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“Guest
vocalist Cassandra Wilson
starts this one off smoky
and sensual, but as the
song progresses, so does
the tempo.” |
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- Ben
Maycock
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During the 1932 musical
revue, Clowns in Clover,
Walter Woolf King introduced
“Don’t Blame Me” at Chicago’s
Apollo Theater. Originally
opening in 1927 at the Adelphi
Theater in London, Clowns
in Clover starred the
husband and wife musical
comedy team of Jack Hulbert
and Cicely Courtneidge.
The London engagement enjoyed
great success and ran for
500 performances. While
Noel Gay wrote the original
score for Clowns in Clover,
Dorothy Fields and Jimmy
McHugh added songs such
as “Don’t Blame Me” for
the Chicago run.
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The year after its Chicago
debut Fields and McHugh
recycled “Don’t Blame Me”
into the score of the popular
1933 film
Dinner at Eight.
As a result, that film is
often credited as the composition’s
origin. The songwriting
team also wrote a promotional
title song for the film
that was sung by Frances
Langford at the premier
and became a hit for Ben
Selvin and His Orchestra
with vocalist Helen Rowland.
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Guy Lombardo was the
first to have a hit recording
with “Don’t Blame Me,” entering
the pop charts in July of
1932 and rising to number
nine. The best remembered
recording of that era, however,
was by Ethel Waters, accompanied
by members of the Dorsey
Brothers orchestra.
All told, the major hit
recordings of “Don’t Blame
Me” were:
- Guy Lombardo and
His Royal Canadians
(1933, Carmen Lombardo,
vocal, #9)
- Ethel Waters (1933,
with Bunny Berigan,
Tommy and Jimmy Dorsey,
#6)
- Charles Agnew and
His Stevens Hotel Orchestra
(1933, #13)
- Nat “King” Cole
(1948, a re-release
from a 1944 Nat “King”
Cole Trio recording,
#21)
- The Everly Brothers
(1960, #20)
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“Don’t Blame Me” has
long been a favorite of
musicians and music fans,
jazz or otherwise. Paul
McCartney says of John Lennon,
One
of John’s favorite songs
was “Don’t Blame Me.”
People think of John
Lennon as a peacenik,
or a crazy man, or a
great man, but they
never associate him
with the kinds of songs
his mum taught him.
His mum was a musical
lady. She taught him
banjo chords. I had
to change him to guitar
chords. We used to love
“Little
White Lies” and
“Don’t Blame Me.”
And Leslie Uggams says,
[It
was] on the movie set
of Two Weeks in Another
Town. The movie
starred Kirk Douglas;
I sang his favorite
song in it. The song
was “Don’t Blame Me.”
Liza got me the movie.
Her dad, Vincent Minnelli,
directed it. What a
friend!
Dorothy Fields and Jimmy
McHugh wrote “Don’t Blame
Me” during their transition
from Broadway shows to Hollywood
films. Their stage contributions
produced such hits as “I
Can’t Give You Anything
But Love” (1929), “Diga
Diga Doo” (1928), “In A
Great Big Way” (1929), “On
the Sunny Side of the Street”
(1930), “Exactly
Like You” (1930), and
“Blue Again” (1931). Fields
and McHugh’s success continued
with Hollywood scores producing
“I Feel A Song Coming On,”
“I’m
in the Mood for Love,”
and “Hooray for Love,” all
in 1935.
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“Don’t Blame Me” is written in A1-A2-B-A2
form, and the title phrase is used to open
the song and close the A sections. Putting
a twist on the phrase “Don’t Blame Me,”
Fields’ lyrics profess love and passion,
saying in short, “Don’t blame me for falling
in love with you”; instead, “blame all your
charms that melt in my arms.”
In his book
The Poets of Tin Pan Alley: A History of
America's Great Lyricists, Philip
Furia comments on the lyrics of “Don’t Blame
Me,” saying the song “… marks the shift
to a more languorously erotic style.” He
goes on to say that each of the three words
in the phrase, “Don’t Blame Me” offers “…a
different open vowel — o, a, e, — to provide
a perfect vehicle for the torchiest of singers.”
-JW
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Musical analysis
of “Don't Blame Me”
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Original Key |
C
major |
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Form |
A1
– A2 – B – A2 |
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Tonality |
Primarily
major |
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Movement |
“A”
consists of upward skips alternating
with step-wise descents. “B” rises
chromatically before a skip upward;
the downward leap of a seventh then
arpeggiates up before a final chromatic
descent into the last “A”. |
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Comments
(assumed
background)
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A number of chord substitutions
and delayed resolutions keep this
tune interesting. Many of the melody
tones are the “color” tones or harmonic
extensions of the underlying chords.
