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“You haven’t heard
‘My Funny Valentine’ if you’ve missed
this classic version with Miles
on muted trumpet, backed by one
of his most famous quintets...” |
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- Jon Luthro
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Mitzi
Green introduced “My Funny Valentine”
in the Broadway musical, Babes
in Arms. Her character, Susie
Ward, sang to Ray Heatherton whose
character was (conveniently) named
Valentine, “Val” White. The show
opened at the Schubert Theater on
April 14, 1937, and ran for 289
performances. “My Funny Valentine”
subsequently went onto the recording
charts in 1945, with Hal McIntyre
and His Orchestra (Ruth Gaylor,
vocal) taking it to number sixteen.
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Babes in Arms was the
first “true” Rodgers and Hart musical.
That is to say, this is the first
time that they wrote the book (dialog)
as well as the music and lyrics.
Their storyline was the forerunner
of the “Hey kids, let’s put on a
show!” formula, which provided a
format for a sequence of song and
dance numbers while allowing the
inclusion of a thin plot and some
modest character development.
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The show is also notable for
choreographer George Balanchine’s
“dream ballet” sequence, one of
the first of its kind. Other songs
in the original Babes in Arms
production included, “Babes
in Arms,” “I Wish I Were in Love
Again,” “Where
or When,” “The
Lady Is a Tramp,” and “Johnny
One Note.”
Babes in Arms was adapted
to the big screen by MGM in 1939
and was the third in a series of
nine movies starring Mickey Rooney
and
Judy Garland.
Arthur Freed produced and Busby
Berkeley directed this film, which
retained some of the original plot
but only the songs “Babes in Arms”
and “Where
or When” from the score.
“My Funny Valentine” has at one
time or another been a specialty
number for countless performers,
including
Frank Sinatra,
Judy Garland, Miles Davis, and
Chet Baker.
For a thorough 25-page discussion
regarding the song in general, see
Will Friedwald’s
Stardust Melodies. “My Funny
Valentine” is one of twelve thoroughly
documented songs in the book.
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In 1927 Lorenz Hart took the novel approach of
combining antiquated words with contemporary colloquialisms
in “Thou
Swell” from A Connecticut Yankee (1927),
resulting in lines such as “I choose a sweet lollapalooza
in thee.” In “My Funny Valentine” the verse repeats
his previous approach with “thou’s” and “thy’s”
and “doth” and “hast”; for example, “Thou knowest
not my dim witted friend.” But the refrain does
not include any archaic words or colloquialisms,
with the exception of “my favorite work of art”.
The verse of “My Funny Valentine” is rarely sung,
possibly because of the outmoded words or perhaps
because of another distinction: it contains only
a single-note melody.
Richard Rodgers’ refrain has a descending bass
line, which William Zinsser (Easy
to Remember: The Great American Songwriters and
Their Songs) says, “is the foundation that
holds up the whole song.” Its engaging melody is
basically the repetition of a six-note phrase in
the first four bars followed by variations on that
theme. -JW
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Musical analysis of
“My Funny Valentine”
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| Original
Key |
C minor,
with a shift to relative major in “B”section |
| Form |
A – B – C
– D with a four-measure tag, although “B”,“C,”
and the tag share much of the same melodic
material with “A” |
| Tonality |
70% minor,
30% major (during the bridge and the tag) |
| Movement |
Ascending
scale-wise, then falling a bit before starting
upward again and then soaring by leaps into
the upper range; overall melody line is
a climbing one, reaching a climax at the
end just before the tag. |
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Comments
(assumed
background)
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This is a very nicely constructed melody
that rises tentatively, then falls repeatedly,
only to rise a bit higher each time. The
harmonic progression of the “A” section
is led by a chromatically descending bass
line that changes each chord (somewhat reminiscent
of “In
A Sentimental Mood” and “Blue
Skies”). In the original key, it looks
like this: Cm – G7/B –Eb/Bb – Am7(b5) –
Ab – Eb/G – Fm – Eb – Dm7(b5). From
the last chord, it is an easy return to
C minor. On “B” the Fm becomes an Fm7(b5),
facilitating movement to the relative major
key. The bridge at “C” uses the I – vi –
ii7 – V7 progression of “Heart
and Soul” and “Blue
Moon” until modulating back to the minor
key using the viim7(b5)– V7/i sequence.
