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“In a trio setting
pianist Monk delivers a breathtaking
exploration of the song...” |
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- Ben Maycock
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Considering
the spare melody and lyrics of “It
Don’t Mean a Thing (If It Ain’t
Got That Swing),” the immediate
success was due, in no small way,
to the vocal by
Ivie Anderson, who introduced
it with the Duke Ellington Band
in February, 1932. The original
version is available on
Ivie Anderson's
It Don’t Mean a Thing CD.
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Ellington’s recording went onto
the charts for six weeks, peaking
at number six. In September, 1932,
the Mills Brothers covered it and
saw their rendition rise to number
seven. It was the right combination
of talent at the right time that
made the song immediately popular.
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There are many stories about
the origin of the song’s title.
Depending on whom you believe, it
was a favorite saying of James “Bubber”
Miley, who played the trumpet with
Ellington’s band in the 1920’s.
Yet another account has
Cootie Williams (Miley’s replacement)
insisting it was his catch phrase.
Still another has Irving Mills taking
credit for using the phrase in a
sentence while telling Ellington
that the customers weren’t dancing
to the band’s music. In actual fact,
any number of people may have been
using the phrase when Ellington
wrote the song.
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The term itself, “swing,” has
been used in a number of ways. Today,
the most common use among jazz musicians
relates to subtle changes in the
timing of the melody, which promote
a “swing feeling.” That is to say
that the melody notes are played
ahead of the beat, across the beat,
or behind the beat, allowing the
performer to express a more relaxed,
rhythmic, or even driving feeling.
Another, more specific use of
the term refers to the style of
music played by big band dance orchestras
of the 1930’s and 1940’s. But in
the 1920’s, and before, musicians
usually used the term “swing” as
a synonym for “jazz.”
Regardless of the definition,
there is little argument that Ellington’s
“It Don’t Mean A Thing…” is the
song that brought the word “swing”
into general use. The song is further
credited with predicting the swing
era, giving the swing era its name,
and providing one more reason to
call Duke Ellington a prophet.
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Musical analysis of
“It Don't Mean a Thing (If It Ain't Got
That Swing)”
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| Original
Key |
F minor ending
in Ab major, with temporary shifts to Db
major and Eb major during the bridge. |
| Form |
A – A – B
– A |
| Tonality |
Primarily
minor – major tonality at the end and during
the bridge. Use of the flatted 5th “blue
note.” |
| Movement |
Arpeggiated
up, stepping down; many repeated notes. |
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Comments
(assumed
background)
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This is a favorite among jazz players, with
its minor descending progression similar
to “Steppin’ Out With My Baby” and the folk
song “Sixteen Tons.” A few changes have
taken place with this piece since it was
written. They are not an improvement on
the original. The last four measures of
“A” contain the (in)famous “du-wah-du-wah-du-wah”
passage. Modern players begin this on beat
two, but if one listens carefully to Ellington’s
original 1932 recording, one finds that
it actually starts on the second half of
the first beat! The chord progression of
this has also changed. Today, it is common
to play IV-iv(ii7/I)-I ( Bb7 – Bbm – Ab).
Originally, an ascending progression going
to a diminished-seventh, leading tone chord
was used (Bb7 – B˚7 – Ab – Cb˚7 – Ab) with
a V7(+5) returning to the second “A.” In
both cases, the original is preferable. |
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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”It Don’t Mean a Thing”--Duke’s tunes are cool in
that you can do a LOT of different things with them,
harmonically and rhythmically. Even the title swings.
I loved the way Monk played it on
Monk Plays Ellington. That’s pretty much the
way I approach it--it has edges and corners and
angles, and I’m the only one besides Monk that I’ve
heard play the bridge the way it was written and
played. Duke wanted this tune to swing. I’ve heard
so many versions of this that didn’t. How dumb is
that?
Jessica
Williams, jazz pianist
www.jessicawilliams.com
Are you a
published Vocalist or Instrumentalist?
Add a comment and we'll credit you with a link
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“It Don't Mean a Thing (If
It Ain't Got That Swing)” was included
in these films:
- Harlem Nights (1989)
- Swing Kids (1993, Billy Banks)
- Corrina, Corrina (2000, Ivie
Anderson with Duke Ellington and His Orchestra)
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Click on a CD for more details
at Amazon.com
The Ray Brown Trio
Summer Wind: Live at the Loa
1990, Concord 4426
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| The bassist’s trios, despite personnel
changes, had one thing in common, they could
all swing. Gene Harris is at the piano here,
but it is drummer Jeff Hamilton’s show.
By displacing the beat he transforms the
song. |
Joe Williams
Presenting Joe Williams & Thad Jones/Mel
Lewis
1994, Blue Note 30454
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| Vocalist Williams gives a reading
of the Ellington classic that jumps back
and forth from playful to powerful. The
song allows Williams to exercise his voice
to its full potential, including some wonderful
scatting. |
Max Roach
Plus Four
1993, Polygram 822673
Original recording, 1957, Emarcy
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| Drummer Max Roach is joined by a
“hitting-his-stride” Sonny Rollins on sax
for a blistering version of the song that
has everyone pitching in with abandon. |
Thelonious Monk
Plays Duke Ellington
1991, Orig. Jazz Classics 24
Original recording, 1955, Riverside
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| In a trio setting pianist Monk delivers
a breathtaking exploration of the song,
highlighting his ability to make a great
song vibrate with new ideas. |
Ernestine Anderson
Hello Like Before
1989, Concord 4031
Original recording, 1977
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| Vocalist Anderson gives the tune
its full measure of swing. The full sound
of her back-up group belies a mere trio.
But look at the personnel: Hank Jones (p),
Ray Brown (b), and Jimmie Smith (d). |
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One of the most interesting of the early recordings
of Duke Ellington’s defining paean to jazz was done
by three sisters from New Orleans.
The Boswell Sisters--Connee, Helvetia (Vet) and
Martha--grew up with jazz in the Crescent City and
went on to have a short-lived yet prolific career
on radio, in movies, and on records. They were
the pioneer group of jazz vocal harmony.
Their treatment of Ellington’s tune is a typical
illustration of their musical creativity, featuring
a slow tempo solo chorus by Connee (who later went
on to a successful solo career); a double-time,
pig-Latin-style, scat chorus with the three sisters;
a slow, haunting trombone solo by Tommy Dorsey;
then a vocalized half chorus done double-time.
Chris Tyle - Jazz Musician and Historian
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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 “It Don't Mean a Thing (If It Ain't Got That Swing)” may be found in:
1 page including the following types of information: anecdotal.
1 paragraph including the following types of information: history.
1 paragraph including the following types of information: film productions, history and performers.
1 paragraph including the following types of information: history and music analysis. (Page 275).
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