Jazz Standards.com : Jazz Standards : Songs : History : Biographies
Home Overview Songs Biographies History Theory Search Bookstore About

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

Visitor Comments
Share your comments on this tune...
Origin and Chart Information
“It is my opinion that James P. was a better writer than Fats, although Waller’s tunes have had much more success.”

- Willie "The Lion" Smith

Rank 155
Music James P. Johnson
Lyrics Henry Creamer

Vocalist Eva Taylor introduced this song in a 1927 recording with husband Clarence Williams’ Blue Five. Three years later, the version by Detroit-based band McKinney’s Cotton Pickers’ was on the charts for 12 weeks:

  • McKinney’s Cotton Pickers (1930, George “Fathead” Thomas, vocal, #1)
  • Tom Gerun and His Orchestra (1930, #5)
  • Louis Armstrong and His Orchestra (1930, vocal, #13)
 

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

Pianist James P. Johnson and lyricist Henry Creamer wrote “If I Could Be with You (One Hour Tonight)” in 1926, the same year as “Alabama Stomp” which was used in Earl Carroll’s Vanities that year and the next. The two also collaborated on two unproduced musicals in 1926, Geechee: Dusky Romance in Three Acts and Chicago Loop: Musical Comedy in Two Acts, and in 1927 three of their tunes were used in the short-lived revue A la Carte. In 1928 they wrote the revue Shuffle Along, which would be their last collaboration.

 

More on Henry Creamer at JazzBiographies.com
 
 

More on James P. Johnson at JazzBiographies.com
 

Johnson along with pupil Fats Waller cut a piano roll of the tune for the QRS Company in 1927, and that same year George Randol and Andy Razaf featured the tune in Irvin C. Miller’s revue Brownskin Models. For the next three years the tune basically languished, save for two 1929 recordings, one by the Kansas City orchestra of George E. Lee and the other by the Mound City Blue Blowers (mentioned in the history notes). But 1930 would prove to be the decisive year for the song.

In January, 1930, the McKinney’s Cotton Pickers orchestra from Detroit cut a fine version with a vocal by their unique vocalist George “Fathead” Thomas, which landed #1 in the charts and was their only record to reach the top. A recording by vocalist Ruth Etting, star of the Ziegfeld Follies, created a stir amongst white audiences and sold well, despite not making the charts. But perhaps one of the best-loved recordings was Louis Armstrong’s version from August, 1930, recorded with Les Hite’s band in Los Angeles, which was the stomping ground of Tom Gerun’s Orchestra, who recorded their version in September, 1930. Armstrong’s version is played at a fine, rocking, two-beat dance tempo, slower than the version by McKinney.

James P. Johnson was a talented songwriter, but by the late-1920s he was looking more toward writing larger-scale pieces and did write an opera, a symphony and a string quartet. But his songwriting skills were much admired by his peers, and pianist/composer Willie “The Lion” Smith admitted: “It is my opinion that James P. was a better writer than Fats, although Waller’s tunes have had much more success.” “If I Could Be With You,” “Charleston” and “Old Fashioned Love” would turn out to be the biggest successes for Johnson, and royalties from these helped him make it through the lean time of the depression.

More information on this tune...

Alec Wilder
American Popular Song: The Great Innovators, 1900-1950
Oxford University Press; Reprint edition
Hardcover: 576 pages


(Author/composer Wilder analyzes the musical content of the song in his definitive book on American popular song.)

Chris Tyle - Jazz Musician and Historian

Music and Lyrics Analysis

Creamer’s lyrics are a plea for a lover to return. The verse intones “all day long, I seem to think of you,” then the chorus details what would happen upon that partner’s return: “I want you to know, that you wouldn’t go” and “you’d be anything but blue.” Chris Tyle

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).
Musicians' Comments

Are you a published Vocalist or Instrumentalist?

Add a comment and we'll credit you with a link to your site. (more...)

Reading and Research
Additional information for "If I Could Be with You (One Hour Tonight)" may be found in:

Alec Wilder
American Popular Song: The Great Innovators, 1900-1950
Oxford University Press; Reprint edition
Hardcover: 576 pages


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

Robert Gottlieb, Robert Kimball
Reading Lyrics
Pantheon
Hardcover: 736 pages


(Includes the following types of information: song lyrics.)
Also on This Page...

Music & Lyrics Analysis
Musician's Comments
Reading & Research

Getting Started
CD Recommendations
Listen and Compare
By the Same Writers...

Listen to MP3 and iTunes samples!
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

Getting Started
This section suggests definitive or otherwise significant recordings that will help jazz students get acquainted with “If I Could Be with You (One Hour Tonight).” These recordings have been selected from the Jazz History and CD Recommendations sections.

As a rule, it never hurts to check out the composer’s own interpretation of a song, and this is true of James P. Johnson’s “If I Could Be With You One Hour Tonight” (Snowy Morning Blues). Perhaps the definitve version of the tune, however, is Louis Armstrong’s from 1930 (Louis Armstrong Collection, Vol. 6: St. Louis Blues), featuring both vocal and instrumental interpretations of the melody. Instrumental and vocal melody statements are also present on Count Basie’s 1939 recording with Helen Humes (The Essential Count Basie, Vol. 1), which also demonstrates the tune being brought fully into the swing era.

Noah Baerman - Jazz Pianist and Educator

CD Recommendations for This Tune
Click on any CD for more details at Amazon.com
Eva Taylor
Complete Recorded Works, Vol. 2 (1923-1927)
Document
Original recording 1927

Vocalist Taylor offers up this popular and iconic early interpretation of “If I Could Be With You One Hour Tonight” alongside her husband, pianist and bandleader Clarence Williams. The vocals are appealing, as is the excellent cornet playing by Jabbo Smith.

Louis Armstrong
Louis Armstrong Collection, Vol. 6: St. Louis Blues
Sony
Original recording 1930

This is an old-style ballad, with prominent tuba and banjo, but Armstrong was always on the cutting-edge. He states the melody brilliantly on trumpet and vocally before solos commence. Lawrence Brown’s trombone solo is also noteworthy.

iTunes
Count Basie
The Essential Count Basie, Vol. 1
Sony
Original recording 1939

Basie states the melody himself on piano here, but that is only the beginning. Helen Humes steals the show with her subtly bluesy vocals and Buck Clayton has a particularly strong performance on trumpet.

iTunes
James P. Johnson
Snowy Morning Blues
Verve
Original recording 1944

Accompanied only by Eddie Dougherty on drums, Johnson offers a straightforward reading of the melody he composed, while his excellent left hand work shows why he is considered the father of stride piano.

iTunes
Benny Carter
Swingin' the ‘20s
Ojc
Original recording 1958

Benny Carter, best known for his alto saxophone playing and composing/arranging, is featured here on trumpet and sounds utterly convincing. It does not hurt to have the genius of Earl Hines providing stimulation on piano, of course.

iTunes

- Noah Baerman

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 RCA Bluebird 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.
iTunes
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.
iTunes

- Ben Maycock

Written by the Same Composer(s)...
This section shows the jazz standards written by the same writing team.

Henry Creamer and James P. Johnson

Year Rank Title
1926 155 If I Could Be with You (One Hour Tonight)

Copyright 2005-2012 - JazzStandards.com - All Rights Reserved      Permission & contact information

Home | Overview | Songs | Biographies | History | Theory | Search | Bookstore | About