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Between the Devil and the Deep Blue Sea (1931)

Origin and Chart Information
“I should hate you
But I guess I love you
You’ve got me in between
The devil and the deep blue sea”

- Ted Koehler

AKAThe Devil and the Deep Blue Sea
Rank 157
Music Harold Arlen
Lyrics Ted Koehler

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)

 

Chart information used by permission from
Joel Whitburn's Pop Memories 1890-1954
 

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.

 

More on Cab Calloway at JazzBiographies.com
 

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.

 

More on Ted Koehler at JazzBiographies.com
 

 

More on Harold Arlen at JazzBiographies.com
 

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.”

Chris Tyle - Jazz Musician and Historian

Music and Lyrics Analysis

Musical analysis of “Between the Devil and the Deep Blue Sea”

Original KeyF major: false key change to “A” in mm. ??? of “B”
FormA - A - B - A
TonalityMajor 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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Music & Lyrics Analysis
Musician's Comments

Jazz History Notes
Also by the Same Writers...
Reading & Research

CD Recommendations for This Tune
Click on a CD for more details at Amazon.com
Donald Byrd

At the Half Note
(2004 Blue Note 90881) Original recording 1960
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.

Annie Ross

Skylark
(1996 DRG 8470) Original recording 1956
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.

Thelonious Monk

Straight, No Chaser
(1996 Sony 64886) Original recording 1967
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.

MJQ

Modern Jazz Quartet: 1957
(2002 Wounded Bird Records) Original Recording 1957
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.
Jazz History

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


Cab Calloway

The Early Years 1930-1934
JSP Records

Louis Armstrong

Stardust
Sony 44093

Bob Crosby

South Rampart Street Parade
GRP Records 615
Written by the Same Composer or Team...
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.

Harold Arlen and Ted Koehler

YearRankTitle
1933106Stormy Weather (Keeps Rainin’ All the Time)
1931157Between the Devil and the Deep Blue Sea
1929169Get Happy
1932184I’ve Got the World on a String
1934234Ill Wind
1934365As Long As I Live
1933480Let’s Fall in Love
1941485When the Sun Comes Out
1932528I Gotta Right to Sing the Blues
Reading and Research
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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