8th Birthday to my son--Hit that jive, Jack!

Lyrics:

Hit that jive Jack 
Put it in your pocket till I get back  
Going downtown to see a man  
And I ain't got time to shake your hand
 
Hit that jive Jack  
Put it in your pocket till I get back  
Time and time waits for no man  
And I ain't got time to shake your hand
 
Standing on a corner  
All full of jive  
But you know that you're my boy  
So I'm forced to give you five
 
Hit that jive Jack  
Put it in your pocket till I get back  
Going downtown to see a man  
And I ain't got time to shake your hand

Recorded By:

Nat King Cole
Diana Krall
John Pizzarelli
Joe Carroll
Boyd Bennett

Cocktails for Two

By Arthur Johnston & Sam Coslow
1934

A mellow classic from the Big Band era, this jazzy tune was introduced in the 1934 film Murder at the Vanities, in which it was sung by Carl Brisson. It would soon after become on of the Duke Ellington band's most recognizable numbers. It's lyric is a celebration of the repeal of Prohibition which occured the previous year.

Lyrics:

In some secluded rendezvous
That overlooks the avenue
With someone sharing a delightful chat
Of this and that
And cocktails for two

As we enjoy a cigarette
To some exquisite chansonnette
Two hands are sure to slyly meet beneath
A serviette
With cocktails for two

My head may go reeling
But my heart will be obedient
With intoxicating kisses
For the principal ingredient

Most any afternoon at five
We'll be so glad we're both alive
Then maybe fortune will complete her plan
That all began
With cocktails for two

Recorded By:

Duke Ellington
Spike Jones
Tommy Dorsey
Bing Crosby
Billy May

Harlem Nocturne

By Earle Hagen & Dick Rogers
1939

One of the most recognizable standard jazz instrumentals of all time, this unique song instantly evokes just what it was meant to: The sordid side of New York City during the 1930s...yet it's still tinged with the beauty that paradoxically characterizes that city. Written originally as a tribute to saxophonist Johnny Hodges, t was introduced the Randy Brooks band in 1940, and became their theme song. Although an instrumental first and foremost, it has been recorded with vocals several times as well. It was used as the theme song to the 1980s TV series Mickey Spillane's Mike Hammer.

Recorded By:

Mel Torme
David Sanborn
The Viscounts
Duke Ellington
Harry James

Moonglow

By Will Hudson, Irving Mills & Eddie DeLange
1933

An early '30s Tin Pan Alley chestnut that soon became a popular jazz standard after being introduced by Joe Venuti and his orchestra. It has the kind of structure and chord progression that just latches on to you and doesn't let go, whether played mellow--as it usually is--or even upbeat. It was featured prominently in the Scorsese film The Aviator, and I've always wondered why Sinatra never included it on his Moonlight Sinatra album...

Lyrics:

It must have been moonglow, way up in the blue
It must have been moonglow that led me straight to you
I still hear you sayin', "Dear one, hold me fast"
And I keep on prayin', "Oh Lord, please let this last"

We seemed to float right through the air
Heavenly songs seemed to come from everywhere

And now when there's moonglow, way up in the blue
I'll always remember, that moonglow gave me you

Recorded By:

Benny Goodman
Tony Bennett & k.d. lang
Artie Shaw
Ethel Waters
Louis Prima

Keepin' Out of Mischief Now

By Fats Waller & Andy Razaf
1932

One of the signature tunes of Thomas "Fats" Waller, although this one was actually introduced by Louis Armstrong. It was later recorded by Waller himself, most notably as an instrumental-only piano piece, and associated so much with the performer that it was included decades later in the stage revue of his work, Ain't Misbehavin'. A fine example of the melodic delights produced by the irrepressible Mr. Waller.

Lyrics:

Keepin' out of mischief now,
I really am in love and how.
I'm through playin' with fire,
It's you whom I desire

All the world can plainly see,
You're the only one for me.
I have told them in advance,
They can't break up our romance.

Livin' up to all my vows,
'Cause I'm keepin' out mischief now.

Recorded By:

Lee Wiley
Dinah Washington
Barbra Streisand
Dick Hyman
Louis Armstrong

Lullaby of the Leaves

By Bernice Petkere & Joe Young
1932

Featured in the very short-lived Broadway revue Chamberlain Brown's Scrap Book, this aching ballad was introduced on stage by Ina Hayward, but later became a jazz favorite after Freddie Berrens and his orchestra brought the song to radio. Although the show it came from may have been a flop, the song lives on as a rare treat to be discovered by fans of the Great American Songbook.

Lyrics:

Rustling of the leaves used to be my lullaby,
In the sunny south when I was a tot so high,
And now that I have grown
And myself alone.

Cradle me where southern skies can watch me with a million eyes,
Oh sing me to sleep,
Lullaby of the leaves

Cover me with heavens blue and let me dream a dream or two,
Oh sing me to sleep,
Lullaby of the leaves.

