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“Two seven-string
guitar masters, alone together,
give ‘I Surrender Dear’ their most
gentle touch. ” |
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- Sandra Burlingame
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“I Surrender Dear” was
Bing Crosby’s first solo hit,
and, although it came about by circuitous
circumstances, it played a large
part in the beginning of his singing
and film success.
Known as The Rhythm Boys,
Bing Crosby, Harry Barris, and
Al Rinker were a popular trio who
performed with the
Paul Whiteman Orchestra. In
1930,
Bing Crosby was arrested on
a drunk driving charge, an event
that led to
Paul Whiteman’s releasing the
trio. The Rhythm Boys then
joined Gus Arnheim and His Orchestra.
It was with Gus Arnheim that Crosby
recorded the Harry Barris/Gordon
Clifford composition.
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Climbing the charts to third
place in early 1931, this recording
resulted in Crosby signing with
CBS for his first radio show. Also
that year, Crosby was asked by Max
Sennett to do a short, musical film
entitled, I Surrender Dear.
Its success led to the production
of more 2-reel films.
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As Crosby’s solo career advanced,
his commitment to The Rhythm
Boys receded, resulting in their
dissolution later in the year. This
left Harry Barris free to pursue
his career as a pianist, vocalist,
bandleader, and even as supporting
actor in a handful of movies.
“I Surrender Dear” also charted
in 1931 for one week with Earl Burtnett
and His Los Angeles Biltmore Hotel
Orchestra (vocalist Don Dewey) and
peaked at number eighteen. In 1935
it charted for one week with Red
Norvo and His Orchestra, rising
to number twenty.
Usually performed at a relaxed
tempo, “I Surrender Dear” has been
called “haunting” and “lonely” and
even “slow and creepy.” This does
not mean that it is dreary or distasteful.
It is better characterized as “emotionally
powerful,” a comment made regarding
the arrangement on
Thelonious Monk’s
Brilliant Corners. Monk
invests the music with an emotional
depth far beyond what might be described
as a simple torch song, given a
cursory glance at the lyrics.
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Musical analysis of
“I Surrender Dear”
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| Original
Key |
C major |
| Form |
A - A - B
- A |
| Tonality |
There is
a great deal of tension between major and
minor before resolving to C major at the
end of the “A” sections. |
| Movement |
Primarily
thirds in “A” sections, ascending for four
measures, then cascading back down in measure
5. “B” moves step-wise over the range of
a minor 3rd before a final downward leap
of a fifth and subsequent bounce back up
a fourth, returning to “A”. |
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Comments
(assumed
background)
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If one takes the practice of chord substitution
into consideration, the opening harmonic
progression of this song is similar to “I’ve
Got You Under My Skin” and “Cheerful
Little Earful.” It is basically a ii7-V7-I-VI7,
with a iii substituting for “I.” This gives
the song an unsettled feeling, reflecting
the tortured emotions of the singer. Although
the harmony returns to “I” in measure 5,
this is not the true resolution, which is
delayed until the final (and title) line
of the chorus, “I surrender, dear.” In
“B”, the progression jumps up to III7 as
if there were to be a false key change to
A minor, but–keeping with the spirit of
the lyric–never quite makes it there, instead
reaching up to the IV chord (in the original
key, E7-F), then slipping back, only to
reach again – and slip back. Eventually,
it finally does resolve to vi, leading to
the II7-V7 progression that should logically
return to I but doesn’t until the final
measures of the song.
It is also worth noting that the melody
ends, not on the tonic note, but on the
fifth, thus strengthening the impression
of unresolved feelings and inner conflict.
This is not a difficult piece since it stays
within the range of a ninth. Performers
should listen carefully to their rhythm
section, keeping in mind that virtually
every harmonic resolution is a delayed one.
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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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“I Surrender Dear”
was included in these films:
- I Surrender Dear (1931, Bing
Crosby)
- The Tip-Off (1931)
- The Bloodhounds of Broadway
(1989, Madonna and Jennifer Grey sing a duet)
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Click on a CD for more details
at Amazon.com
Thelonious Monk
Brilliant Corners
1991, Orig. Jazz Classics 26
Original recording, 1956
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| The pianist gives “I Surrender Dear”
a quirky reading in this, one of his most
important recordings. |
Billy Eckstine
Love Songs
2004, Savoy Jazz
Original recording, 1954
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| The voice of Mr. B is like no other—deep,
rich, warm, and seemingly effortless. This
is a great collection of songs delivered
in his inimitable manner. |
Howard Alden & George Van Eps
Seven and Seven
1993, Concord 4584
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| Two seven-string guitar masters,
alone together, give “I Surrender Dear”
their most gentle touch. The CD includes
several other top standards. |
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Louis Armstrong is aptly credited as being the
first jazz vocalist. In some manner he influenced
almost every jazz (and pop vocalist) of the twentieth
century. His version of “I Surrender Dear” from
1931 exhibits every aspect of his ingenious vocal
style. In one chorus, he improvises not only melodically
but with the lyrics, even adding a brief bit of
scat singing.
The tune became a jam session favorite, especially
with swing players like Roy Eldridge and Chu Berry,
whose 1940 version under the band name “Chocolate
Dandies” is a wonderful example of these seminal
players stretching out. Also from 1940 is a memorable
version by
Benny Goodman’s sextet featuring young lion
Charlie Christian on electric guitar.
Chris Tyle - Jazz Musician and Historian
The Chocolate Dandies
1928-1940
Epm Musique 157982
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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 “I Surrender Dear” may be found in:
1 paragraph including the following types of information: film productions, history and performers.
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