Of special interest are the chromatic
“lower neighbor tones” occurring
in the first two measures of “B”.
In the first measure of this section,
this seemingly creates tension between
the minor iv and its parallel major.
Functionally, however, the entire
measure is really major. If the
clashing between the minor third
of the melody and the major third
of the chord causes confusion, the
accompanist might consider using
common-tone diminished chords on
beats one and three in the measure
(or omit the third). The second
measure of “B” is different; the
melody alternates between the flatted
and the natural fifth. In this context,
the flatted fifth (Bb) cannot be
anything other than a color tone.
The bass should be confined to the
root and third here. |
K. J. McElrath - Musicologist for JazzStandards.com
Check out K. J. McElrath's book of Jazz Standards Guide Tone Lines at his web site (www.bardicle.com). |
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“Don't Blame Me”
was included in these films:
- Dinner at Eight (1933)
- Freddie Steps Out
(1946, Freddie Steward) Freddy Slack,
Charlie Barnet and His Orchestra
- The Big City (1948,
Betty Garrett, George Murphy)
- The Strip (1951, Vic
Damone)
- The Bad and the Beautiful
(1952, conflicting information)
- Bring Your Smile Along
(1955, Constance Towers)
- Two Weeks in Another Town
(1962, Leslie Uggams)
- Shoot the Moon (1982,
Helen Slayton-Hughes)
- Thelonious Monk - Straight,
No Chaser (1989, Thelonious
Monk)
- The Tic Code (1999,
Thelonious Monk)
And on stage:
- Clowns in Clover (1933,
Jeanette Loff) Chicago revue
- Sugar Babies (1979,
Ann Miller) Broadway
- Clue: The Musical
(1997, Cast) Off-Broadway
- Lucky in the Rain
(1997) Connecticut
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Click on a CD for more
details at Amazon.com
Thelonious Monk
Criss-Cross
2003, Sony
Original recording, 1963, Legacy
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| Monk is alone at his piano
on this passionate reading of “Don’t
Blame Me.” The mood is somber and
the playing, dissonant, and Monk
compellingly takes possession of
yet another standard. |
Joe Lovano
I’m All For You
2004, Blue Note 91950
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| Saxophonist Lovano is joined
by Hank Jones on piano, George Mraz
on bass, and Paul Motian behind
the drum kit for this unhurried
rendition of the song. Lovano astounds
with heavy invention without detracting
from the romantic nature of the
song. |
Terence Blanchard
Let’s Get Lost: The Songs of Jimmy
McHugh
2001, Sony
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| Guest vocalist Cassandra
Wilson starts this one off smoky
and sensual, but as the song progresses,
so does the tempo. Blanchard’s red-hot
trumpet fills all the space with
some fantastic runs. |
Ben Webster
1944-1946
1999, Melodie Jazz Classics 1017
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| The tone is warm and relaxed
on this great, mid-tempo reading
of “Don’t Blame Me” with saxophonist
Webster taking a meandering, full-bodied
solo. |
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Pianist
Teddy Wilson’s 1937 solo version resurrected
this 1933 tune. It was recorded during a
busy time in his career when he was working
with the
Benny Goodman Trio and leading recording
sessions backing
Billie Holiday.
Tenor saxophonist Coleman Hawkins, not
to be outdone by his “protégé” Ben Webster,
made his version just months after Webster’s
and is accompanied by a group which includes
Teddy Wilson.
Another Goodman alumnus, pianist Mel
Powell, was a member of Major
Glenn Miller’s Army Air Force band in
Europe during World War II. In Paris, just
days after VE Day in May 1945, he made a
solo version, no doubt as tribute to Wilson.
Powell went on to compose and teach in the
classical field.
Chris Tyle - Jazz Musician and Historian
Teddy Wilson and his Orchestra
1937-1938
Classic 548
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Coleman Hawkins
1944
Classics 842
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This section shows the
jazz standards written by the same writing
team. Click on a name to see all
of a writer's jazz standards.
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Additional
information on “Don't Blame Me” may be found
in:
1 paragraph including
the following types of information:
history.
3 paragraphs including
the following types of information:
music analysis.
1 paragraph including
the following types of information:
history and performers.
1 paragraph including
the following types of information:
film productions, history and performers.
Includes the following
types of information: song lyrics.
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