Im breezing along, along with the breeze,
Im hearing a song, a song thru the trees,
Ooh ooh ooh ooh ooh ooh.
That pine melody caressing the shore familiar to me, Ive heard it
before ooh ooh ooh ooh.

Thats southland, dont I feel it in my soul,
And dont I know Ive reached my goal,
Oh sing me to sleep,
Lullaby of the Leaves.

Recorded By:

Keely Smith
Chet Baker
Ella Fitzgerald
Benny Goodman
Anita O'Day

Solitude

By Duke Ellington, Eddie DeLange & Irving Mills
1934

Few songs are as associated with Billie Holiday as this aching ballad of love in isolation, even though it was Ellington himself who introduced it. Perfectly suited to Lady Day's unique voice, this tune became an instant classic the moment she first recorded it in 1941. It has since become one of the all-time most revered jazz standards.

Lyrics:

In my solitude, you haunt me
With reveries of days gone by.
In my solitude, you taunt me
With memories that never die.

I sit in my chair,
Filled with despair.
Nobody could be so sad.
With gloom ev'rywhere,
I sit and I stare,
I know that I'll soon go mad.

In my solitude, I'm praying,
Dear Lord above, send back my love.

Recorded By:

Billy Eckstine
Ella Fitzgerald
Tony Bennett & Count Basie
Nina Simone
Aretha Franklin

'Round Midnight

By Thelonious Monk, Cootie Williams & Bernie Hanighen

1944

The most recorded jazz standard composed by a jazz musician, this smoky number was first conceptualized by Monk in the 1930s under a different name. It developed gradually over the years in true jazz style, with later embellishments added by the likes of Dizzy Gillespie and Miles Davis. The lyrics by Henighen were added later. It's believed to have been recorded hundreds of times.

Lyrics:

It begins to tell,
'round midnight, midnight.
I do pretty well, till after sundown,
Suppertime I'm feelin' sad;
But it really gets bad,
'round midnight.

Memories always start 'round midnight
Haven't got the heart to stand those memories,
When my heart is still with you,
And ol' midnight knows it, too.
When a quarrel we had needs mending,
Does it mean that our love is ending.
Darlin' I need you, lately I find
You're out of my heart,
And I'm out of my mind.

Let our hearts take wings'
'round midnight, midnight
Let the angels sing,
for your returning.
Till our love is safe and sound.
And old midnight comes around.
Feelin' sad,
really gets bad
Round, Round, Round Midnight.

Recorded By:

Sarah Vaughan

Ella Fitzgerald

Amy Winehouse

Bobby McFerrin

Linda Rondstadt

Moonlight Serenade

By Glenn Miller & Mitchell Parish
1939

One of the all-time great signature tunes of the Big Band era. It was composed by Miller for his world-famous orchestra, and became one of five Top 20 Billboard hits the band would have in 1939. Originally, it was the B-side of a record called "Sunrise Serenade", but became such a huge hit on its own that it quickly became Miller's theme song. With it's classic Miller-style clarinet-saxophone lead, it perfectly sums up the sweet "Miller sound". Parish would later add lyrics to what was previously an instrumental.

Lyrics:

I stand at your gate.
And the song that I sing is of moonlight.
I stand and I wait
For the touch of your hand in the June night.
The roses are sighing a moonlight serenade.

The stars are aglow.
And tonight how their light sets me dreaming.
My love, do you know
That your eyes are like stars brightly beaming?
I bring you, and I sing you a moonlight serenade.

Let us stray 'til break of day
In love's valley of dreams.
Just you and I, a summer sky,
A heavenly breeze, kissin' the trees.

So don't let me wait.
Come to me tenderly in the June night.
I stand at your gate
And I sing you a song in the moonlight.
A love song, my darling, a moonlight serenade

Recorded By:

Frank Sinatra
Carly Simon
Santo & Johnny
Count Basie
Gene Krupa

Satin Doll

By Duke Ellington, Billy Strayhorn & Johnny Mercer
1953

A late standard known for its unusual chord progression, "Satin Doll" was already a big hit as an instrumental by Ellington & Strayhorn before Mercer ever added a lyric. In fact, the Mercer lyric is generally not considered one of his best, and Ella Fitzgerald notably recorded a scat version which didn't even make use of it. Still, the song remains popular in both versions.

Lyrics:

Cigarette holder,
Which wigs me.
Over her shoulder,
She digs me.
Out cattin'
That satin doll.

Baby, shall we go
Out skippin'?
Careful, amigo,
You're flippin'
Speaks Latin,
That satin doll.

She's nobody's fool,
So I'm playin' it cool as can be.
I'll give it a whirl,
But I ain't for no girl catchin' me.

Telephone numbers,
Well, you know.
Doin' my rhumbas
With uno,
And that's my satin doll.

Recorded By:

101 Strings
The Gaylords
Nancy Wilson
Frank Sinatra
Ella Fitzgerald