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“[Ben Webster]
did an impromptu four-minute improvisation
on the number ... [which] became
Webster’s own favorite recording.
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- Chris Tyle
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On
October 31, 1927, Hoagy Carmichael
and His Pals recorded “Stardust”
at the Gennett Records studio in
Richmond, Indiana. Hoagy’s “pals,”
Emil Seidel and His Orchestra, agreed
to record the medium-tempo instrumental
in between their Sunday evening
and Monday matinee performances
in Indianapolis, seventy miles away.
In 1928 Carmichael again recorded
“Stardust,” this time with lyrics
he had written, but Gennett rejected
it because the instrumental had
sold so poorly. The following year,
at Mills Music, Mitchell Parish
was asked to set lyrics to coworker
Carmichael’s song. The result was
the 1929 publication date of “Star
Dust” with the music and lyrics
we know today. The Mills publication
changed the title slightly to “Star
Dust” from “Stardust” as it was
originally spelled.
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Mills Music was owned and operated
by brothers Irving and Jack Mills.
Irving Mills was a songwriter
and singer but is probably best
remembered in his role as publisher
and band manager, in particular
with the
Duke Ellington Orchestra. In
the latter half of the 1920’s
Irving Mills recruited musicians
for recording sessions using the
names The Whoopee Makers and then
Irving Mills and His Hotsy Totsy
Gang. Band members would change
almost month-to-month, but at some
point these groups included top
names such as
Benny Goodman, Bix Beiderbecke,
Jack Teagarden, Tommy Dorsey, Jimmy
Dorsey, and Hoagy Carmichael.
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Irving Mills and His Hotsy Totsy
Gang recorded “Star Dust” on September
20, 1929, on the Brunswick label,
and the song rose to number 20 on
the 1930 pop charts. Shortly after
the Mills recording,
Isham Jones and His Orchestra
recorded “Star Dust” as a romantic
ballad, and their recording became
a top-selling, number one hit.
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There are many accounts of how
“Star Dust” came to be written.
Carmichael tells his version in
autobiographies
The Stardust Road (1945)
and
Sometime I Wonder (1965);
Will Friedwald devotes a 36-page
chapter to the song in his book
Stardust Melodies (2002);
and Richard Sudhalter discusses
the origin of the song in his Carmichael
biography
Stardust Melody: The Life and Music
of Hoagy Carmichael (2002).
According to the songwriter, inspiration
struck while visiting his old university
campus. Sitting on a wall reminiscing
about the town, his college days,
and past romances, he looked up
at the starlit sky and whistled
“Star Dust.” Sudhalter’s biography
contends that the melody may have
begun with fragments, evolving over
months and maybe years, but Carmichael
preferred to perpetuate a myth that
sweet songs are conceived in romantic
settings.
“Star Dust” is arguably the most
recorded pop tune in history and,
as such, a top jazz standard. The
song has appeared on the recording
charts with over fifteen artists.
Billboard Magazine’s 1955
poll of leading disk jockeys recognized
“Star Dust” four times as an all-time,
popular song record by:
Many other recordings of “Star
Dust” made the recording charts
over the years:
-
Irving Mills and His Hotsy
Totsy Gang (1930, Hoagy Carmichael,
Piano, #20)
-
Isham Jones and His Orchestra
(1931, #1)
-
Bing Crosby (1931, #5)
-
Louis Armstrong (1931,
Louis Armstrong, trumpet
and vocal, #16)
- Wayne King and His Orchestra
(1931, #17)
- Lee Sims (1931, #20)
- Jimmie Lunceford and His
Orchestra (Henry Wells, vocal)
(1935, #10)
-
Benny Goodman and His Orchestra
(1936, #2)
- Tommy Dorsey and His Orchestra
(1936, Edythe Wright, vocal,
#8) (flip side of
Benny Goodman’s Victor recording)
- Sammy Kaye and His Orchestra
(1939, #16)
- Artie Shaw and His Orchestra
(1941, #2)
- Tommy Dorsey and His Orchestra
(Frank
Sinatra and The Pied Pipers,
vocals) (1941, #7)
-
Glenn Miller and His Orchestra
(1941, #20)
- Baron Elliott and His Stardust
Melodies Orchestra (1943, Stardust
Trio, vocals, #18)
- Tommy Dorsey and His Orchestra
(1943, #23) (reissue of the
1941 recording)
- Bill Ward and His Dominos
(1957, #12)
- Nino Tempo and April Stevens
(1964, #32)
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(Chart information from the latter
two entries is from
The Billboard Book of Top 40 Hits
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The song’s appeal to both jazz performers and
listeners defies analysis. Its A-B-A-C structure
is unconventional for a pop song, and the melody
is unusual in that it takes wide swings as a matter
of course, not just at particular points of expression.
Oscar Hammerstein II comments in the preface
of his book
Lyrics that “Star Dust” “rambles and roams
like a truant schoolboy in a meadow. Its structure
is loose, its pattern complex. Yet it has attained
the kind of long-lived popularity that few songs
can claim. What has it got? I’m not certain. I know
only that it is beautiful and I like to hear it.”
