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If I Could Be with You (One Hour Tonight) (1926)

Origin and Chart Information
Rank155
Music

James P Johnson

LyricsHenry Creamer
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Music and Lyrics Analysis

Musical analysis of “If I Could Be with You (One Hour Tonight)”

Original KeyEb major
FormA - B - A - C
TonalityMajor throughout
MovementShort chromatic run upwards, followed by a pattern descending in thirds; downward leaps with a chromatic neighboring embellishment; scale runs ascending and descending.

Comments     (assumed background)

While the melodic contour of “A” is fairly smooth, the leaps landing on chromatically altered pitches can be tricky, especially for the vocalist. Harmonically this uses fairly standard progressions; essentially, this is ii - V7 - I in the beginning, I -V7/VI - VI going into “B,” returning via a circle of fifths, while “C” ends on a IV - #iv° - I (second inversion) -III7 - VI7, followed by a final II7 - V7 - I ending cadence.
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).
Musician's Comments

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CD Recommendations for This Tune
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Helen Humes

Songs I Like to Sing
(1988 Original Jazz Classics 171) Original recording 1960
Arranger Marty Paich does a wonderful job of building on the singer’s strengths, and Humes responds magnificently. Sung with coquettish vulnerability, this rendition is genuinely touching.
Carmen McRae

Alive!
(1994 Legacy Recordings 57887) Original recording 1965
Superb phrasing and impassioned delivery make this live recording of the song a must listen. McRae can whisper and growl in the same breathe, interpreting a complexity of emotions not readily apparent in the lyrics.
Oscar Peterson

This is Oscar Peterson
(2002 Bluebird RCA 63990) Original recording 1952
Peterson’s piano playing is characteristically refined, but it is the ornamentation he hangs on the song that makes this rendition special. His fleet fingers set off mini-pyrotechnics that emerge from the quietest moments.
Mark Murphy

Crazy Rhythm and His Debut Recordings
(1999 GRP Records 670) Original recordings 1956-1957
Vocalist Murphy’s straightforward delivery of stride pianist James P. Johnson’s gem captures all the underlying blues feeling that the composer and lyricist, Henry Creamer, intended.
Jazz History Notes

Pianist James P. Johnson’s tune was very popular in the late 1920s and early 1930s. One version from 1929 by the Mound City Blue Blowers, a popular group led by vocalist and comb (like a kazoo) player Red McKenzie, was an integrated session that featured the great tenor saxophonist Coleman Hawkins along with trombonist Glenn Miller, clarinetist Pee Wee Russell, and drummer Gene Krupa. Although recorded as “One Hour” (with composer credit going to Miller and Krupa), the record is an early example of a group improvising on the chord changes and not alluding to the melody.

Trombonist Jack Teagarden recorded a superb vocal version of the tune when he was a member of Ben Pollack’s Orchestra in 1930, and it became a staple in his repertoire for many years.

Chris Tyle - Jazz Musician and Historian


Coleman Hawkins

The Quintessence: New York, Camden, Londres, Paris, Chicago 1926-1944
Fremeaux & Assoc. France 213

Jack Teagarden

Ben Pollack Vol. 4, 1929-1930
Jazz Oracle BDW8026
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.

Henry Creamer and James P Johnson

YearRankTitle
1926155If I Could Be with You (One Hour Tonight)
Reading and Research

Additional information on “If I Could Be with You (One Hour Tonight)” may be found in:


2 paragraphs including the following types of information: music analysis.

Includes the following types of information: song lyrics.

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