“I should hate you But I guess I love you You’ve got me in between The devil and the deep blue sea” |
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- Ted Koehler
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Vocalist Aida Ward introduced this Ted Koehler-Harold Arlen tune in the Cotton Club show Rhyth-Mania, which premiered in March, 1931. Featured in the production was Cab Calloway’s Orchestra which hit the charts with the tune that year:
- Cab Calloway and His Orchestra (1931, vocal, #15)
- Louis Armstrong and His Orchestra (1932, vocal, #12)
- Boswell Sisters (1932, vocal, #13)
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Rhyth-Mania was the first collaboration of Koehler and Arlen for Cotton Club revues, and they would do three more together. Although the duo collaborated on a total of nine tunes for the show, only three in addition to “Devil...” made a splash. Calloway recorded two--“Kickin’ the Gong Around,” a follow-up to his successful “Minnie the Moocher,” and “Trickeration.” Calloway’s recording of “Kickin’the Gong Around” made the charts in 1931, as did Louis Armstrong’s performance. Another tune from the show, “I Love a Parade,” hit the charts in 1932, performed by the Victor Arden-Phil Ohman Orchestra, and Calloway performed a brief version of it in the 1934 film short Cab Calloway’s Hi-de-Ho.
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Unlike some standards which made a splash the first year of release only to resurface years later, “Between the Devil...” continued to be performed and recorded on a regular basis over the years.
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The term “between the devil and the deep blue sea” is the same as “between a rock and a hard place,” which means caught in a difficult situation or state of mind. Koehler’s lyrics echo this sentiment nicely: “I don’t want you, but I hate to lose you” and “I forgive you, ‘cause I can’t forget you.” The lyrics to the bridge are especially witty: “I ought to cross you off my list, but when you come a-knocking at my door, fate seems to give my heart a twist, and I come running back for more.”
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Chris Tyle - Jazz Musician and Historian
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Musical analysis of “Between the Devil and the Deep Blue Sea” | | Original Key | F major: false key change to “A” in mm. ??? of “B” | | Form | A - A - B - A | | Tonality | Major throughout | | Movement | “A” is strongly arpeggiated, leaping in both directions; some chromatic passing tones give it a “bluesy” sound. “B” is made up of descending scale patterns and repeated notes. | Comments (assumed background) | | The chord progression of “A” is really a variation of “rhythm changes” but without the vi chord between I and ii (this could easily be added but is not present in the original published version). The final notes of “A,” on which the title lyrics are sung, are quite challenging and have actually become a favorite “lick” used by jazz instrumentalists in their improvisations. Although of simple melodic construction, “B” is clever in its use of what is essentially the same descending scale pattern in two different places. Coming out of “A,” there is an abrupt harmonic drop from I to VII, which becomes the V7 of the new key (A major in the original). Composer Arlen gets back to familiar tonal territory by dropping another diatonic step, getting the song back to the dominant key of the song. A similar harmonic progression was used in the “B” section of “I Apologize.” | 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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Donald Byrd
At the Half Note
(2004 Blue Note 90881) Original recording 1960
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This energetic, tight, live performance is from one of the great bebop trumpeters. Teamed with like-minded saxophonist Pepper Adams and a solid rhythm section, Byrd is able to stretch himself fully.
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Annie Ross
Skylark
(1996 DRG 8470) Original recording 1956
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Vocalist Ross plays it rather straight here, but there are glimpses of the musical mischief she stirred up as a member of Lambert, Hendricks and Ross. Robert Burns’ clarinet gives the song an upbeat, joyful spirit.
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Thelonious Monk
Straight, No Chaser
(1996 Sony 64886) Original recording 1967
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Monk is at his creative finest on this unaccompanied piano piece as he reveals the skeleton of the piece and reconstructs it note by note: a prime example of this genius’ eloquence and attention to detail.
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MJQ
Modern Jazz Quartet: 1957
(2002 Wounded Bird Records) Original Recording 1957
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It was this kind of musicmaking that caught the attention of the listening public and kept the MJQ together and at the top for over two decades. Their instrumentation--piano, vibes, bass and drums--was unique as was their creativity and artistry. Every cut on this CD is a gem.
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Although vocalist Cab Calloway’s 1931 rendition of this tune is among the first jazz recordings, he takes a back seat to Louis Armstrong’s version from 1932 which is superb (and is available in two different versions). Armstrong’s work during this period really set the template for jazz soloists with big bands and would become the standard for the swing era. Bob Crosby, brother of popular vocalist Bing Crosby, was hired in 1935 by a collective group of musicians previously under the employ of drummer Ben Pollack. Bob’s band went on to make a name for itself during the swing era by playing an arranged Dixieland style that featured the great soloists in the band including New Orleans players Eddie Miller (tenor sax) and Irving Fazola (clarinet). Their recording of “Between the Devil and the Deep Blue Sea” is a marvelous, swinging adventure.
Chris Tyle - Jazz Musician and Historian
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Additional information on “Between the Devil and the Deep Blue Sea” may be found in:
1 paragraph including the following types of information: film productions, history and performers.
Includes the following types of information: song lyrics.
1 page including the following types of information: music analysis, performers and jazz solo transcription.
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