Clearly Mitchell Parish’s lyrics are integral
to the success of the song, creating an indelible
mood. Originally Carmichael’s composition was played
at a medium tempo suitable for dancing, but vocalists
soon demanded that the tempo be slowed down to a
pace in keeping with the dreamy lyrics. Parish’s
phrases are strung together in a way that transforms
his lush imagery from overly romantic to compelling,
all the while supporting the flow of the tune. In
The Poets of Tin Pan Alley: A History of America's
Great Lyricists, Philip Furia comments,
“Parish’s skill is manifest in the way he created
a long, but conversational line that followed the
contour of the melody, pausing with the music, but
then driving forward syntactically.” Even when listening
to an instrumental performance of “Star Dust” one
cannot help but recall, if not the words, the feelings
the lyrics evoke. -JW
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Musical analysis of
“Star Dust”
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| Original
Key |
C major |
| Form |
A – B – A
– C |
| Tonality |
Major throughout |
| Movement |
Highly arpeggiated
in both directions; some chromatic embellishment |
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Comments
(assumed
background)
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Despite being “all over the place” (over
the range of a tenth), this tune stays firmly
in a single key throughout. Musicians have
commented on its resemblance to the improvisational
style of cornetist Bix Beiderbecke (who
was a good friend of composer Carmichael).
The opening harmonic sequence, IV – iv –
I – iii – VI7 – ii – VI7(+5) – ii – V7 -
I bears strong resemblance to the second
half of “After
You’ve Gone,” except for the insertion
of the iii chord and the extended V7 (actually
turning into a V7(+5) before resolving back
to I) in place of the second iv chord. The
“B” section is a long II7 – V7exchange,
with the II7 becoming minor before resolving
to the last V7 – I, event though technically,
the I chord at that point – a I7(+5) – is
really a V7 of the upcoming IV (F major
in the original).
“C” contains a bit of
a surprise; starting out with IV – iv, it
returns to the tonic and its relative minor
(I –vi, or C major and A minor in the original).
Instead of going to the logical ii7 (or
even III7), however, Carmichael goes to
a VII7 (Am – B7). This resolves to the III7
(E7), as might be expected, but then goes
to ii7 before the logical resolution of
VI7 (A7). The VI7 resolves normally to the
final ii7 – V7– I progression. Why Carmichael
took the detours is hard to say; melodically,
an E7 in measure 4 of section “C” would
have worked just as well and made more sense
from a tonal standpoint. Such deceptive
resolutions were prevalent in late Romanticism
and Impressionist music, both of which of
were strong influences on Bix Beiderbecke’s
music. |
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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“Star Dust”
was included in these films:
- Star Dust (1940)
- Hi Buddy (1943)
- Stardust Memories (1980,
Louis Armstrong and His Orchestra)
- Goodfellas (1990, Billy Ward
and His Dominos)
- Sleepless in Seattle (1993,
Nat “King” Cole)
- Casino (1995)
And on the small screen:
- The Flintstones (1960, Fred,
Barney, and Hoagy Carmichael)
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Click on a CD for more details
at Amazon.com
Hoagy Carmichael
Ole Buttermilk Sky
1998 Collectors Choice 64
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| The master plays and sings the definitive
version of “Star Dust” on this compilation
that shows Carmichael to be arguably the
finest singer-songwriter of all time. |
Dave Brubeck Quartet
Jazz at Oberlin
1991 Original Jazz Classics 46
Original recording, 1953
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| This version, captured live at Oberlin
College in Ohio, hints at the new directions
Brubeck would be pushing jazz with Time
Out. |
Lou Donaldson
A Man With A Horn
1999,Blue Note
Original recording, 1963
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| This album features a laid-back
arrangement from the bluesy, hard bop saxophonist.
The under-appreciated Donaldson trades some
tasty solos with guitarist Grant Green. |
Jon Hendricks & Friends
Freddie Freeloader
1993, Denon 76302
Original recording, 1990
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| Hendricks wrote lyrics to Louis
Armstrong’s version of “Star Dust” and sings
them here with Judith Hendricks and the
Vocalstra in a unique take on the classic. |
Ernestine Anderson
Ernestine Anderson
1992, Polygram 14076
Original recording, 1958
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| In one of the singer’s earliest
recordings she plays it straight with a
beautiful ballad version. |
Wynton Marsalis
Hot House Flowers
1990, Sony 39530
Original recording, 1984, Columbia
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| The song introduced this early Marsalis
album and proved without a doubt that the
trumpeter had something to say. “Star Dust”
is the crown jewel of this excellent album. |
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On November 7, 1940, a milestone in jazz recording
occurred.
Duke Ellington and His Orchestra, on a US tour,
performed in Fargo, North Dakota. Two local Ellington
fans had arranged to record the band live, a rare
occurrence in those days of primitive recording
equipment. During the course of the evening, the
Ellington band swung through many of their great
arrangements. At one point, a patron requested “Stardust,”
a tune for which Ellington didn’t have a special
arrangement. Tenor saxophonist Ben Webster, in a
performance remarkably similar to Coleman Hawkins’
“Body
and Soul” of the previous year, did an impromptu
four-minute improvisation on the number. His version,
which wasn’t commercially released until the 1970s,
became Webster’s own favorite recording.
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 “Star Dust” may be found in:
1 paragraph including the following types of information: lyric analysis.
2 pages including the following types of information: lyric analysis.
4 pages including the following types of information: history, performers, song writer discussion and sheet music.
1 paragraph including the following types of information: history and performers.
2 pages including the following types of information: music analysis.
9 pages including the following types of information: history and 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.
1 page including the following types of information: history, performers, style discussion and song writer discussion.
34 pages including the following types of information: history, lyric analysis, music analysis, performers, recordings and song writer discussion.
6 pages including the following types of information: history, lyric analysis and music analysis.
Includes the following types of information: song lyrics.
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