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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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“My Funny Valentine” is an exception to my rule
in regard to being pure about the lyric and message.
Miles (Davis) introduced it so musically that I
can get over the silly lyrics. Most lyrics have
to read like a poem to me—not this one: “Is your
mouth a little weak, when you open it to speak,
are you smart?” Now what’s that about? But I read
that this song was originally sung into a mirror,
a kind of self-esteem check, and that helps get
me past the lyrics.
Jay
Clayton, jazz vocalist
www.jayclayton.com
“My Funny Valentine” is a beautiful song with very
interesting changes. The melody inspires the improviser,
and the changes challenge the intellect. It offers
many possibilities for change.
David
Friesen, jazz bassist
www.davidfriesen.net
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published Vocalist or Instrumentalist?
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“My Funny Valentine”
was included in these films:
- Gentlemen Marry Brunettes
(1955, Jeanne Crain, dubbed by Anita Ellis)
- Pal Joey (1956, Kim Novak)
- Waiting to Exhale (1995, Chaka
Khan)
- The Talented Mr. Ripley (1999,
Matt Damon)
- The Company (2003, appearing
four times: by Elvis Costello, Chet Baker, the
Kronos Quartet, and the piano/cello duet of
Marvin Laird and Clay Ruede)
And on the small screen:
- Cold Feet (1997-2003, British
TV series which aired in the United States on
the Bravo network, Chet Baker)
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Click on a CD for more details
at Amazon.com
Chet Baker
My Funny Valentine
1994, Blue Note 28262
Original recording, Pacific Jazz, 1954
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| This compilation includes Baker’s
initial vocal on “My Funny Valentine,” which
became one of the trumpeter’s signature
songs. The fragility of his voice, his beautiful
trumpet tone, and his youthful good looks
made women swoon. If you’re unfamiliar with
Chet, this is a good place to start. |
Bobby Timmons
This Here Is …
1991, Orig. Jazz Classics 104
Original recording, 1960, Riverside
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| Timmons sets a classical mood in
his introduction and closing to “My Funny
Valentine.” In between, bassist Sam Jones
and drummer Jimmy Cobb help swing it. The
trio also takes us for a ride through some
of Timmons’ own well-known compositions. |
Jacky Terrasson
Smile
2003, Blue Note
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| This is a wonderful, free take on
“My Funny Valentine” with Sean Smith (b)
and Eric Harland (d). The pianist’s version
of the album’s title cut alone is worth
the price of admission. |
Gerry Mulligan
What Is There to Say?
1994, Sony 52978
Original recording, 1958
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| Art Farmer opens this haunting version
of the song on trumpet with the baritone
saxophonist weaving lines behind him before
improvising his own solo on bari and then
switching roles. This CD is a marvelous
example of Mulligan’s “piano-less” quartet. |
Miles Davis
Cookin’ with The Miles Davis Quintet
Original Jazz Classics 128
Original recording, 1956
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| You haven’t heard “My Funny Valentine”
if you’ve missed this classic version with
Miles on muted trumpet, backed by one of
his most famous quintets: Red Garland (p),
Paul Chambers(b), Philly Joe Jones (d),
and John Coltrane (ts), who sits this one
out. Another classic recording that is a
must for jazz fans. |
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Although Chet Baker’s vocal version is one of
the best known renditions of this tune, Chet’s version
with Gerry Mulligan, from 1952 is one of his first
recording sessions and is a haunting version of
the tune, no doubt helped along by the acoustics
of the empty San Francisco Blackhawk nightclub.
Baker’s approach on this track is strangely reminiscent
of Clifford Brown.
Yet another version by Baker/Mulligan, a live
date from 1953 (complete with clinking glasses,
no less), is two minutes longer than the ’52 version
and features Baker in a more expansive and looser
mode.
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 “My Funny Valentine” may be found in:
2 pages including the following types of information: music analysis.
5 pages including the following types of information: music analysis.
1 paragraph including the following types of information: summary, lyric analysis and music analysis.
1 paragraph including the following types of information: history and performers.
25 pages including the following types of information: history, lyric analysis, music analysis, performers, recordings and song writer discussion.
Includes the following types of information: song lyrics.
4 pages including the following types of information: music analysis and sheet music.
2 paragraphs including the following types of information: music analysis and performers.
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